ARCHITECTURAL DESIGN THESIS by Charmisa patel

National Museum for Tribal Freedom Fighters and Tribal Culture in Kevadiya, Gujarat Thesis submitted in partial fulfillment for The award of the Degree of Bachelor of Architecture By Patel Charmisa Hasmukhbhai B.Arch Year-V, Semester-X (2019-2020)

Institute of Architecture Faculty of Architecture, Design and Planning Ganpat University, Kherva, Mehsana

Guide Ar. Miten Shah Assistant Professor Ioa, Fadp-Guni, Kherva

Name of Student Patel Charmisa Hasmukhbhai 15212911021

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Declaration

I hereby declare that the work incorporated in this thesis entitled â&#x20AC;&#x153;National Museum for Tribal Freedom Fighters and Tribal Culture in Kevadiya, Gujaratâ&#x20AC;? in partial fulfillment of the requirements for the award of Bachelor of Architecture (Semester-X) is the outcome of original study undertaken by me and it has not been submitted earlier to any other University or Institution for the award of any Degree or Diploma.

Name of Student : Patel Charmisa Hasmukhbhai Enrollment Number: 15212911021

Disclaimer: The comments and opinions in this paper are of the authors and not of the Institute of Architecture, FADP-Ganpat University.

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DEDICATION This thesis is dedicated to my beloved parents who have always been a source of inspiration, encouragement and stamina to undertake my higher studies. Also thanks to the people who have supported me throughout my education.

ACKNOWLEDGEMENTS The successful completion of this thesis has been one of the most challenging academic assignments faced by me which could not have accomplished without the support, patience and guidance of the following people. I want to thank my thesis guide, Ar. Miten Shah, who has guided me until I finished my thesis and shared his knowledge in a very humble attitude, without his guidance and persistence help, my thesis project wouldnâ&#x20AC;&#x2122;t progressing in a right direction. I am extremely thankful and pay my gratitude to principal and coordinator, Ar. Hemant Patel and Ar. Vibhav Suthar and all other respected faculties for their patience, valuable guidance and knowledge, support at every step of this thesis project right up to the completion. Thank you everyone, named and unnamed, for keeping me going.

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ABSTRACT Museum is a place of learning. A area where the learning is visual, aural, verbal and physical. One type of place, where social interaction between various kinds of communities plays a vital role in order to develop a cultural bond amongst people of various group. India being a land of heritage has to have such arts, culture and history amongst to freedom fighters. A forum of exchange of ideas and knowledge is important so that to understand various sections of society which are often classified as backward class or tribes. Tribes are one type of society which having their own art, culture and traditions. But in present day scenario somewhere in race of urbanization these groups are losing their existence. so that, here by develop the museum which depict importance of the tribute of tribal freedom fighters and their culture conservation. To making a platform for this particular community for represent their existence.

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TABLE OF CONTENTS DECLARATION ............................................................................................................................................... VII DEDICATION ...................................................................................................................................................IX ACKNOWLEDGEMENTS ...................................................................................................................................XI ABSTRACT .....................................................................................................................................................XIII TABLE OF CONTENTS..................................................................................................................................... XV CHAPTER – 01: INTRODUCTION ....................................................................................................................... 1 1.1 GENERAL INTRODUCTION ....................................................................................................................... 3 1.2 PROPOSAL BY GOVERNMENT .................................................................................................................. 3 1.3 NEED OF THE PROJECT ............................................................................................................................ 3 1.4 AIM ........................................................................................................................................................ 4 1.5 OBJECTIVE .............................................................................................................................................. 4 1.6 SCOPE AND LIMITATION.......................................................................................................................... 4 1.7 METHODOLOGY...................................................................................................................................... 5 CHAPTER – 02: BACKGROUND STUDY .............................................................................................................. 7 2.1 TRIBAL DISTRIBUTION IN INDIA ............................................................................................................... 9 2.2 TRIBAL AREAS IN GUJARAT .................................................................................................................... 10 2.3 TERM “TRIBE” ....................................................................................................................................... 11 2.4 MAJOR PARTS OF TRIBAL AREAS IN GUJARAT ......................................................................................... 12 2.5 CULTURE AND FESTIVAL ........................................................................................................................ 13 2.6 TRIBAL FACES OF NARMADA DISTRICT ................................................................................................... 14 2.6.1 BHIL .............................................................................................................................................. 14 2.6.2 RATHWA ....................................................................................................................................... 15 2.6.3 TADVI ............................................................................................................................................ 18 2.7 TRIBAL FREEDOM FIGHTERS .................................................................................................................. 19 CHAPTER - 03: CASE STUDIES ......................................................................................................................... 21 3.1 INTRODUCTION OF THE CASE STUDIES................................................................................................... 23 3.2 MP TRIBAL MUSEUM – THE JEWEL IN BHOPAL’S CROWN ....................................................................... 24 3.2.1 STUDY PARAMETERS ..................................................................................................................... 24 3.2.2 INTRODUCTION ............................................................................................................................. 25 3.2.3 DESIGN FEATURE ........................................................................................................................... 26 3.2.3 ARCHITECTURAL DRAWING ........................................................................................................... 28 3.2.4 DESIGN ANALYSIS .......................................................................................................................... 29 3.2.5 AREA PROGRAM ............................................................................................................................ 32 3.2.6 ARCHITECTURE .............................................................................................................................. 33 3.2.7 MATERIAL EXPLORATION ............................................................................................................... 34 3.2.8 INFERENCES................................................................................................................................... 35 3.3 TRIBAL HABITAT – THE MUSEUM OF MANKIND...................................................................................... 36 3.3.1 STUDY PARAMETERS ..................................................................................................................... 36 3.3.2 INTRODUCTION ............................................................................................................................. 37 3.3.3 ANALYSIS OF THE EXHIBITION ........................................................................................................ 38 3.3.4 OPEN AIR EXHIBITION .................................................................................................................... 39 3.3.5 VITHI SANKUL – INDOOR MUSEUM ................................................................................................ 40

3.3.6 INFERENCES................................................................................................................................... 41 3.4 JEAN-MARIE TJIBAOU CULTURAL CENTRE, NEW CALEDONIA .................................................................. 42 3.4.1 STUDY PARAMETERS ..................................................................................................................... 42 3.4.2 INTRODUCTION ............................................................................................................................. 43 3.4.3 ARCHITECTURE .............................................................................................................................. 44 3.4.5 ARCHITECTURAL DRAWING ........................................................................................................... 45 3.4.6 SUSTAINABILITY............................................................................................................................. 46 3.4.7 VIEWS ........................................................................................................................................... 47 CHAPTER – 04: SITE ANALYSIS........................................................................................................................ 48 4.1 LOCATION OF SITE................................................................................................................................. 50 4.2 STATUE OF UNITY TOURIST CIRCUIT....................................................................................................... 51 4.3 PROPOSED SITE..................................................................................................................................... 52 4.4 CONTEXTUAL SITE PLAN ........................................................................................................................ 53 4.5 SITE PLAN ............................................................................................................................................. 54 4.6 SITE JUSTIFICATION............................................................................................................................... 55 CHAPTER – 05: PROGRAMMATIC ANALYSIS AND CONCEPT ........................................................................... 56 5.1 AREA STATEMENT ................................................................................................................................. 58 5.2 FLOW CHART OF THE PROGRAM ........................................................................................................... 60 5.3 CONCEPTUAL DEVELOPMENT ............................................................................................................... 61 CHAPTER – 06: SITE DRAWING ....................................................................................................................... 66 LIST OF IMAGE ............................................................................................................................................... 91 LIST OF TABLE ................................................................................................................................................ 93 BIBLIOGRAPHY............................................................................................................................................... 94

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CHAPTER â&#x20AC;&#x201C; 01: INTRODUCTION

National Museum for Tribal Freedom Fighters and Tribal Culture 2020 INTRODUCTION

1.1 GENERAL INTRODUCTION Government of India wishes to build permanent museums in the States where Tribes lived, struggled against the British and refused to be overburdened. The Government will work to form such museums in different states so that the approaching generations may know how the Tribal were ahead in making sacrifices.

The museum brings together culture, lifestyle, customs, beliefs of the various tribes and the tribal freedom fighters from different states of India especially Gujarat state. The tribes constitute 14.75 percent of the population of Gujarat. This project providing various kind of opportunities to lesser known group of the society by the encouraging their culture and skills. This project also creates a challenge for these people to represent them in wider section of society. There are more than 20 tribes in Gujarat. Each and every tribe has a different background and culture.

1.2 PROPOSAL BY GOVERNMENT Development support agency of Gujarat (dsag.gujarat.gov), Tribal development department in government of Gujarat has proposed a national museum for tribal freedom fighters and tribal culture in Kevadiya, near statue of unity, Narmada district, Gujarat.

1.3 NEED OF THE PROJECT At present several Tribal museums exists across the country which are basically cultural museums. There were no any museum that depicts the contribution of tribal freedom fighters and their sacrifices. 1Museum displaying the struggle of tribal freedom fighters would be a right tribute to the history of the Tribes as well as the National independence movement of India, which can carry their culture in order to showing their own platform in todayâ&#x20AC;&#x2122;s urbanism.

https://dsag.gujarat.gov.in/assets/downloads/National_Museum_for_Tribal_Freedom_Fighter.pdf

National Museum for Tribal Freedom Fighters and Tribal Culture 2020 INTRODUCTION

1.4 AIM To built an iconic museum for tribal freedom struggle and their culture in Kevadiya that will reflect the spirit of tribes which will also give platform for their community who can part of this creation so that deal with existing community of the tribe that needs conserve and preservation for upcoming generations.

1.5 OBJECTIVE To display a symbolic depiction through the various themes of their contribution in Indian freedom struggle that will create emotional connection amongst the audience. It will collect, preserve, interpret and display items of historical events, struggles against British rule by tribal. To show the actual contribution in freedom struggle and the lifestyle of this community which have not been given its due diligence till yet. To aware present generation about the tribal contribution in the nation building.

The museum will also propose to have a center of excellence for tribes and anthropological research. Also display the rich heritage of the tribes, traditions, and tribal culture.

1.6 SCOPE AND LIMITATION There are different ways to depict the actual contribution of tribal community as role in struggles against the British rule in the proposed museum. So that audience can easily get the feelings of this particular community in interactive manner. 1. Tribal contribution in the Indian Freedom Struggle through: Using traditional Materials Making the modern communications like Audio-visual documentaries 2. Tribal Culture and Life Style: Display Tribal artifacts and handicrafts Description of cultural richness of tribes using modern communication technology

National Museum for Tribal Freedom Fighters and Tribal Culture 2020 INTRODUCTION

Display the actual size houses prototype to understand their lifestyle 3. Tribal Knowledge: Relation between tribal wisdom specific to nature and exhibits tribal ecology, herbs 4. Provide platform for Tribal Archives, Research and Documentation: Research facilities to Scholars Administrative offices, academic facilities, library, seminar halls and auditorium 5. Tourist/Picnic Spot: As tourist/picnic spot for outside and local visitors and developing recreational area

LIMITATION This museum will mainly focus on tribal freedom fighters of the nation and culture of the state tribes. Gujarat has over a twenty different tribal community, in order that display houses prototype like tribal habitat of the site surrounding major tribal groups.

1.7 METHODOLOGY 1. Data collection: - Visit and study about the tribal community and their settlements - Study and understand art, culture, lifestyle and architecture of the tribal groups - Collect and study existing government work or data about the tribes - Literature study which can be study of existing educational trends and also topic related research or thesis - Case study Primary case study Secondary case study

2. Data analysis and site formation: - Define study parameters and analysis of the design 5

National Museum for Tribal Freedom Fighters and Tribal Culture 2020 INTRODUCTION

- Inferences from the analysis and case studies - Formation of the program - Approach to site and analysis

3. Design process & conclusion: - Preparation of program - Conceptual development - Designing - Conclusion

National Museum for Tribal Freedom Fighters and Tribal Culture 2020

CHAPTER â&#x20AC;&#x201C; 02: BACKGROUND STUDY

National Museum for Tribal Freedom Fighters and Tribal Culture 2020

National Museum for Tribal Freedom Fighters and Tribal Culture 2020 BACKGROUND STUDY

2.1 TRIBAL DISTRIBUTION IN INDIA

Image 1: Tribal distribution in India Source: (census 2011)

Image 2: Distribution of ST's Population by states (in %) Source: (census 2011)

India has large number of indigenous people, who are still untouched by the modern world lifestyle. Every state of India has its own culture and tradition. Some of the states has number of tribes is much more than rest of country which is shown in this figure. Number of tribes is lived in India so that India is culturally rich and the tribal people are real treasure of our country. 84.4 million, India has the largest population of the tribal people in the world. These tribal people also known as The adivasi and they are the poorest in the country. 2

http://www.ecoindia.com/tribes/

National Museum for Tribal Freedom Fighters and Tribal Culture 2020 BACKGROUND STUDY

2.2 TRIBAL AREAS IN GUJARAT

Image 3:Tribal areas in Gujarat Color indicate tribal talukas Source: (tribes of gujarat)

TRIBES OF GUJARAT The tribal population of Gujarat, numbering 89.17 lakh, constitutes 14.8% of the stateâ&#x20AC;&#x2122;s Population. They are concentrated in the Eastern districts, from Mt. Abu on the Rajasthan border in the north to Dahanu District on the Maharashtra border in the South. There are 11 major tribes in Gujarat. The 5 Particularly Vulnerable Tribal Groups Number about 1,44,593 (as per Census 2011). The population of primitive groups is spread Over 8 districts viz. Surat, Tapi, Valsad, Navsari, Dangs, Bharuch, Narmada and Sabarkantha Covered under Tribal Area.3 3

https://tribal.gujarat.gov.in/tribal-demography-of-gujarat

1 Barda 4 Bhil, garasia 7 Chodhara 10 Halpati, 13 kothodi 16 naikda 19 kunbi 22 rabari 25 vaghri 28 advichincher

2 Bavacha 5 Charan 8 Tadvi 11 Gamit 14 koli 17 padhar 20 patelia 23 rathawa 26 varli

3 Bharwad 6 Chaudhri 9 Dhodia 12 Gond 15 kolcha 18 paradhi 21 pomla 24 siddi 27 kotwalia

National Museum for Tribal Freedom Fighters and Tribal Culture 2020 BACKGROUND STUDY

2.3 TERM “TRIBE” A Tribe is a social division in a traditional society consisting of families linked by social, economic, religious, or blood ties, with a common culture and dialect. A tribe possesses certain qualities and characteristics that make it a unique cultural, social, and political entity. Tribes are also known by the name ‘Adivasis’ in India.4 In anthropology, a tribe is a human social group. In India there are 705 tribal groups notified as scheduled, under article 342, tribe constituting 8.6% of the total population. NAME OF TRIBE Bhil

POPULATION IN LAKH(2011) 42.70

% TO STATE’S ST POPULATION 47.89%

Halpati Dhodia Rathwa Naikda Gamit Kokna Chaudhri Varli Dhanka Patelia Others Total

6.43 6.36 6.42 4.60 3.78 3.62 3.03 3.28 2.81 1.14 2.89 89.17

7.21% 7.20% 5.16% 4.25% 4.06% 3.40% 3.68% 3.15% 1.28% 1.28% 3.23% 100

DISTRICTS OF CONCENTRATION Dang, panchmahal, sabarkantha, banaskantha Surat, valsad,navasrai,bharuch Valsad, Surat Chotaudepur Panchmahal, Valsad Surat Navsari, Valsad, Dang Surat, Tapi, Bharuch Valsad, Navsari Vadodara, Bharuch, Panchmahal Panchmahal Surat, Tapi, Narmada

Table 1: Major Tribes in Gujarat Source: (tribes of gujarat)

Image 6: Garacia tribe https://www.gujarattravelagent.com/ Image 4: Siddi tribes Source: (tribes of gujarat)

Image 5: The jat - Hidden tribes of Gujarat Source: https://rovingturtle.com/

https://www.clearias.com/major-tribes-in-india/

National Museum for Tribal Freedom Fighters and Tribal Culture 2020 BACKGROUND STUDY

2.4 MAJOR PARTS OF TRIBAL AREAS IN GUJARAT There are more than 20 tribes in gujarat. Their density is different at different places. The bhils are the largest tribe in gujarat.Most of the bhils reside at ITDP Rajpipla. Other than bhil, district narmada had a rathwa, tadvi,and kathodi types of tribes. narmada district which is surrounded by chhota udaipur, vadodara, bharuch, surat, and tapi district which also has a different tribes community like dhanka, halpati, dhodia, gamit, kotwalia, chaudhri and others. DI - NARMADA

Image 9: District with the most number of tribal Source: (hindustantimes)

Image 7:Narmada district's surrounded tribal area

Image 8:Map of Narmada district Source: (location map)

Image 10:Bhil Source: (Tribal research and training institute)

Image 11: Rathwa Source: (Tribal research and training institute)

National Museum for Tribal Freedom Fighters and Tribal Culture 2020 BACKGROUND STUDY

2.5 CULTURE AND FESTIVAL

Image 12: Chitra vichitra no melo Source: Gujarattourism

Chitra vichitra no melo Month | March, Location | gunbhakhri, sabarkantha One of the largest tribal fest in the state, celebrated by bhil and garasiya tribes. The fair is an event for ancestral worship and is marked by colorful attire, heavy jewelry and rhythmic drum beat

Golgadheda no melo Month | March Location | Dahod An exciting courtship event for young men and women of the bhil tribe. Image 13: Golgadheda no melo Source: jesavadagolgadheda

Chool no melo Month | March Location |kawant- chhotaudepur, vadodra Celebrated by the rathwas on the third day after holi.it is gripping and interesting festival where members walk on fire. Image 14: Chool no melo Source: word press

Image 15: Bhanguriyu Source: bhangariyuatchotaudepur

Bhanguriyu Month | March Location | chotaudepur, vadodra Celebrated by the rathwa tribe before the one day of holi. It is largely a musical event, with men and women dressed colorfully and dancing with musical instruments in the village market areas.5

https://tribal.gujarat.gov.in/culture-and-festival

National Museum for Tribal Freedom Fighters and Tribal Culture 2020 BACKGROUND STUDY

2.6 TRIBAL FACES OF NARMADA DISTRICT 2.6.1 BHIL

Image 18: Houseform of Bhil

Image 17: Bhil tribe’s settlement

Image 16: Bhil man with arch Source: (tribes of gujarat)

The Bhil are one of the largest tribal groups, living in Chhattisgarh, Gujarat, Karnataka, Madhya Pradesh, Maharashtra, Andhra Pradesh and Rajasthan. The name is derived from the word ‘billu’, which means bow. The Bhil are known to be excellent archers coupled with deep knowledge about their local geography. Traditionally, experts in guerrilla warfare, most of them today are farmers and agricultural laborers. They are also skilled sculptors. Bhil women wear traditional saris while men are dressed in long frock and pajama. In Gujarat the population of Bhil tribe in 2001 was 34, 41,945-male 17, 46,813 and female 16, 95,132. They are 46% of total tribal population of the state. The population includes people of sub tribes like Bhil Garasia and Dholi Bhil. Bhils live on mounts and hilly tracks where presence of mineral deposits of important minerals is available. Rich forest wild lives surround Bhil villages. As settled agriculturists Bhil families keep cattle. Though Tractors have arrived in Bhil area but 80% farmers keep bullock for plugging and irrigation purpose. 6

https://trti.gujarat.gov.in/bhil

National Museum for Tribal Freedom Fighters and Tribal Culture 2020 BACKGROUND STUDY

2.6.2 RATHWA

Image 21: Rathwa woman with ornaments Source: (tribes of gujarat)

Image 20: Men of rathwa tribes Source: (tribes of gujarat)

Image 19: Object of worship Source: (tribes of gujarat)

The name of the tribe has been derived from the term "rathbistar" which means the forest and hilly areas. Thus the people who are the inhabitants of the rathbistar are called Rathwas. They are also known as Rathawa Koli. They recall their migration from the adjoining state of Madhya Pradesh. They are mainly distributed in the Chhota Udaipur, Jabugam and Nasvadi talukas of Vadodara district. The Rathwa women have a role in agricultural operations. Besides they have a significant role in animal husbandry, collection of fuel and bringing potable water. The community people are famous for their tattooing marks on their body and Pithora paintings. They use the motifs of tiger, camel, elephant etc. on the walls of their homes. The Rathwa are the followers of folk religion. It has the elements of Hindu religion. They believe in their supreme deity, God Baba Deb who is also their village deity. They worship the objects like horse, tiger, elephant and camel which are prepared by the Kumbhar. The traditional dress of the adult male members is langoti (loin cloth), kachuta and the phenta (headgear). The female members dress up with the ghagaro (lower garment) and cholia (upper garment). The women wear kala (armlet) made up of chandi (silver) but kala, (armlet) of men is of iron. They also wear fasi at the wrist which is made up of silver. They wear biti (finger ring). They have tattoo marks on their body.7 (Tribal research and training institute) (Archdaily) (arch2o)

https://trti.gujarat.gov.in/rathwa

National Museum for Tribal Freedom Fighters and Tribal Culture 2020 BACKGROUND STUDY

RATHWAâ&#x20AC;&#x2122;S SETTELEMENT

Image 24: Paintings on wall

Image 23: House form

Image 22: Verandah

A Rathwa village is normally located on the banks of a river. The huts in village are not built in the form of localities. Palm tree are generally found around the village. It is easy to locate a village in a forest by the palm trees.8 Well known for pithora ritual paintings in bright colors against the white of house walls, matched only by colorful attire of the painters themselves, the rathwa are an agriculturist tribe thought to be a sub group of bhil. Surrounded by a wattle fence, the rathwa house face towards the east. The house is a rectangular structure. The roof is made of split bamboo covered with baked clay tiles or dried palm leaves. The walls are made of split bamboo plastered with mixture of cow dung, straw and mud. A separate structure almost as large as the main house is built parallel to the house with no partition walls for cattle and goats. In the front or at the back, the cattle are tied in separate cattle-shed constructed.

Image 25: agricultural instrument

Image 26: Cattle shed

https://trti.gujarat.gov.in/rathwa

National Museum for Tribal Freedom Fighters and Tribal Culture 2020 BACKGROUND STUDY

Image 27: Plan of Rathwa settlement

Image 28: Section AA

Image 29: Front elevation

National Museum for Tribal Freedom Fighters and Tribal Culture 2020 BACKGROUND STUDY

2.6.3 TADVI

Image 30: House form of tadvi tribes Source: (tribes of gujarat) Image 32: Entry of house Source: (tribes of gujarat)

Image 31: Tadvi woman Source: (tribes of gujarat)

According to one such belief, during famine period, they ale the meat of horse and they were known as Tadvi, one who rides over horse. The main population of Tadvi/Valvi/Tetariyas is in some villages of Nanded, Dediyapada, Sagbara talukas of Bharuch districts, and in some villages of Sankheda, Dabhoi, Jalugam, Naswadi, Chhota Udepur and Tilakwada talukas of vadodara district as well as some villages of Limkheda, Halol, Jambughoda and Devgadh Bariya talukas of Panchmahal District. As per 2001 census, their population was 2, 52,637 persons(Male 1,30,403 and Female 1,22,234). They constitute 3.38 percent of tribal population.

The walls are made from wooden sticks of cotton plant or tick wood tree or bamboo chips. Those who can afford, construct pucca brick-cement houses. The roofs are covered with either indigenous tiles or Mangaloreâ&#x20AC;&#x2122;s tiles or metal sheets. RCC slab roofs are rare.

Tadvi/Valvi/Tetariyas are steady agriculturist tribe. However, due to some reasons, some families have lost their land and they have to depend on agricultural labour work on somebody else's farm.9

https://trti.gujarat.gov.in/tadvi

National Museum for Tribal Freedom Fighters and Tribal Culture 2020 BACKGROUND STUDY

2.7 TRIBAL FREEDOM FIGHTERS Independence day for Indians brings back remembrances to sacrifices of freedom fighters who envisioned india as an independent free bird; free from the hands of all external forces and stand united as one secular, socialist, democratic republic. for independence, each and every region was fighting their own war. many of the protest against the british were led by tribal heroes. their fight was for their land and most importantly, their people. india has witnessed their struggle turning into a revolution without the use of equipment like bombs and tanks.

BIRSA MUNDA Birsa Munda was a tribal hero from the tribal belt of Chotanagpur. Though he died at the age of 25, he is still remembered as a freedom fighter, religious leader and folk hero. He believed in the importance of cultural roots and influenced people to understand the importance of land and the rights that they possess with the land. He fought against the forceful seizure of land and raised a rebellion against the British and the middlemen. He was arrested and passed Image 33:Birsa munda Source: (Youthkiawaaz)

Away in prison on June 9, 1900.

SHRI ALLURI SEETHA RAM RAJU A brave son of Andhra Pradesh, Alluri Seetha Ram Raju sacrificed his life in the freedom struggle against the British. He is known as “Manyam Veerudu” (“Hero of the Jungle”) by the local people. He led the Rampa Rebellion of 1922 in the Godavari districts, which are a part of today’s Andhra Pradesh. In these areas, the land was extensively occupied by tribals and the British wanted to make use of it for commercial purposes. The rebellion broke out in August 1922 and took the form of guerilla warfare, ending in May 1924 Image 34:Shri alluri seetha ram raju Source: (Youthkiawaaz)

with the capture and shooting of Raju.10

https://www.youthkiawaaz.com/2019/08/tribal-freedom-fighters-who-fought-for-indias-independence/

National Museum for Tribal Freedom Fighters and Tribal Culture 2020 BACKGROUND STUDY

RANI GAIDINLIU Rani Gaidhinliu was a Naga leader from Manipur known for her armed resistance Against the British. Gaidinliu joined the Heraka Movement in 1927, with an aim to end the British rule and establish the self-rule of Nagas. Due to her excellent efforts in the freedom struggle, she was given the title of “Rani” by Jawaharlal Nehru who freed her from Jail after independence. Image 35: Rani gaidinliu Source: (Youthkiawaaz)

SHAHEED VEER NARAYAN SINGH

Image 36: Sheed veer narayan singh Source: (Youthkiawaaz)

Pride of sonakhan, chattisgarh shaheed veer narayan singh looted trader’s grain stock and distributed them amongst poor after the 1856 famine.The people of sonakhan had joined the revolt of 1857 against the british.Veer Narayan Singh formed an army of just 500 men and rose up against the British army, which was led by Deputy Commissioner Smith. The sacrifice of veer Narayan singh made him a tribal Leader and he became the first martyr from Chhattisgarh in the independence struggle.

SIDHU AND KANHU MURMU Brothers and tribal freedom fighters Sidhu Murmu and Kanhu Murmu fought with their bows and arrows against the British in the Santhal Revolt of 1855. The revolt was organized against the Zamindars and British who auctioned away large tracts of land belonging to Image 37: Sidhu and Kahnu murmur Source: (Youthkiawaaz)

the Santhals, resulting in loss of land and mass exploitation. 11

https://www.youthkiawaaz.com/2019/08/tribal-freedom-fighters-who-fought-for-indias-independence/

National Museum for Tribal Freedom Fighters and Tribal Culture 2020

CHAPTER - 03: CASE STUDIES

National Museum for Tribal Freedom Fighters and Tribal Culture 2020

National Museum for Tribal Freedom Fighters and Tribal Culture 2020 CASE STUDY

3.1 INTRODUCTION OF THE CASE STUDIES MP Tribal Museum Location : Bhopal, Madhya Pradesh, India Architect: Kamath Design Studio Client : Adivasi boli vikas Academy, Bhopal Site Area: 7 Acres

Image 38: MP Tribal museum, Bhopal

Tribal Habitat Location: Shymala hills, Madhya Pradesh, India Site Area: 200 Acres

Image 39: Tribal habitat, Bhopal

Tjibaou Cultural Center Location

: Nouméa, New Caledonia Architects : Renzo Piano Site Area : 8550.0 m²

Image 40: Tjibauo cultural center, New Caledonia

National Museum for Tribal Freedom Fighters and Tribal Culture 2020 CASE STUDY

3.2 MP TRIBAL MUSEUM – THE JEWEL IN BHOPAL’S CROWN

Image 41: Metal art work out of local materials of region

3.2.1 STUDY PARAMETERS -To study various tribal groups of Madhya Pradesh. - To know tribal rhythms, geometries, materials, forms, aesthetics and spatial consciousness. - To understand gallery spaces inside the museum. - To observe involvement of local artisans in construction technology. - To review supporting program of the museum.

National Museum for Tribal Freedom Fighters and Tribal Culture 2020 CASE STUDY MP TRIBAL MUSEUM, BHOPAL

3.2.2 INTRODUCTION

Image 42: Site plan of MP tribal museum, Bhopal

Location Architect Client Site Area

: Bhopal, Madhya Pradesh, India : Kamath Design Studio : Adivasi boli vikas academy, Bhopal : 7 Acres

Image 43: Site entrance

Image 44: Museum entrance

MP Tribal museum is constructed on shyamala hill Which is situated in city of lakes Bhopal. Museum is Surrounded by buildings of great importance the State museum of Bhopal & Indira Gandhi manav Sanghrahalay. There are 46 scheduled tribe in madhya pradesh. some of which are Gond, Bhil, Baiga, Korku, Bhariya, Halba, Kaul, Mariya and Sahariya.The museum of Tribal heritage at Bhopal is thus a reflection of art, culture, myth and habitation of major tribal groups found in Madhya Pradesh.

Image 45: Reception area and Kiosk

National Museum for Tribal Freedom Fighters and Tribal Culture 2020 CASE STUDY MP TRIBAL MUSEUM, BHOPAL

3.2.3 DESIGN FEATURE The sprawling campus is divided into 6 colorful galleries showing the diversity of the seven tribes of the state. The lifestyle, folklores, social customs and rituals of the seven indigenous tribes of Madhya Pradesh.12

Image 47: Orientation of the building (outside view)

source: youtube.com

Image 46: Orientation of the building (inside view) 12

source: youtube.com

https://www.taleof2backpackers.com/tribal-museum-bhopal/

National Museum for Tribal Freedom Fighters and Tribal Culture 2020 CASE STUDY MP TRIBAL MUSEUM, BHOPAL

The program is designed in such a way that it involves the tribal community and provides them a platform to evolve and express. to providing them a opportunity to connect with the urban world. GALLERY

- to showcase the rich diversity of tribal culture. There are 6 galleries each of Area 300 sq mts. WORKSHOPS - for artisans to produce artifacts and develop installations. - Handmade paper display - dance and music workshop - Wood and bamboo workshop - photography workshop - Metal workshop - terracotta and earth workshop LIBRARY - providing vast knowledge of tribes around the world. THEATRE - platform for various cultural activities and social gatherings. DORMITORY - for stay of artisans and their families. PARKING, RECEPTION AREA, ADMINISTRATION, AUDITORIUM, CANTEEN, SHOP, WASHROOM, STORAGE AREA, WATERBODIES, CENTRAL AMPHITHEATRE, SERVICE ENTRY, COURTYARDS are also the supportive functions.

Image 49: Site plan

source: Thesis report by chandramauli

Image 50: Central amphitheatre Source: (kamath design studio)

Image 48: Dormitory Source: (kamath design studio)

National Museum for Tribal Freedom Fighters and Tribal Culture 2020 CASE STUDY MP TRIBAL MUSEUM, BHOPAL

3.2.3 ARCHITECTURAL DRAWING

Image 54: Upper level plan

source: (kamath design studio)

Image 53: lower level plan

source: (kamath design studio)

Image 51: Typical section

Image 52: Elevation

National Museum for Tribal Freedom Fighters and Tribal Culture 2020 CASE STUDY MP TRIBAL MUSEUM, BHOPAL

3.2.4 DESIGN ANALYSIS

Image 56: Upper level floor plan

Image 55: Lower level floor plan

LEGENDS Reception area & kiosk Galleries Library Toilets Seminar hall

Corridor Courtyards Auditorium Admin area Canteen

Workshops Store room Amphitheatre Central Am phi

National Museum for Tribal Freedom Fighters and Tribal Culture 2020 CASE STUDY MP TRIBAL MUSEUM, BHOPAL

USER ACTIVITY

Image 58: Visitor's flow at Upper level

Image 57: Visitor's flow at Lower level

For Museum

For Auditorium

USER

ACTIVITY

SPACE

VISITOR

VISUAL EXPERIENCE

North zone gallery East zone gallery South zone gallery West zone gallery Photography gallery Sports gallery Auditorium Museum shop Library Seminar room Parking area Toilets Canteen

Shopping Reading & knowledge Parking Sanitation Beverage & food Table 2 : USER ACTIVITY (VISITOR FLOW)

Image 59: Part plan of gallery

National Museum for Tribal Freedom Fighters and Tribal Culture 2020 CASE STUDY MP TRIBAL MUSEUM, BHOPAL

Image 61: Staff user flow at upper level

Image 60: Staff user flow at lower level

For Administration staff

For workshopâ&#x20AC;&#x2122;s workers

USER

ACTIVITY

SPACE

ADMINISTRATION STAFF

Official work

Offices Staff rest room Maintenance Janitor room Store room Seminar hall Pantry Toilets Workshop Store room

Services

WORKER STAFF

Meeting Beverage & food Sanitation Restoration

Table 3 : USER ACTIVITY (STAFF FLOW)

Image 63: Site Distribution Source: Thesis report by chandramauli

Image 62 : Area Distribution Source: Thesis report by chandramauli

Built up space Landscape Transition space Parking Open space

Administration Workshop Exhibition gallery Library Auditorium Amenities Services

National Museum for Tribal Freedom Fighters and Tribal Culture 2020 CASE STUDY MP TRIBAL MUSEUM, BHOPAL

3.2.5 AREA PROGRAM Sr No.

Space

Entrance Entrance lobby Reception Back office Administration Staff office Director generalâ&#x20AC;&#x2122;s chamber Curator office Meeting room Staff rest room Security room Server room Staff toilet Store pantry Workshop Wood workshop Metal workshop Terracotta workshop Store Exhibition gallery North zone gallery East zone gallery South zone gallery West zone gallery Photography gallery Sports gallery Reserve collection Library Office Cyber room Auditorium Projection room Green room Amenities Canteen Museum shop Seminar hall Dormitory Toilet (m/f) Services Maintenance

No of units

1 1

100 20 12

5 1 1 1 1 1 1 1 1 1

60 20 12 40 40 20 20 10 40 40

1 1 1 4

400 400 400 160

1 1 1 1 1 1 1

1 1

400 400 400 400 200 200 100 120 12 12 240 20 40

1 1 1 5 5/5

200 100 200 50 25

1 1

Area (sqmt)

National Museum for Tribal Freedom Fighters and Tribal Culture 2020 CASE STUDY MP TRIBAL MUSEUM, BHOPAL

Janitor room Store Housekeeping centre High tension control room HVAC room 9 10

1 5 1 1 1

Parking Open spaces Courtyard Central amphitheatre Open air theatre Transition area (30% of total built up area)

20 100 20 200 200 300

Total area

400 1000 400 2370 10286 sqmt

Table 4 : Program of the Museum

3.2.6 ARCHITECTURE The building of the museum is entirely done by modern construction. The utilization of traditional materials as fabrication is finished afterwards. Also the space being provided at levels in correspondence with existing terrain. The structure is constructed on 7 acres is formed of steel tubes, castellated girders, and steel rods fabricated into intricate trusses. The walls use both local stone left exposed and brick plastered with crushed stone on the skin and dust plaster on the within. The roofs are fabricated from half round tiles, galvalume sheets and concrete with a topping of grass and groundcover. The landscape is designed to collect and store rain water, to be used for both cooling and irrigating the green roof and gardens.

Image 66: Structure (3D Model)

Image 65: Courtyard between corridors

Source: https://postscriptdesign.wordpress.com/2013/03/08/the-image-is-the-building/

Image 64: decorated glass to prevent direct light roof of half round tiles

National Museum for Tribal Freedom Fighters and Tribal Culture 2020 CASE STUDY MP TRIBAL MUSEUM, BHOPAL

3.2.7 MATERIAL EXPLORATION Column treatment with local material. Bamboo pillars and rope work of art. Handmade tribal art painting on columns. As the entrance art reminds, tribes have thrived along the banks of the Narmada from Paleolithic times and 30% of Madhya Pradesh have tribal heritage. Use of castellated beam, steel rods and intricate trusses in a aesthetic approach. This tribal museum mainly done through the natural materials like bamboo, wood, rope, mud and also metal, steel and handmade paintings all over the museum by the local artisans.

Image 71: Column treatment

Image 70: Aesthetic approach to structure system

Image 67: Handmade Painting done by local Tribal artist Image 69: Art work done on Wood with burning it

Image 68: Symbolic elements to represent tribes

National Museum for Tribal Freedom Fighters and Tribal Culture 2020 CASE STUDY MP TRIBAL MUSEUM, BHOPAL

Image 72: Contribution of local tribal artist Source: https://reflectionsofindia.com/2014/02/25/madhya-pradesh-tribal-museum/

3.2.8 INFERENCES - Main strategy is to utilize the skill sets of the various tribal artisans to develop the displays. - Climate responsive and sustainable design. - Height of the galleries is almost triple height which created trouble while designing interior Of gallery. - The galleries are provided with full height glass which is the architectural drawback. Then painted with patterns by the artist to ensure soft sunlight inside. - The galleries been placed in a sequential manner in order to provide the visitors a fixed Path during visit. - Galleries next to each other will forcefully bind the visitor to the exhibits. - Landscape has been design very artistically in order to attract the visitors. - Workshop is placed near to canteen, which may cause distraction to the workers.

National Museum for Tribal Freedom Fighters and Tribal Culture 2020 CASE STUDY TRIBAL HABITAT, BHOPAL

3.3 TRIBAL HABITAT â&#x20AC;&#x201C; THE MUSEUM OF MANKIND

Image 73: Actual size dwelling unit

3.3.1 STUDY PARAMETERS - To study the different modes of exhibition technique and use of traditional architecture. - To understand different types of tribal culture which is exhibits around 40 and more tribal Culture and actual size dwelling of various Indian tribes.

National Museum for Tribal Freedom Fighters and Tribal Culture 2020 CASE STUDY TRIBAL HABITAT, BHOPAL

3.3.2 INTRODUCTION

Image 74: Site plan of tribal habitat

Location: Shymala hills, Bhopal, Madhya pradesh Site area: 200 Acres The Indira Gandhi manav sangrahalaya (IGRMS), also known as â&#x20AC;&#x153;The museum of mankindâ&#x20AC;? is an open air anthropology museum that celebrates many tribal traditions and cultures of India. This exhibition includes the unique dwelling types of architectural marvels from different tribal communities from all regions of india.Museum lies during a prehistoric landscape at Bhopal, the capital city of Madhya Pradesh within the central province of India. Spread across the shymala hills in Bhopal, it covers a sprawling 200 acres of the area. The museum lies in a prehistoric landscape with evidences of prehistoric human settlement in its premises. There are three kinds of exhibitions in display including open air exhibition, indoor galleries and periodical or temporary exhibitions.

Image 75: Main entry

Image 76: Traditional Technology Park

Image 77: IGRMS canteen

Image 79: Indoor anthropology museum

Image 78: Museum shop

National Museum for Tribal Freedom Fighters and Tribal Culture 2020 CASE STUDY TRIBAL HABITAT, BHOPAL

3.3.3 ANALYSIS OF THE EXHIBITION

Image 80: Area covered by tribal habitat

Clusters being created as exact replica of village settlements, along with that their crafts, household items, mythological beliefs and scared grooves are exhibited. The actual size displays has been built up the tribal communities by using their traditional materials and techniques. The dwelling units are placed organically as per the hilly terrain giving the essence of the tribal habitation. Dense forest is maintained to represent the prehistoric life of humans. Village exhibition, the dwelling units are arranged exactly as that of a village in dense Plantation along with gathering spaces.

Image 83: View

Image 82: Part plan

Image 84: cluster typology Source: (Thesis report on tribal culture)

Image 81: village typology Source: (Thesis report on tribal culture)

Image 86: Section of cluster typology Source: (Thesis report on tribal culture)

Image 85: Section of village typology Source: (Thesis report on tribal culture)

National Museum for Tribal Freedom Fighters and Tribal Culture 2020 CASE STUDY TRIBAL HABITAT, BHOPAL

3.3.4 OPEN AIR EXHIBITION

Image 87: cluster exhibition

Image 88: Different areas tribal house form

Image 89: Dashahara rath

Image 90: Tradition Tech. Park

Image 91: terracotta sculpture

National Museum for Tribal Freedom Fighters and Tribal Culture 2020 CASE STUDY TRIBAL HABITAT, BHOPAL

3.3.5 VITHI SANKUL â&#x20AC;&#x201C; INDOOR MUSEUM

Image 93: Ground floor plan of vithi sankul Source: (Indira gandhi rashtriya manav sangrahalaya)

Image 92: First floor plan of vithi sankul Source: (Indira gandhi rashtriya manav sangrahalaya)

Image 94: Display of tribal settlement

Image 95: Part plan of Gallery 2 Source: (Indira gandhi rashtriya manav sangrahalaya)

Image 96: Exhibition of tribal anthropology

National Museum for Tribal Freedom Fighters and Tribal Culture 2020 CASE STUDY TRIBAL HABITAT, BHOPAL

Image 97: Indoor Museum building of vithi sankul

3.3.6 INFERENCES The open exhibition and indoor gallery have been done in harmony responding to the functional requirement. It demonstrates the possibilities of building with various local materials using simple methods as the continuation of a local rural building tradition. The project has community involved which helped it to maintain the vernacular tradition. The museum incorporates the existing landscape to satisfy with the objective of the project.

National Museum for Tribal Freedom Fighters and Tribal Culture 2020 CASE STUDY JEAN-MARIE TJIBAOU CULTURAL CENTRE

3.4 JEAN-MARIE TJIBAOU CULTURAL CENTRE, NEW CALEDONIA

3.4.1 STUDY PARAMETERS - To study the architectural expression of the building.

National Museum for Tribal Freedom Fighters and Tribal Culture 2020 CASE STUDY JEAN-MARIE TJIBAOU CULTURAL CENTRE

3.4.2 INTRODUCTION Location : NoumĂŠa, New Caledonia Architects : Renzo Piano Site Area : 8550.0 mÂ˛ Year : 1998 It sought to make a tribute to a culture based on respect for its history and traditions, past, present and future, as well as its sensitivity. The project was based on the indigenous population of that part of the Pacific, its culture and its symbols, which are very old but are still very alive. The center is aimed to present and promote the indigenous kanak culture, its traditions, languages, craftsmanship, and arts. The concept and design of the Cultural Center Jean-Marie Tjibaou in Noumea in New Caledonia, was generated by the need to maximize ventilation in a humid climate. The project builds on the topography of land, vegetation and the breeze from the lagoon to create rising air currents, which are then removed by extraction towers, with the distinction of being the highest building on the top of the hill. (wikiarquitecture)

Image 98: Plan

Image 99: Sea view cultural center

Image 100: Views of cultural center

National Museum for Tribal Freedom Fighters and Tribal Culture 2020 CASE STUDY JEAN-MARIE TJIBAOU CULTURAL CENTRE

3.4.3 ARCHITECTURE The center consists of ten circular pavilions, of three different sizes, inspired by the traditional cone-shaped wooden hut, called Grand Case, which forms the main venue for the activities of New Caledoniaâ&#x20AC;&#x2122;s villages as well as the residence of their chiefs. All of them are connected by pedestrian walkways in the form of spokes evoking the central promenade of traditional villages. Villa 1 One part of the cultural package is aimed at permanent and temporary exhibitions and contains an auditorium and an amphitheater.

Image 101: Orientation of the building

Villa 2 In the second group of huts are divided spaces administration, research, library and a conference room. Villa 3 Finally, other studies contain cabins for traditional activities such as music, dance, painting and sculpture. The tenth pavilion contains a cafe. The center also includes a 400-seat auditorium, an open-air theater for 4500, a pavilion for temporary exhibitions, artist workshops, storage areas, administration offices, a shop, and various visitor facilities. Vernacular buildings are born of intense communion with nature. These references were used traditional materials and construction systems, and also won the respect of natural elements such as wind, light and vegetation. The cabins are built with wooden materials in combination with iroko sober and discreet as steel, glass or cork, which provide simplicity to their interiors. As a matter in fact, the incomplete structures are showing that the Kanak culture, even though rich, it still continues to grow and evolve from its ancient roots. (wikiarquitecture)

National Museum for Tribal Freedom Fighters and Tribal Culture 2020 CASE STUDY JEAN-MARIE TJIBAOU CULTURAL CENTRE

3.4.5 ARCHITECTURAL DRAWING

Image 102: Plan of the building

Image 103: Section of the building

Image 104: Showing Placement of villas

Source: (Archdaily)

National Museum for Tribal Freedom Fighters and Tribal Culture 2020 CASE STUDY JEAN-MARIE TJIBAOU CULTURAL CENTRE

3.4.6 SUSTAINABILITY Cooling and passive ventilation are obtained naturally through a double facade in which air circulates freely between the layers of slatted wood, and an adjustable louver system regulates the airflow depending on the wind speed. The south-facing facades of the pavilions were designed to shelter the building from the strong winds and storms coming from the sea in the Monsoon season, while the north facades, oriented towards the much calmer lagoon, are more open, transparent and permeable. The covered corridor does not have sidewalls but is equipped with wood, metal and glass louvers, designed so that natural ventilation keeps it reasonably cool, at the same time avoiding overheating by excessive direct sunlight.

Image 105: Concept

Image 107: working process

source: (wikipedia)

Image 108: Ventilation due to different wind forces

Image 106: detail joinery

National Museum for Tribal Freedom Fighters and Tribal Culture 2020 CASE STUDY JEAN-MARIE TJIBAOU CULTURAL CENTRE

3.4.7 VIEWS VIEWS OF KANAK HOUSES

VIEWS OF CULTURAL CENTRE

Image 109: Kanak house form

Image 110 : Views of cultural centre

National Museum for Tribal Freedom Fighters and Tribal Culture 2020

CHAPTER â&#x20AC;&#x201C; 04: SITE ANALYSIS

National Museum for Tribal Freedom Fighters and Tribal Culture 2020

National Museum for Tribal Freedom Fighters and Tribal Culture 2020 SITE ANALYSIS

4.1 LOCATION OF SITE

Image 112 : Map of India showing Gujarat Source: (location map)

Image 113: Map of Gujarat showing Narmada district Source: (location map)

Image 114: Map of Narmada district Source: (location map)

Image 111: Tourist map of Narmada district Source: (location map)

According to Census 2011 Narmada district incorporates a population of 590,379. The economy of Narmada district is solely supported on agriculture. Agriculture provides the most opportunity to get sustainable livelihood and employment for the villagers. The district owns a number of major tourist destinations and attractions like Shoolpaneshwar, Wildlife Sanctuary and Temple and Rajwant Palace which accounts for a healthy influx of tourists.

National Museum for Tribal Freedom Fighters and Tribal Culture 2020 SITE ANALYSIS

4.2 STATUE OF UNITY TOURIST CIRCUIT Connectivity

Image 115: Showing location of site in SOU tourist circuit Source: (statue of unity)

The nearest town to statue of unity is Kevadiya which is about 3.5 km away and therefore the nearest city is Rajpipla which is 25 km away. ROAD: 90 kms from Vadodara, 150 kms from Surat and 200 kms from Ahmedabad. RAIL : Vadodara railway station is the nearest rail head 90 km to the Sardar Patel Statue. Bharuch Rail way Station is 91 km and Ahmedabad Railway Station is around 197 km. AIR : The nearest airport from Statue of Unity is in Vadodara and the nearest international Airport is in Ahmedabad.

Existing feature and festivals in SOU There are many upcoming and existing features in statue of unity tourist circuit, which like jungle safari, childrenâ&#x20AC;&#x2122;s nutrition park, ekta nursery, butterfly garden, boating and river rafting facility, zarwani eco tourism etc. As this all are major development, SOU tourist circuit celebrate the calendar of different festivals on this circuit, which is Unity marathon, film festival, food festival, monsoon festival, kite festival, tribal festival, all India drama festival, vintage car festival, cultural dance festival etc.

Image 116: Zarwani eco tourism

Image 118: Kite festival

Image 117: Butterfly garden Source: https://brgbudgetstay.com/page/attractions

National Museum for Tribal Freedom Fighters and Tribal Culture 2020 SITE ANALYSIS

4.3 PROPOSED SITE

Image 119: Proposed site

SITE

SETTLEMENT

TENT CITY 2

ROAD

PANCHMUKHI LAKE

Image 120: The inflow of tourist in statue of unity from 2nd nov 2018 to 26th jan 2019 Source: 3-vol-ii-project-information-memorandum-sbb08052019013847

Proposed site is located in the statue of unity tourist circuit, Kevadiya, in Narmada district. There are many scenic unexplored locations. As the area has yearlong water availability, the tourist season available is long around 8-9 months. It is a major upcoming development in the region. This mega project will open up the area in a big way. It is a great opportunity to develop ancillary attractions within the region, to engage the tourists for a longer duration.13

3-vol-ii-project-information-memorandum-sbb08052019013847

National Museum for Tribal Freedom Fighters and Tribal Culture 2020 SITE ANALYSIS

4.4 CONTEXTUAL SITE PLAN

Image 121: Contextual site plan

Panchmukh lake

Site

Existing building

Trees

Road

Godbole gate

Section AA Section BB As the showing figure of contextual site plan, proposed site having too many down contour to the existing SOU tourist circuit road. Site scenario is like three side of the site is hilly terrain areas and one side having a beautiful panchmukhi lake, which is also a tourist attraction spot now on days. Sections showing level difference of the site and context.

National Museum for Tribal Freedom Fighters and Tribal Culture 2020 SITE ANALYSIS

4.5 SITE PLAN

Image 122: Site plan

Section AA

Section BB

SITE PHOTOS Source: Google earth

Image 125: Lake and road edge

Image 124: Site front view

Image 123: Site and road edge

National Museum for Tribal Freedom Fighters and Tribal Culture 2020 SITE ANALYSIS

4.6 SITE JUSTIFICATION -To get more breathing space between main road and site boundary like nearest tent city which is give pause and attraction of the place to visitors. -The site is corresponding to a series of the trees on one side. -First phase of site is use for the tribal fest and other public activities. Total Site Area

- 20 Acre (80,900 sqmt)

Site for tribal fest & Other Activities Site for museum

- 5 Acre (20,200 sqmt) - 15 Acre (60,700 sqmt)

Built up Area 20% circulation Total Built up Area

- 15,550 sqmt - 3110 sqmt - 18,660 sqmt

Image 126: Site justification

National Museum for Tribal Freedom Fighters and Tribal Culture 2020

CHAPTER â&#x20AC;&#x201C; 05: PROGRAMMATIC ANALYSIS AND CONCEPT

National Museum for Tribal Freedom Fighters and Tribal Culture 2020

National Museum for Tribal Freedom Fighters and Tribal Culture 2020 PROGRAM FORMULATION

5.1 AREA STATEMENT Sr no

Legends

Built up area (sqmt)

A 1 2

Roads parking and circulation 2 wheeler parking 4 wheeler parking

B 1 2 3 4 5 6 7

Museum ante room Tourist information centre (3 persons) Cafeteria Cloak room Ticketing area ( 8 window) Waiting area Souvenir shop Toilets

730 sqmt

C 1 2 3 4 5 6 7

Museum Entrance and orientation Galleries 5d theatre â&#x20AC;&#x201C; 32 sitter Circulation transition b/w halls Toilets Kiosk plus small sitting and beverage area Storage for extra exhibits & repair

6440 sqmt

D 1 2 3 4 5 6 7 8

Research institute Administration Library Toilet Research room (4 nos) Meeting room Conference room A.V. room Canteen / cafeteria

690 sqmt

E 1 2 3 4 5

Cultural centre Administration Workshops Toilets Exhibition / display Souvenir shop / sale area

150 sqmt

Circulation

290 vehicles 310 vehicles

National Museum for Tribal Freedom Fighters and Tribal Culture 2020 PROGRAM FORMULATION

F 1 2 3 4

Restaurant / food zone Food kiosk Circulation in front of food kiosk Semi open sitting Cafeteria

850 sqmt

G 1 2 3

Staff quarter Class â&#x20AC;&#x201C; 1 Class - 2 Play area garden

3180 sqmt

H 1 2 3 4

Home stay Reception Accommodation for tourist Restaurant Shopping area

850 sqmt

I 1 2

Open air exhibition Amphitheatre Dwelling units / house prototype

2000 sqmt

Other services

660 sqmt

Total

15,550 sqmt

Table 5: AREA STATEMENT

National Museum for Tribal Freedom Fighters and Tribal Culture 2020 FLOW CHART OF THE PROGRAM

5.2 FLOW CHART OF THE PROGRAM

Image 127: Flow chart

STATEMENT OF INTENT The “tribal” museum building will be establish as a one kind of tribal journey, which can be introduced tribal diversity in the public realm and become a part of an everyday routine. CONCEPT The conceptual approach to the design is to create a “flux” in museum. This means the museum experience is constantly changing.

ARCHITECTURAL DECISION According to site and concept, to make a water bodies as an element of the building which can help as water harvesting system respond to surrounding context which is part of the tribal evolution.

National Museum for Tribal Freedom Fighters and Tribal Culture 2020 CONCEPTUAL DEVELOPMENT

5.3 CONCEPTUAL DEVELOPMENT MAJOR DECISION – ENTRY/ EXIT, PARKING, BUILDING DIVISION

Option – 1 Building is divided into two parts which is museum complex and accommodation through the main circulation as in entry to exit with parking area. Sense of entrance to site is connected by the series of existing trees.

Option – 2 Entry and exit is given to the only one place so that the whole site is not disturbed by the vehicular movement. Placement of the accommodation is separated which is end of the site.

Option – 3 Sense of entrance is front of the existing lake. Museum complex is situated at the easily accessible path and the accommodation is other side of site corner.

Image 128: Major decision

National Museum for Tribal Freedom Fighters and Tribal Culture 2020 CONCEPTUAL DEVELOPMENT

ELEMENT – PLACEMENT OF THE WATERBODY

Option – 1 Due to the contour descending, the water channel can be constructed from the top of the site which is museum complex and connected to the below last contour which have a water body.

Option – 2 Water body placed in the centre of the site which is connected to private and public part and also separates them.

Option – 3 In this concept water body placed in centre of the site which is connected with water channel to throughout the top to below contour so that this element can part of the museum building. Image 129: Element - water body

National Museum for Tribal Freedom Fighters and Tribal Culture 2020 CONCEPTUAL DEVELOPMENT

ARRENGEMENT OF THE FUNCTIONS Option â&#x20AC;&#x201C; 1 According to site a functional arrangement of the building is act like a loop on site. A privet function accommodation is separate of museum building.

Image 130: Building massing

Option â&#x20AC;&#x201C; 2 Placement of the museum function is one side of the site and the accommodation part is the placed on other side, in between role of water body is to divide the public and private function.

Image 131: Building massing

Option - 3 Arrangement of the museum function is around the water body so that placement of that element is creating part of the museum.

Image 132: Arrangement of the function

LEGENDS Museum ante room Open air exhibition

Image 133: Building massing

Museum Research institute

Cultural centre Staff quarters

Restaurant Home stay

National Museum for Tribal Freedom Fighters and Tribal Culture 2020 CONCEPTUAL DEVELOPMENT

Image 134: Concept plan of option 3

Image 135 : Sections

National Museum for Tribal Freedom Fighters and Tribal Culture 2020 CONCEPTUAL DEVELOPMENT

CONCEPT DERIVATION

Image 136 : Site layout

Image 137: Arrangement of main function

Image 138: Final concept derivation

Image 139: Placement of element

National Museum for Tribal Freedom Fighters and Tribal Culture 2020

CHAPTER â&#x20AC;&#x201C; 06: SITE DRAWING

National Museum for Tribal Freedom Fighters and Tribal Culture 2020

National Museum for Tribal Freedom Fighters and Tribal Culture 2020 SITE LAYOUT PLAN

National Museum for Tribal Freedom Fighters and Tribal Culture 2020

CAFETARIA

COURTYARDS

National Museum for Tribal Freedom Fighters and Tribal Culture 2020

List of image IMAGE 1: TRIBAL DISTRIBUTION IN INDIA ......................................................................................................... 9 IMAGE 2: DISTRIBUTION OF ST'S POPULATION BY STATES (IN %)....................................................................... 9 IMAGE 3:TRIBAL AREAS IN GUJARAT ............................................................................................................... 10 IMAGE 4: SIDDI TRIBES ................................................................................................................................... 11 IMAGE 5: THE JAT - HIDDEN TRIBES OF GUJARAT ............................................................................................ 11 IMAGE 6: GARACIA TRIBE ............................................................................................................................... 11 IMAGE 7:NARMADA DISTRICT'S SURROUNDED TRIBAL AREA .......................................................................... 12 IMAGE 8:MAP OF NARMADA DISTRICT ........................................................................................................... 12 IMAGE 9: DISTRICT WITH THE MOST NUMBER OF TRIBAL ............................................................................... 12 IMAGE 10:BHIL ............................................................................................................................................... 12 IMAGE 11: RATHWA ....................................................................................................................................... 12 IMAGE 12: CHITRA VICHITRA NO MELO .......................................................................................................... 13 IMAGE 13:GOLGADHEDA NO MELO ................................................................................................................ 13 IMAGE 14: CHOOL NO MELO .......................................................................................................................... 13 IMAGE 15:BHANGURIYU ................................................................................................................................. 13 IMAGE 18:HOUSEFORM OF BHIL..................................................................................................................... 14 IMAGE 16:BHIL MAN WITH ARCH ................................................................................................................... 14 IMAGE 17: BHIL TIBES SETTELEMENT .............................................................................................................. 14 IMAGE 19: OBJECT OF WORSHIP..................................................................................................................... 15 IMAGE 20: MEN OF RATHWA TRIBES .............................................................................................................. 15 IMAGE 21: RATHWA WOMAN WITH ORNAMENTS .......................................................................................... 15 IMAGE 22: VERANDAH.................................................................................................................................... 16 IMAGE 23: HOUSE FORM ................................................................................................................................ 16 IMAGE 24: PAINTINGS ON WALL ..................................................................................................................... 16 IMAGE 25: AGRICULTURAL INSTRUMENT........................................................................................................ 16 IMAGE 26: CATTLE SHED................................................................................................................................. 16 IMAGE 27: PLAN OF RATHWA SETTLEMENT .................................................................................................... 17 IMAGE 28: SECTION AA .................................................................................................................................. 17 IMAGE 29: FRONT ELEVATION ........................................................................................................................ 17 IMAGE 30: HOUSE FORM OF TADVI TRIBES ..................................................................................................... 18 IMAGE 31: TADVI WOMAN ............................................................................................................................. 18 IMAGE 32: ENTRY OF HOUSE .......................................................................................................................... 18 IMAGE 33:BIRSA MUNDA ............................................................................................................................... 19 IMAGE 34:SHRI ALLURI SEETHA RAM RAJU ..................................................................................................... 19 IMAGE 35: RANI GAIDINLIU ............................................................................................................................ 20 IMAGE 36: SHEED VEER NARAYAN SINGH ....................................................................................................... 20 IMAGE 37: SIDHU AND KAHNU MURMUR ....................................................................................................... 20 IMAGE 38: MP TRIBAL MUSEUM, BHOPAL ...................................................................................................... 23 IMAGE 39: TRIBAL HABITAT, BHOPAL.............................................................................................................. 23 IMAGE 40: TJIBAUO CULTURAL CENTER, NEW CALEDONIA.............................................................................. 23 IMAGE 41: METAL ART WORK OUT OF LOCAL MATERIALS OF REGION ............................................................ 24 IMAGE 42: SITE PLAN OF MP TRIBAL MUSEUM, BHOPAL ................................................................................. 25 IMAGE 43: SITE ENTRANCE ............................................................................................................................. 25 IMAGE 44: MUSEUM ENTRANCE..................................................................................................................... 25 IMAGE 45: RECEPTION AREA AND KIOSK......................................................................................................... 25 IMAGE 46: ORIENTATION OF THE BUILDING (INSIDE VIEW) ............................................................................. 26 IMAGE 47: ORIENTATION OF THE BUILDING (OUTSIDE VIEW........................................................................... 26 IMAGE 49: SITE PLAN...................................................................................................................................... 27

National Museum for Tribal Freedom Fighters and Tribal Culture 2020

IMAGE 48: DORMITORY.................................................................................................................................. 27 IMAGE 50: CENTRAL AMPHITHEATRE.............................................................................................................. 27 IMAGE 51: TYPICAL SECTION .......................................................................................................................... 28 IMAGE 52: ELEVATION.................................................................................................................................... 28 IMAGE 53: LOWER LEVEL PLAN ....................................................................................................................... 28 IMAGE 54: UPPER LEVEL PLAN ........................................................................................................................ 28 IMAGE 55: LOWER LEVEL FLOOR PLAN............................................................................................................ 29 IMAGE 56: UPPER LEVEL FLOOR PLAN............................................................................................................. 29 IMAGE 57: VISITOR'S FLOW AT LOWER LEVEL ................................................................................................. 30 IMAGE 58: VISITOR'S FLOW AT UPPER LEVEL .................................................................................................. 30 IMAGE 59: PART PLAN OF GALLERY................................................................................................................. 30 IMAGE 61: STAFF USER FLOW AT UPPER LEVEL ............................................................................................... 31 IMAGE 60: STAFF USER FLOW AT LOWER LEVEL .............................................................................................. 31 IMAGE 62 : AREA DISTRIBUTION ..................................................................................................................... 31 IMAGE 63: SITE DISTRIBUTION........................................................................................................................ 31 IMAGE 64: DECORATED GLASS TO PREVENT DIRECT LIGHT ROOF OF HALF ROUND TILES ................................ 33 IMAGE 65: COURTYARD BETWEEN CORRIDORS............................................................................................... 33 IMAGE 66: STRUCTURE (3D MODEL) ............................................................................................................... 33 IMAGE 67: HANDMADE PAINTING DONE BY LOCAL......................................................................................... 34 IMAGE 68: SYMBOLIC ELEMENTS TO REPRESENT TRIBES ................................................................................. 34 IMAGE 69: ART WORK DONE ON .................................................................................................................... 34 IMAGE 70: AESTHETIC APPROACH TO STRUCTURE SYSTEM ............................................................................. 34 IMAGE 71: COLUMN TREATMENT ................................................................................................................... 34 IMAGE 72: CONTRIBUTION OF LOCAL TRIBAL ARTIST ...................................................................................... 35 IMAGE 73: ACTUAL SIZE DWELLING UNIT........................................................................................................ 36 IMAGE 74: SITE PLAN OF TRIBAL HABITAT....................................................................................................... 37 IMAGE 75: MAIN ENTRY ................................................................................................................................. 37 IMAGE 76: TRADITIONAL TECHNOLOGY PARK ................................................................................................. 37 IMAGE 77: IGRMS CANTEEN ........................................................................................................................... 37 IMAGE 78: MUSEUM SHOP ............................................................................................................................. 37 IMAGE 79: INDOOR ANTHROPOLOGY MUSEUM ............................................................................................. 37 IMAGE 86: SECTION OF CLUSTER TYPOLOGY ................................................................................................... 38 IMAGE 80: AREA COVERED BY TRIBAL HABITAT............................................................................................... 38 IMAGE 81: VILLAGE TYPOLOGY ....................................................................................................................... 38 IMAGE 82: PART PLAN .................................................................................................................................... 38 IMAGE 83: VIEW............................................................................................................................................. 38 IMAGE 84: CLUSTER TYPOLOGY ...................................................................................................................... 38 IMAGE 85: SECTION OF VILLAGE TYPOLOGY.................................................................................................... 38 IMAGE 87: CLUSTER EXHIBITION ..................................................................................................................... 39 IMAGE 88: DIFFERENT AREAS TRIBAL HOUSE FORM........................................................................................ 39 IMAGE 89: DASHAHARA RATH ........................................................................................................................ 39 IMAGE 90: TRADITION TECH. PARK ................................................................................................................. 39 IMAGE 91: TERRACOTTA SCULPTURE .............................................................................................................. 39 IMAGE 92: FIRST FLOOR PLAN OF VITHI SANKUL ............................................................................................. 40 IMAGE 93: GROUND FLOOR PLAN OF VITHI SANKUL ....................................................................................... 40 IMAGE 94: DISPLAY OF TRIBAL SETTLEMENT ................................................................................................... 40 IMAGE 95: EXHIBITION OF TRIBAL ANTHROPOLOGY ....................................................................................... 40 IMAGE 96: PART PLAN OF GALLERY 2.............................................................................................................. 40 IMAGE 97: INDOOR MUSEUM BUILDING OF VITHI SANKUL ............................................................................. 41

National Museum for Tribal Freedom Fighters and Tribal Culture 2020

IMAGE 98: PLAN ............................................................................................................................................. 43 IMAGE 100: SEA VIEW CULTURAL CENTER ...................................................................................................... 43 IMAGE 99: VIEWS OF CULTURAL CENTER ........................................................................................................ 43 IMAGE 101: ORIENTATION OF THE BUILDING.................................................................................................. 44 IMAGE 102: PLAN OF THE BUILDING ............................................................................................................... 45 IMAGE 103: SECTION OF THE BUILDING .......................................................................................................... 45 IMAGE 104: SHOWING PLACEMENT OF VILLAS ............................................................................................... 45 IMAGE 105: CONCEPT..................................................................................................................................... 46 IMAGE 106: DETAIL JOINERY........................................................................................................................... 46 IMAGE 107: WORKING PROCESS ..................................................................................................................... 46 IMAGE 108: VENTILATION DUE TO DIFFERENT WIND FORCES ......................................................................... 46 IMAGE 109: KANAK HOUSE FORM .................................................................................................................. 47 IMAGE 110 : VIEWS OF CULTURAL CENTRE ..................................................................................................... 47 IMAGE 111: TOURIST MAP OF NARMADA DISTRICT ........................................................................................ 50 IMAGE 112 : MAP OF INDIA SHOWING GUJARAT ............................................................................................ 50 IMAGE 113: MAP OF GUJARAT SHOWING NARMADA DISTRICT ....................................................................... 50 IMAGE 114: MAP OF NARMADA DISTRICT....................................................................................................... 50 IMAGE 115: SHOWING LOCATION OF SITE IN SOU TOURIST CIRCUIT ............................................................... 51 IMAGE 116: ZARWANI ECO TOURISM ............................................................................................................. 51 IMAGE 117: BUTTERFLY GARDEN .................................................................................................................... 51 IMAGE 118: KITE FESTIVAL.............................................................................................................................. 51 IMAGE 119: PROPOSED SITE ........................................................................................................................... 52 IMAGE 120: THE INFLOW OF TOURIST IN STATUE OF UNITY FROM 2ND NOV 2018 TO 26TH JAN 2019 ............ 52 IMAGE 121: CONTEXTUAL SITE PLAN .............................................................................................................. 53 IMAGE 122: SITE PLAN.................................................................................................................................... 54 IMAGE 123: SITE AND ROAD EDGE .................................................................................................................. 54 IMAGE 124: SITE FRONT VIEW ........................................................................................................................ 54 IMAGE 125: LAKE AND ROAD EDGE................................................................................................................. 54 IMAGE 126: SITE JUSTIFICATION ..................................................................................................................... 55 IMAGE 127: FLOW CHART............................................................................................................................... 60 IMAGE 128: MAJOR DECISION ........................................................................................................................ 61 IMAGE 129: ELEMENT - WATER BODY............................................................................................................. 62 IMAGE 130: BUILDING MASSING .................................................................................................................... 63 IMAGE 131: BUILDING MASSING .................................................................................................................... 63 IMAGE 132: ARRANGEMENT OF THE FUNCTION ............................................................................................. 63 IMAGE 133: BUILDING MASSING .................................................................................................................... 63 IMAGE 134: CONCEPT PLAN OF OPTION 3....................................................................................................... 64 IMAGE 135 : SECTIONS ................................................................................................................................... 64 IMAGE 137 : SITE LAYOUT............................................................................................................................... 65 IMAGE 139: ARRANGEMENT OF MAIN FUNCTION........................................................................................... 65 IMAGE 138: FINAL CONCEPT DERIVATION....................................................................................................... 65 IMAGE 136: PLACEMENT OF ELEMENT............................................................................................................ 65

List of table TABLE 1: MAJOR TRIBES IN GUJARAT .............................................................................................................. 11 TABLE 2 : USER ACTIVITY (VISITOR FLOW) ....................................................................................................... 30 TABLE 3 : USER ACTIVITY (STAFF FLOW) .......................................................................................................... 31 TABLE 4 : PROGRAM OF THE MUSEUM ........................................................................................................... 33 TABLE 5: AREA STATEMENT ............................................................................................................................ 59

National Museum for Tribal Freedom Fighters and Tribal Culture 2020

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