Cultural Heritage Center for folk arts of Bihar by Deepanshi Jindal

THESIS Year: 2020-21 Batch No. 18

CULTURAL CENTRE FOR FOLK ARTS OF BIHAR, DARBHANGA

Undertaken by: Deepanshi Jindal Enrollment No.: 16E1AAARF45P027 V Year B.Arch (A)

Prof. Sumeet Rai GUIDE

Prof. Archana SinghCOORDINATOR

Aayojan School of Architecture ISI-4, RIICO Institutional Block, Sitapura, Jaipur-302022

APPROVAL The thesis titled “Cultural centre for folk arts of Bihar” is hereby approved as an original work of Deepanshi Jindal, enrolment no. 16E1AAARF45P027 on the approved subject carried out and presented in manner satisfactory to warrant its acceptance as per the standard laid down by the university. This report has been submitted in the partial fulfillment for the award of Bachelor of Architecture degree from Rajasthan Technical University, Kota. It is to be understood that the undersigned does not necessarily endorse or approve any statement made, any opinion expressed or conclusion drawn therein, but approves the study only for the purpose it has been submitted.

June-18-2021 Jaipur

Prof. K.S. Mahajani

EXTERNAL EXAMINER 1

PRINCIPAL Prof. Archana Singh

EXTERNAL EXAMINER 2

COORDINATOR

DECLARATION I, Deepanshi Jindal, here by solemnly declare that the thesis work undertaken by me, titled ‘Cultural centre for folk arts of Bihar’ is my original work and wherever I have incorporated any information in the form of photographs, text, data, maps, drawings, etc. from different sources, has been duly acknowledged in my report.

This thesis has been completed under the supervision of the guide allotted to me by the school. Further, whenever and wherever my work shall be presented or published it will be jointly authored with my guide.

Deepanshi Jindal V Year B.Arch (A) Aayojan School of Architecture, Jaipur

CERTIFICATE This is to certify that the research titled, Cultural centre for folk arts of Bihar, is a bonafide work by Deepanshi Jindal of Aayojan School of Architecture, Jaipur. This research work has been completed under my guidance and supervision in a satisfactory manner. This report has been submitted in partial fulfillment of award of BACHELOR OF ARCHITECTURE degree from Rajasthan Technical University, Kota.

This research work fulfills the requirements relating to the nature and standard laid down by the Rajasthan Technical University.

Prof. Sumeet Rai Guide Aayojan School of Architecture,Jaipur

ACKNOWLEDGEMENT The research has enabled an essential growth in the learning curve of my architectural education and a number of people have directly and indirectly been associated with me in this research. I am grateful to my college and Prof K.S Mahajani, Principal, Aayojan School of Architecture, for providing a conductive college environment and the proficient faculties which made dissertation a fruitful learning process. I would like to express my deep gratitude and thank towards, Thesis coordinator Prof. Archana Singh Rathore, for her continued guidance. I owe my profound gratitude towards my guide and mentor, Prof. Sumeet Rai for hissupport and guidance during the course of this research. This report wouldn’t have been possible without his inspirations and valuable inputs. I would really like to acknowledge his patience in dealing with me. I would also like to thank my parents without whom not only this year, but my entire architectural education would not have been possible. I thank them for their constant support and encouragement. Last but not the least, my friends and anyone remotely involved for making this architectural journey an enjoyable experience.

Deepanshi Jindal V Year B.Arch. (A) Aayojan School of Architecture, Jaipur

iii

CULTURAL CENTRE FOR FOLK ARTS OF BIHAR

CONTENTS Approval Declaration Certificate Acknowledgement Contents List of illustrations

i ii ii iii iv-v vi-vii

CHAPTER 1: INTRODUCTION 1.1 Background of the study 1.2 Need of the project 1.3 Criterion of selection of project 1.4 Aim of the project 1.5 Project objectives 1.6 Project by and area 1.7 Methodology

01-04

CHAPTER 2: PRE DESIGN STUDIES 2.1 JKK, Jaipur 2.2 Sanskriti Kendra, New Delhi 2.3 Barefoot College, Tiloniya 2.4 National Craft’s Museum, New Delhi

05-24

CHAPTER 3: ANALYSIS 3.1 Site Selection 3.1.1 Locationa 3.1.2 Landuse and byelaws 3.2 Macro level 3.3 Site level

25-32

CHAPTER 4: CONCEPT & DESIGN PROPOSAL 4.1 Area Programming 4.2 Activity Diagram 4.3 Concept 4.4 Design development

33-46

CULTURAL CENTRE FOR FOLK ARTS OF BIHAR

CHAPTER 5: DESIGN ELECTIVE 5.1 Criterion of selection 5.2 Objectives of the study 5.3 Scope of work 5.4 Programme Analysis 5.5 Master Plan 5.6 Planting Plan 5.7 Lighting plan

47-52

CHAPTER 6: TECHNOLOGY ELECTIVE 6.1 Introduction 6.2 Placement of BIPV Panels 6.3 Electricity supply from HV and LV shafts 5.4 Electricity supply on site and within the building

53-59

BIBLIOGRAPHY

viii

CULTURAL CENTRE FOR FOLK ARTS OF BIHAR

LIST OF FIGURES Fig 1 - Mithila Art Fig 2 - Bamboo products Fig 3 - Sikki products Fig 4 - Patch work Fig 5 - Surrounding plan Fig 6 - Concept plan Fig 7 - Circulation plan Fig 8 - Spatial Plan Fig 9 - Landscape plan Fig 10 - Site plan Fig 11 - Site plan Fig 12 - Site plan Fig 13 - Living studio Fig 14 - Exterior of living studio Fig 15 - Ceramic studio Fig 16 - Site plan Fig 17 - Guest house Fig 18 - Courtyard Fig 19 - Clinic Fig 20 - Entrance Fig 21 - Solar panels Fig 22 - Site plan Fig 23 - Zoning Fig 24 - Secction through village area Fig 25 - Main spine of the building (a) Fig 26 - Main spine of the building (b) Fig 27 - Openings and materials Fig 28 - Open and built form Fig 29 - Amphitheatre Fig 30 - Festival court Fig 31 - Land use plan Fig 32 - Site and surroundings Fig 33 - Climatic map of India Fig 34 - Site with dimensions vi

01 02 02 02 07 08 09 09 10 12 13 14 15 15 15 18 18 18 18 18 19 20 21 22 22 22 23 23 24 24 27 29 29 32

CULTURAL CENTRE FOR FOLK ARTS OF BIHAR

Fig 35 - Roof plan Fig 36 - Ground floor plan Fig 37 - First floor plan - Block A Fig 38 - First floor plan - Residential block Fig 39 - Second floor plan - Residential block Fig 40 - Typical plans of studios and workshops Fig 41 - Typical plan of living studios Fig 42 - Tzypical plan od dormatery Fig 43 - Front elevation Fig 44 - View 1 Fig 45 - View 2 Fig 46 - Section A-A Fig 47 - Sectio B-B Fig 48 - Section C-C Fig 49 - Section D-D FIg 50 - Section E-E Fig 51 - O.A.T./Manch Fig 52 - Semi-open display area Fig 53 - Arcade corridor FIg 54 - Outdoor area with studios and workshops Fig 55 - Integrated seatings with built mass Fig 57 - Courtyard for studios and workshop Fig 58 - View from shilpgram Fig 59 - VIew of residential block Fig 60 - Chowk/Multipurpose area Fig 61 - Courtyard in residential block Fig 62 - BIPV solar panels Fig 63 - Benefits of BIPV solar panels Fig 64 - Working of solar panel Fig 65 - Details of solar panels Fig 66 - Roof plan with solar plan placement Fig 67 - Electricity supply through HV and LV shafts Fig 68 - First floor plan - electricty supply Fig 69 - First floor plan electricity supply Fig 70 - Second floor plan - electricity supply Fig 71 - Institutional block Fig 72 - Exhibition block

vii

39 40 41 41 41 42 42 42 43 43 43 44 44 44 45 45 45 45 46 46 46 46 46 46 46 46 54 55 55 56 57 58 59 59 59 60 60

INTRODUCTION

CULTURAL CENTRE FOR FOLK ARTS OF BIHAR

1.1 BACKGROUND OF THE STUDY

“Art influences society by changing opinions, instilling values and translating ex-

periences across space and time. Art in this sense is communication; it allows people from different cultures and different times to communicate with each other via images, sounds, and stories. It is often a vehicle for social change. It can give voice to the politically or socially disenfranchised. A song, film or novel can rouse emotions in those who encounter it, inspiring them to rally for change. Folk arts of Bihar Bihar has a rich historical past. Right from ancient history to the present century it was always the center of attention of historians. Powerful dynasties like Magadha Majanapadas, Mauryan Empire, and Gupta Empire had flourished in the fertile land of Bihar. Throughout the generation, the rich heritage of art and crafts has been preserved though there are slight variations due to the introduction of modern technologies. The unique features of art and crafts in Bihar are intrinsic beauties and great creativeness. These creative beauties have been preserved in various forms like in ancient stone, wooden structures, grass-clothes, lacquer, and metal-wares. The fine skill and perfection of Bihari craftsmen are clearly manifested from various archeological excavations in Kumhrar, Bulandibagh, Nalanda, and other places. Pottery, wooden articles, metal wares, stonewares, jewelry, lacquer works, kashida, sikki, and moonj wares, wooden and clay toys, zari, artistic textile fabrics, and printing on cloth are some of the contemporary crafts of Bihar which are known in Indian as well as international markets for their artistic beauties and innovations. Another chief feature of Bihar’s handicrafts is their practicality and usefulness in everyday life like bangle making, khatwa works and stone work. 1.Mithila Paintings Madhubani paintings as the name says get its name from Mithila region of Bihar where it is widely practised particularly by women. The history of Madhubani paintings goes back to the time of Ramayana. Originally the painting was done on done on cloth, hand-made paper and canvas. Madhubani painting mostly depict nature and Hindu religious figures and the themes generally associated with Hindu deities, Natural objects like sun, moon, and religious plants like tulsi.

Fig 1 - Mithila Art

CULTURAL CENTRE FOR FOLK ARTS OF BIHAR

2. Bamboo Works

Fig 2 - Bamboo products

3. Sikki Grass Work

Fig 3 - Sikki products

4. Khatwa Patch Work

Fig 4 - Patch work

Bamboo work has been remained a culture of Bihar throughout the ages and time. Right form the pre-historic time forest dwelling tribes are experts in bamboo and cane work. They used to make many utility items like baskets, household wares, woven mats, furniture and cane products like cane furniture and other decorative objects. By utilizing their skill and techniques they turned these lifeless bamboo and cane into living object which are of great value in every day life. Sikki is a grass or a weed thrived on most of the river bank. Sikki work is a craft whereby the craftsmen turned these once unnecessary riverside weed into beautiful decorative objects. This craft is particularly practiced by women artisan in Bihar. Beautiful toys and wares are manufactured out of this grass. After collecting and drying they stitch these grasses into various shapes like elephant, bird, snake and tortoise. They then put various dazzling colours on these toys to make it more attractive. Khatwa is the name given to appliqué works in Bihar, India. It is about designing by cutting of one fabric and stitching the pieces to another fabric, mainly used to create designer tents, canopies and shamianas. Applique refers to a variety of coloured fabrics and ornaments, such as small round mirrors, layered on top of one another in order to create elaborate designs by means of various forms of stitching. There is no restriction to the type of fabrics used in the creation of applique items, and may even be of varying textures. It is often found alongside embroidery and can be sub-divided into two techniques.

Why? Handiworks whether metalware, pottery, mats, or woodwork, serve a positive need within the lifestyle of the people, they also act as a vehicle of self-expression of a conscious, aesthetic approach. For the improvement of a less developed state like Bihar, it is necessary to educate people and to train them in various skill & craft in order to improve their living conditions. 2

CULTURAL CENTRE FOR FOLK ARTS OF BIHAR

1.2 NEED OF THE PROJECT

PROMOTION INTERACTION Promotion - i. Through wall and floor paintings on facades.

TRAINING

ii. By holding exhibitions and inviting consumers. iii. By initiating activities to increase artisans and visitor’s interaction. Interaction - Interaction between ‘VISITORS’ and ‘ARTISANS’ about the art. It can be one to one or group discussions. Training - Workshop and skill training by ‘Artisans’ to the trainees.

1.3 CRITERION OF SELECTION OF PROJECT These arts are majorly practised by women of Bihar region. The institute will not only promote the art but also impart independence to women and will develop the skills and create awareness in local people as we as the other visitor.

1.4 AIM OF THE PROJECT To design a community heritage center that promotes these art at Darbhanga, imparting Skill Development Training for Women Artists for Inclusive growth of several forms, promotion of traditional art& culture, handicrafts and construction of Cultural centre.

1.5 PROJECT OBJECTIVES 1. To create a project that will impart skill development training for women artists in folk arts of Bihar. 2. Creating spaces where artists and spectators can interact in efforts to share the knowledge and experience about the art. 3. Imparting awareness about these art amongst locals and tourists through art display, seminars, meeting, debates and discussions.

1.6 PROJECT BY AND AREA Power Grid Corporation Of India Ltd Area - 10,000 - 12,000 sqm 3

CULTURAL CENTRE FOR FOLK ARTS OF BIHAR

1.7 METHODOLOGY • This research will initiate through understanding the need of Artisans and the art. • It will also incorporate the understanding of spaces required for it.

Objective Formulation Background Study Site selection and Case Identification Analytical Study Programme Formulation Site Analysis Concept and Zoning Development Development of Design

CULTURAL CENTRE FOR FOLK ARTS OF BIHAR

PRE DESIGN STUDIES 5

CULTURAL CENTRE FOR FOLK ARTS OF BIHAR

• To understand the hierarchy of spaces, circuation, and funcion of building. • To study the spaces for interaction for artisans and visitors.

JAWAHAR KALA KENDRA, JAIPUR

SANSKRITI KENDRA, NEW DELHI, DELHI

• To understand the hierarchy of spaces, circuation, and funcion of building. • -To study sustainable elments of the buiding.

BAREFOOT COLLEGE, TILONIA

NATIONAL CRAFT’S MUSEUM, NEW DELHI

2.1 JAWAHAR KALA KENDRA, JAIPUR Jaipur, Rajasthan JKK, Jaipur

INDIA RAJASTHAN

CULTURAL CENTRE FOR FOLK ARTS OF BIHAR

LOCATION : Jawahar Marg, Jaipur COMPLETION : 1991 TYPE : Arts and crafts center ARCHITECT : Ar.Charles Correa PLOT AREA : 9.5 Acres BUILT UP AREA : 8100 SqM The study comprises of activities, spaces, zoning, planning, circulation, common spaces, and climate responsive architecture.

Fig 5 - Surrounding plan

Abhimanyu Singh Marg

JKK

JLN marg

Entrance to JKK

Smriti Van

Amphitheatre 7

Smriti Van Pond

CULTURAL CENTRE FOR FOLK ARTS OF BIHAR

Activities

Museum

Library

Cafeteria

Theatre

Exhibition Galleries

Concept/Zoning

The center is an analogue It is based on the ancient of the original city plan of Vedic mandana of nine Jaipur. squares which represents the nine planets.

The squares are positioned according the alignment of the planets in the system. Museum/Gallery Cafe/Recreational Area Learning Spaces Administration Spaces

Fig 6 - Concept plan

CULTURAL CENTRE FOR FOLK ARTS OF BIHAR

Circulation Internal Circulation External Circulation

Fig 7 - Circulation plan

• Two entries, Entry 1 is pedestrian entry, Enry 2 is vehicular entry • Both entrances lead to Admin block • Two major axis of circulation • Inward looking circulation that leads to Central Courtyard

• Semi - open community spaces-Informal • Open community spaces-Informal • Closed community spaces-Formal

Fig 8 - Spatial plan

CULTURAL CENTRE FOR FOLK ARTS OF BIHAR

Scale

Scale of a unit is relatable to humans as it does not owerpower human scale and also makes the ground spaces feels larger and not claustrophobic Response to climate

Fig 9 - Landscape plan

Various courtayrds provide light and air in the center.

CULTURAL CENTRE FOR FOLK ARTS OF BIHAR

Punctures on wall for ventilation.

Use of pergolas in courtyards to provide shade. Use of local materials - Use of locally available sandstone. Span between beams are designed and kept such that local material i.e wooden bamboo sticks could be used to complete the entire space frame.

CULTURAL CENTRE FOR FOLK ARTS OF BIHAR

2.2 SANSKRITI KENDRA, NEW DELHI The Sanskriti Kendra was established in 1993 by the Sanskriti Foundation, a Registered Public Charitable Trust. It is an artist village complex, 3 museums, learning complex and living complex.

Fig 10 - Site plan

1. Barakhamba

14. Gaon

2. nursery

15. camping site

3. museum of Indian terracotta

16. studios

4. courtyard

17. nahar

5. cafe

18. ardha kund

6. canteen

19. canopy

7. museum of everyday art

20. aangan

8. baithak

21. haveli

9. museum shop

22. Services

10. textile museum

23. washing area

11. kund

24. ceramic centre

12. kitchen 13. manch 12

CULTURAL CENTRE FOR FOLK ARTS OF BIHAR

Why Sanskriti Kendra? All the activities of the Centre are conducted in a low-lying and beautifully designed complex of buildings, the scale and proportion of which are humane and in harmony with the natural environment. Traditional architectural elements are gently imbibed into modern buildings. The campus, gradually developed in stages, houses three museums, a Multi-Purpose hall, an amphitheatre, artists’ studios and dormitories and workshop spaces. Connectivity and Location Public spaces like museums & office-the governing body comes first with entry. Sitting spaces comes next having a little bit privacy by planting trees. Workspaces : Studios and dormitories- a very personal spaces are away from the public spaces to avoid any kind of distraction. Services like laundry, washing are placed at the end of the site away from public movement along the service road.

Fig 11 - Site plan

Courtyard near museum, cafe, and entrance.

Manch and courtyard as a space well connected to every museum

Baithak area is Kund area surconnected with rounded by texile manch. museum.

Baithak area is connected with manch. 13

Nature walk at the end of Nahar.

CULTURAL CENTRE FOR FOLK ARTS OF BIHAR

Degree of enclosure

Fig 12 - Site plan

OPEN SPACE

BUILT MASS • PERMANENT MEUSEUMS

• NAHAR

• VILLAGE COMPLEX

• CAMPING SITE

• STUDIO APARTMENTS

• KUND

• HAVELI

• BARAKHAMBA • AANGAN

• The basic movement pattern with the entry points is defined with activity zoning to formulate location of buildings and other structures with respect to functions. • The buildings are ‘ objects in space ‘ and separated by variety of spaces . • All development on the site are largely organic – a progressive development. • Every open space is well surrounded by built spaces that continousally have one or other activity going on. • These spaces serve as an inviting pockets for the museums and a good space for conversatiosn.

CULTURAL CENTRE FOR FOLK ARTS OF BIHAR

Artists studio

Fig 13 - Living studio

Fig 14 - Exterior of Living studio

• These are located away from other built forms that allows artists to concentrate on their work. • The working space is visually as well as physically connected to outdoor space.

Workshops 1. Ceramic Centre

Fig 15 - Ceramic studio

• Big windows for natural light and ventilation. • The studio is connected to outdoor space. 15

CULTURAL CENTRE FOR FOLK ARTS OF BIHAR

2. Enamel centre

Fig 3.36: Interiors of enamel studios

• Enamel center is designed keeping in mind the group work. • The furniture is arranged for group activities as well as individual workstations are there,. • Natural light is preferred.

Common Interactive spaces

Fig 3.37: Sitting area around Banyan tree

Fig 3.38: A courtyard like space surrounding Gaon

Fig 3.39: Manch area for formal & informal gatherings

Fig 3.40: Forest area for Nature walk, also used for outdoor sessions.

Fig 3.41: Gazebo for meditation and gatherings.

Fig 3.42: Veranda outside the artists studio

CULTURAL CENTRE FOR FOLK ARTS OF BIHAR

2.3 BAEFOOT COLLEGE, TILONIYA The Social Work and Research Centre (“SWRC”), widely known as the Barefoot College is a voluntary organisation in India working in the fields of education, skill development, health, drinking water, women empowerment and electrification through solar power for the upliftment of rural people, which was founded by Bunker Roy in 1972. The buildings used for the school have dirt floors and no chairs so that “poor students feel comfortable”. The campus sits on 8 acres, has rainwater harvesting design and was built by the students. Location It is situated in the remote village of Rajasthan, Tilonia. It is 100 kMs away from the capital city of Jaipur and 10kMs away from Kishangarh. It is very close to NH i.e. 8kms. Nearest Airport- Kishangarh airport - 16km Nearest railway station - Tilonia railway station - 3 kms Kishangar railway station - 17 km

Planning • Planning of the building ensures to provide maximum daylight into the spaces and outside view. • Every unit is planned in and around the courtyard, which is the traditional planning concept in Rajasthan. • Locally available materials like stone and clay pots have been used in construction. This directly results in the low embodied energy in the building. • For slab construction, architects have used stone patti, which is traditional patti construction. • Tea pots have been used in order to provide lowest heat gain inside the building. • Centrally located courtyards serves as a visual anchor. It is spatial, social, and foal place. Green spaces are used to fill voids between solids.

CULTURAL CENTRE FOR FOLK ARTS OF BIHAR

1. Guest room 2. Dining haal 3. Community hall 4. Hetheli 5. Library 6. Stage 7. Media library 8. Edu. block 9. Puppetry 10. Screen printing 11. Water testing 12. Hospital 13. IT lab 14. Women Empowerment

Fig 16 - Site plan

Fig 17 - Guest house

Fig 18 - Courtyard

Fig 19 - Clinic

Fig 20 - Entrance

CULTURAL CENTRE FOR FOLK ARTS OF BIHAR

Climate responsive approach • Scope to create buffer surrounding the building for effective design according to the site climate. • Traditional courtyard planning is taken into consideration, while designing the building blocks. Basically follows the principle of vernacular architecture, materials used are easily available in the loaclity. • Mainly targeted for the water conservation, as per the site needed.

Fig 21 - Solar panels

CULTURAL CENTRE FOR FOLK ARTS OF BIHAR

2.4 NATIONAL CRAFT’S MUSEUM, NEW DELHI The British brought to India the concept of collecting, preserving and displaying objects of nature and art. Dr Jyotindra Jain, the Director of the National Crafts Museum in Delhi, writes a wonderful essay on this theme in a new monograph of Charles Correa’s work entitled The Ritualistic Pathway (1993). Why National Craft’s Village? This Crafts Museum is a casual and accepting of the artisan’s vernacularity. In this project the architect succeeds in interpreting the timeless quality of India, where tradition and modernity coexist, into a building that resists the label ‘museum’ by simply introducing social spaces that reflects Indian tradition of sharing experiences of day to day life.

Fig 22 - Site Plan

The Museum, spread over an eight acre complex, compromises 3 main sections• The permanent and temporary exhibition galleries • The Visual store • The village and craft demonstration area The village has a quiet charming atmosphere, and is quiet a world apart from the rest of the museum that excludes the feeling of western culture. 20

CULTURAL CENTRE FOR FOLK ARTS OF BIHAR

Connectivity and Location Public spaces like museums & office-the governing body comes first with entry. Sitting spaces comes next having a little bit privacy by planting trees. Workspaces : Studios and dormitories- a very personal spaces are away from the public spaces to avoid any kind of distraction. Services like laundry, washing are placed at the end of the site away from public movement along the service road.

Fig 23 - Zoning

• Arranged around a central pathway. • Walking along this pathway glimpses of the principal exhibits that lie on either side (the Village Court, Darbar Court, etc.) • Exits through the roof terraces which form an amphitheater for folk dances, as well as an open-air display for large terracotta horses and other handicrafts 21

CULTURAL CENTRE FOR FOLK ARTS OF BIHAR

Fig 24 - Section through village area

• The section depicts the connection between exhibition space, AV room, and village crafts. • The volumes are a harmonious build up to the existing ‘Chattries’, that are known as Purana Quila. • The complex is built around medim size courtyard which along as the transitional space also acts as a interaction point for visitors. • As one travels down this spine punctuated by the Village Court, Temple Court, Darbar Court, and the other open spaces. One can visit any one exhibit, or alternately, progress through all the sections in a continuous sequence. • At the end of the sequence, one exit via the roof garden-which forms an amphi-theatre for folk dance, as well as an open-air display for large terracotta horses and other handicrafts. Fig 25 - Main spine of the building (a)

• There exists no clear demarcation lines between function and spaces blending them smoothly and making interaction flexible. • The transition between the various work spaces is via a large, pleasantly landscaped. This court forms coar the central link between the office courts, the displayspaces and the performance area.

Fig 26 - Main spine of the building (b)

CULTURAL CENTRE FOR FOLK ARTS OF BIHAR

Thermal Comfort

Fig 27 - Opening and material

• Use of Veranda and courtyards. • Providing large openings. • Providing large transitional spaces. • Construction materials like terracotta and mud helps to maintain the indoor temperate. Degree of Enclosure

• The museum is built up of spacesthat are informal, circulation is casual yet well defined. • The build up of spaces and the hierarchy pattern evident is sequential. Olden temples were structured around a open to sky ceremonial path. • The Crafts museum, is organised around such a path way. As one travels down this spine punctuated by Village Court, Temple Court, & Darbar Court , one catches glimpses of the principal exhibit or progressthrough all sections in a continuous sequence.

Open spaces

Fig 28 - Open and built form

CULTURAL CENTRE FOR FOLK ARTS OF BIHAR

Common Interactive Spaces

Fig 29 - Amphitheatre

Fig 30 - Festival Court

• As various courts and amphitheatre links between the office courts, display area, and performance area these spaces serves as the gathering spaces initiating invitations to other spaces. 24

CULTURAL CENTRE FOR FOLK ARTS OF BIHAR

ANALYSIS

3 25

CULTURAL CENTRE FOR FOLK ARTS OF BIHAR

3.1 SITE SELECTION - CITY LEVEL 3.1.1 Location The site has been selected in Darbhanga, Bihar.

Bihar

Why Bihar? The state of Bihar is rich in its arts and crafts, which is quite evident from the fact that it is home to some of India’s first paintings, including the famous Madhubani paintings and the miniature paintings done on paper and leaves, wall decorations, patchwork, applique work and local handicrafts. Mithila, a region situated to the north of Bihar, is the place where the Madhubani paintings are believed to have originated. Why Darbhanga? Darbhanga is a city and Municipal Corporation in the Indian state of Bihar. It is the 6th largest city of Bihar. It is the headquarters of Darbhanga district.

Darbhanga

The location is one of the places surrounding sub-urban and rural areas, thus having ample number of artisans. It will serve as an institute to promote the art and will allow the growth of the artisans. 26

CULTURAL CENTRE FOR FOLK ARTS OF BIHAR

3.1.2 Landuse and byelaws Residential Commercial Public Zone Green Zone Water bodies

According to bye-laws of district Darbhanga, the centre lies under Institutional building typology, pubic zone. (as per urban Development and Housing Department, Government of Bihar)

1. Building Typology – Institutional building 2. Zone – Public / Semi-public zone 3. Plantation – For institutional building type, at least 10% of the land shall be covered with plantation (tree cover).

Fig 31 - Landuse plan

4. Road - No building construction if the width of the road is less than 12ft. 5. Set back – For institutional building, the open area should not be less than 6.0 m, and front set back shall be 9.0 m. 27

CULTURAL CENTRE FOR FOLK ARTS OF BIHAR

Road width and FAR S.No.

Road Width (in meter)

FAR

Floors

Height (in meter)

6.10 m

Nil

G+3 S+3

12.0

For institutional buildings, having plot size above 1000 sqm, FAR is 1.75. Parking

S.No.

Category of building

Parking area to be provided as percentage Of total built up area

Institutional building

For parking is basements and upper storey of parking floors, at least two ramps of minimum 3.60m width or one ramp of 5.40m width and in maximum 1:10 slope shall be provided.

CULTURAL CENTRE FOR FOLK ARTS OF BIHAR

3.2 SITE SELECTION - MACRO LEVEL 3.2.1 Location SH 50-9 m Wide Darbhanga District Jail Mahavir Prasad Singh College Laher Sarai Bus Terminal

Barhetta road - 9M Wide Laher Sarai railway station Fig 32 - Site and surroundings

Nearby Bus station - Laher Sarai Bus Terminal - 500m Nearby Railway station - Laher Sarai railway station - 1.2 km Adjacent roads - Barhetta road - 9m wide - adjacent 2 sides Macro climate Darbhanga has ‘hot and humid’ Highest Temperature : 44.1C Lowest Temperature : 9.2 C Average wind direction : N-E to S-W Avg. Humidity : 68% Inference It is advisable to resist heat gain, promoting heat loss, control movement of hot winds, and maximise the ventilation. Consideration The design should focus on minimum exposed surface area to heat, proper cross ventilation, mutual shading, semi open spaces, light colors for exterior and hardscape.

Fig 33 - Climatic map of India

CULTURAL CENTRE FOR FOLK ARTS OF BIHAR

Macro climate Darbhanga is 55m above sea level. The climate here is mild, and generally warm and temperate. When compared with winter, the summers have much more rainfall. Darbhanga climate graph Precipitation is the lowest in November, with an average of 4 mm | 0.2 inch. In July, the precipitation reaches its peak, with an average of 366 mm | 14.4 inch.

Darbhanga average temperature At an average temperature of 30.2 °C | 86.3 °F, May is the hottest month of the year. At 16.2 °C | 61.2 °F on average, January is the coldest month of the year.

Darbhanga weather averages

CULTURAL CENTRE FOR FOLK ARTS OF BIHAR

3.3 SITE LEVEL State – Bihar

District – Darbhanga Site Area – 42,958 sqm. Site zone – Public/Semi public building Road width – 20ft (6.10m)

Landmarks Departmental store Bus terminal Darbhanga district Jail Mahavir Prasad Singh College

Road and traffic flow Heavy traffic flow Heavy traffic flow

Natural features Existing trees Existing pond Existing trees

Physical features Electric pole Water tank 31

CULTURAL CENTRE FOR FOLK ARTS OF BIHAR

Site dimensions

Fig 34 - Site with dimensions

Climatic study - on site level

CULTURAL CENTRE FOR FOLK ARTS OF BIHAR

CONCEPT AND DESIGN 33

CULTURAL CENTRE FOR FOLK ARTS OF BIHAR

4.1 AREA PROGRAMMING

CULTURAL CENTRE FOR FOLK ARTS OF BIHAR

4.2 ACTIVITY DIAGRAM ADMIN

ENTRANCE

CULTURAL SPACE

COMMON SPACES

ACCOMODATION

ADMIN RECEPTION+WAITING STUDIOS ENTRANCE

FOYER

O.A.T/ MULTIPURPOSE

LIBRARY+CAFE

PUBLIC ZONE

GALLERIES

SEMI-PUBLIC ZONE

WORKSHOP

CULTURAL CENTRE FOR FOLK ARTS OF BIHAR

4.3 CONCEPT AND DEVELOPMENT The concept have been derived from 3 major aims of the the project i.e. PROMOTION, INTERACTION, and TRAINING. These 3 major activities are kept in mind while designing the centre.

PROMOTION

Using different display techniques - paintings on walls and floors, using and display elements, and products.

Incorporating courtyard spaces with built mass, with three sides degree of enclosure.

Combing artist’s studios and workshops for ease of learning, and providing exclu-

other

Open, closed, and semi-open spaces for display of exhibitons.

sive gathering space for their users. Large gathering spaces for formal and informal activities.

Coliving space for artisans, trainees, and visitors.

Creating spaces for initiating activities like O.A.T., and chowk.

Spaces for temporary exhibitions like shilpgram.

TRAINING

INTERACTION

Large gathering spaces for formal and informal activities.

Amalgamation of studios, workshops, and courtyard spcae to create more space of gathering as well as working.

CULTURAL CENTRE FOR FOLK ARTS OF BIHAR

PUBLIC ZONE (MOST ACTIVE) PRIVATE ZONE (TEMPORARILY ACTIVE)

PRIVATE ZONE (MODERATELY ACTIVE) Vehicular movement Pedestrian movement

For the given site, it is divided into zones according to concept. and programme.

PUBLIC ZONE

STUDIOS & WORKSHOPS

RESIDENTIAL BLOCK

ADMIN BLOCK

The solid blocks are kept keeping in mind the connectivity and types of zones.

Vehicular circulation is limited to outer side of the site and the pedestrians movement is around the building blocks.

The plinth is raised to 1.80 M because of high rainfall and the average flood level is 1.60 M.

- The voids are created providing courtyards, and large gathering spaces. - Semi-open space on North side with studios and workshops. - Gathering spaces are centally placed.

Massing of final blocks accompanied with semi-open and open spaces.

CULTURAL CENTRE FOR FOLK ARTS OF BIHAR

4.4 DESIGN DEVELOPMENT

PRIME CONSIDERATIONS - Block orientation - Maximum Ventilation - Spill over and gathering spaces - Outdoor activities - Connectivity 2 1

BUILT MASS 1. Administration block 2. & 3. Workshops and studios 4. O.A.T./Manch 5. Chowk/Multipurpose area

6. Exhibition Galleries 7. Library & Cafe 8. Living Studios 9. Dormateries 10. Mess, Dining, Stationery, creche

- Workshops and artist’s studios, that will be the most active spaces, are kept pn North and East side with their respective outdoor spaces. - Each space have courtyard spaces with leisure activities. - Recreational spaces and shops are kept near galleries so that more people tend to visit them. - Centralised gathering spaces for formal and informal activities are kept centralised. - Residetial block is placed on South-East side, as they are mostly be used after sunset. - South-West side is kept open for Shiplgram and other activities.

8 10

Fig 35 - Roof plan

CULTURAL CENTRE FOR FOLK ARTS OF BIHAR

Pedestrian movement Vehicular movement Service vehicle movement Fig 36 - Ground floor plan

CULTURAL CENTRE FOR FOLK ARTS OF BIHAR A BALCONY

STUDIO APARTMENT 4.23X4.47

BALCONY

STUDIO APARTMENT 4.23X4.47

D DIRECTOR'S ROOM 7.27X6.00

STORE

STUDIO APARTMENT 4.23X4.47

WORKSHOP 2.100X12.45

11 12 13

BALCONY

7 6

BALCONY

2 1

STAFF TOILET (FEMALE) STAFF TOILET (MALE)

MAANGER'S ROOM 7.27X4.50

PANEL ROOM PANEL ROOM

TOILET

UP 22

PANEL ROOM

7 8

MEETING ROOM

12 13

ARTIST'S STUDIO 10.50X12.45

21 22

11 12 13

DORM 6.20X7.54

ARTIST'S STUDIO 10.50X12.45

DORM 6.20X7.54

25 26

ARTIST'S STUDIO 10.50X12.45

DORM 6.20X7.54

B DORM 6.20X7.54

DORM 6.20X7.54

WORKSHOP 2.100X12.45

Fig 38 - First floor plan - Residential block

VISITOR'S TOILET (MALE)

ARTIST'S STUDIO 10.50X10.85

1 2

26 25

3 4

VISITOR'S TOILET (FEMALE)

PANEL ROOM TOILET

18 17

15 14

EXHIBITION GALLERY 13.92X105.0

EXHIBITION GALLERY 14.03X10.50

STORE ROOM

BALCONY

STUDIO APARTMENT 4.23X4.47

BALCONY

SEMI-OPEN EXHIBITION AREA

LVL +5.10M

BALCONY

LVL +6.00M

STUDIO APARTMENT 4.23X4.47

LVL +5.25M 8

11 12 13

BALCONY

2 1

UP 22

PANEL ROOM

7 8

11 12 13

DORM 6.20X7.54

Fig 37 - First floor plan - Bloack A

DORM 6.20X7.54

Fig 39 - Second floor plan - Residential block

CULTURAL CENTRE FOR FOLK ARTS OF BIHAR

BALCONY D

STUDIO APARTMENT 4.23X4.47

WORKSHOP 2.100X12.45

STAFF TOILET (MALE) PANEL ROOM PANEL ROOM

12 13

Fig 41 - Typical plan of living studio

TOILET

ARTIST'S STUDIO 10.50X12.45

25 26

ARTIST'S STUDIO 10.50X12.45

BALCONY

STUDIO APARTMENT 4.23X4.47 WORKSHOP 2.100X12.45

Fig 40 - Typical plan of studios and workshop 27

Fig 42 - Typical plan of dormatery ARTIST'S STUDIO 10.50X10.85

1 2

26 25

4 5

23 22

PANEL ROOM

42 TOILET

EXHIBITION GALLERY 14.03X10.50

18 17

15 14

EXHIBITION GALLERY 13.92X105.0 STORE ROOM

CULTURAL CENTRE FOR FOLK ARTS OF BIHAR

Key plan

Fig 43 - Front elevation

Fig 44 - View 1

Fig 45 - View 2

CULTURAL CENTRE FOR FOLK ARTS OF BIHAR

Fig 46 - Section A-A

Fig 47 - Section B-B

Fig 48 - Section C-C

CULTURAL CENTRE FOR FOLK ARTS OF BIHAR

Fig 49 - Section D-D

Fig 51 - O.A.T./Manch

Fig 50 - Section E-E

Fig 52 - Semi-open display area

CULTURAL CENTRE FOR FOLK ARTS OF BIHAR

Fig 53 - Arcade corridor

Fig 54 - Outdoor area with studios and workshops

Fig 55 - Integarted seatings with built mass

Fig 56 - Courtyard for studios and workshops

Fig 57 - O.A.T. from first floor

Fig 58 - View from Shilpgram

Fig 59 - View of Residential block

Fig 60 - Chowk/Multipurpose area

Fig 61 - Courtyard in residential block

CULTURAL CENTRE FOR FOLK ARTS OF BIHAR

DESIGN ELECTIVE

CULTURAL CENTRE FOR FOLK ARTS OF BIHAR

5.1 CRITERION OF SELECTION The thesis “Cultural Heritage centre for Mithila art” will focus on architectural interventions which aim at the inclusive growth of Madhubani painting that somewhere relies upon the interaction between artisans, trainees, and visitors. The centre will be the focal point where various artisans will interact with each other and with visitors too. Madhubani painting is the folk art inspired by nature and the story of daily lives, so the center should accumulate the outdoor spaces for artisans to get inspired by the nature providing a rich sensory experience by adding the most diverse and complete perceptual experiences. It will be an additional benefit to exhibit the artisan’s work using landscape as an exhibition space.

5.2 OBJECTIVES OF THE STUDY 1. To study the anthropometry of different age groups. 2. To study the psycologial needs of the artisans. 3. To design the outdoor interactive spaces suitable for artisans.

5.3 SCOPE OF WORK 1. The study will be finite to working and interactive spaces.. 2. The study will consider only women of all age groups.

CULTURAL CENTRE FOR FOLK ARTS OF BIHAR

5.4 PROGRAMME ANALYSIS

CULTURAL CENTRE FOR FOLK ARTS OF BIHAR

5.5 MASTER PLAN

CULTURAL CENTRE FOR FOLK ARTS OF BIHAR

5.6 PLANTING PLAN

CULTURAL CENTRE FOR FOLK ARTS OF BIHAR

5.7 LIGHTING PLAN

CULTURAL CENTRE FOR FOLK ARTS OF BIHAR

TECHNOLOGY ELECTIVE 53

CULTURAL CENTRE FOR FOLK ARTS OF BIHAR

6.1 INTRODUCTION - BIPV SOLAR PANELS Solar energy is a huge source of clean, sustainable power. Even a fraction of the sun’s energy could power the world. Solar energy, radiation from the Sun capable of producing heat, causing chemical reactions, or generating electricity. The total amount of solar energy incident on Earth is vastly in excess of the world’s current and anticipated energy requirements. If suitably harnessed, this highly diffused source has the potential to satisfy all future energy needs. In the 21st century solar energy is expected to become increasingly attractive as a renewable energy source because of its inexhaustible supply and its non-polluting character, in stark contrast to the finite fossil fuels coal, petroleum, and natural gas. Building-integrated photovoltaics - A Building Integrated Photovoltaics (BIPV) system consists of integrating photovoltaics modules into the building envelope, such as the roof or the facade. By simultaneously serving as building envelope material and power generator, BIPV systems can provide savings in materials and electricity costs, reduce use of fossil fuels and emission of ozone depleting gases, and add architectural interest to the building. BIPV are photo-electric modules, that are intended not only for electricity generation but also are the valuable part of a house as wall material or roofing coverage. Double Glass PV crystelline Panels - Double glass PV modules are solar modules with glass on both sides. These are available in partial transparency and opaque options. These products functions as a heat shied preventing excessive solar heat gain on the building. They can replace window panels on the south/southeast/southwest side of the building, or any roof to area.

Fig 62 - BIPV Solar panels

CULTURAL CENTRE FOR FOLK ARTS OF BIHAR

Benefits of BIPV

Fig 63 - Benefits of BIPV Solar

TECHNICAL SPECIFICATION Construction

Double Glass (luminated with exterior toughned glass) Poly Crystalline silicon 156 x 156 mm

Solar celss Dimensions (mm)

1342 x 992

1658 x 992

1978 x 992

6/7.5/9.1

Thickness (mm)

200 W - 350 W

Wattage Transparency

0% to 4%

Junction Box

option of edge type or back side type -45 C to +85 C

Operating Temperature

0 to 95%

Relative Humidity Possible Applications

Façade, Roof, Canopy, Parking, Window, Shelter, etc.

Table 1 - Technical specifications of BIPV solar panels

Fig 64 - Working of solar panels

CULTURAL CENTRE FOR FOLK ARTS OF BIHAR

Fig 65 - Detail of solar panel

BIPV SOLAR PANELS

6.2 PLACEMENT OF BIPV SOLAR PANELS

CULTURAL CENTRE FOR FOLK ARTS OF BIHAR

Solar panel covering

Fig 66 - Roof plan with solar panels placement

CULTURAL CENTRE FOR FOLK ARTS OF BIHAR

6.3 ELECTRICITY SUPPLY FROM LV AND HV SHAFTS

Panel room Low voltage shaft High voltage shaft Switch board Electricity supply from transformer Electricity supply from diesel Fig 67 - Electricity supply through H.V. and L.V. shaft

genera-

CULTURAL CENTRE FOR FOLK ARTS OF BIHAR

6.4 ELECTRICITY SUPPLY ON SITE AND WITHIN THE BUILDING

Fig 68 - First floor plan-electricity supply

Fig 69 - First floor plan-electricity supply

Panel room

Fig 70 - Second floor plan-electricity supply

Low voltage shaft High voltage shaft Switch board Electricity supply from transformer Electricity supply from diesel generator Electricity supply within the building

Fig 69 - Ground floor plan-electricity supply

CULTURAL CENTRE FOR FOLK ARTS OF BIHAR

Fig 72 - Exhibition area

SB1 - T1-T12; F1-F4; C1-C8 SB2 - T13-T20; F5-F8; C9-C16 SB3 - T21-T28; F9-F12; C17-C22 SB4 - T29-T40; F13-F16; C23-C30 SB5 - T41-T48; F17-F20; C31-C36 SB6 - T49-T56; F21-F24; C37-C44 SB7 - T57-T64; F25-F28; C45-C52 SB8 - T56-T71; F29-F32; C53-C56 Ceiling light Focus light

Wall washer light Tubelight

-18.92 M

-14.72 M

-8.96 M

-2.73 M

Fan

Fig 71 - Institutional block

CULTURAL CENTRE FOR FOLK ARTS OF BIHAR

THANK YOU