Social Interaactive Spaces for Artisans by Deepanshi Jindal

DISSERTATION Year: 2020-21 Batch No. 18

SOCIAL INTERACTIVE SPACES FOR ARTISANS

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

Prof. SARIKA AGRAWAL GUIDE

Prof. ARCHANA SINGH COORDINATOR

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

APPROVAL The study titled “Social interactive spaces for artisans” 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.

12-December-2020 Jaipur

Prof. K.S. MAHAJAN

EXTERNAL EXAMINER 1

PRINCIPAL

Prof. ARCHANA SINGH

EXTERNAL EXAMINER 2

COORDINATOR

DECLARATION I, Deepanshi Jindal, here by solemnly declare that the research work undertaken by me, titled ‘Social interactive spaces for artisans’ 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 dissertation 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, Social interactive spaces for artisans 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. Sarika Agrawal 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 thank Prof. N.S. Rathore, Dean of academics, for his able advice and valuable time. I would like to express my deep gratitude and thank towards, Dissertation coordinator Prof. Archana Singh Rathore, for her continued guidance. I owe my profound gratitude towards my guide and mentor, Prof. Sarika Agrawal for her support and guidance during the course of this research. This report wouldn’t have been possible without her inspirations and valuable inputs. I would really like to acknowledge her 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 Diksha Laddha, Deepti Jain, Vaibhav Bansal 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

ABSTRACT A craft is a branch of the profession that requires some particular kind of skilled work but the meaning of craft and its values are ever-changing with the development of new techniques and methods. As technology is surpassing physical human interaction, people are less aware of these arts and become a barrier between spectators and artisans. Designing for social interaction is a relevant issue to address from an interaction design research standpoint as computational technologies permeate increasing aspects of our everyday lives, and as such are part of creating the social spaces within which we live. This interaction between spectators and artisans can be best achieved by designing spaces for social interaction keeping in mind the art and activities involved in them. The aim of this study is (a) to prove that it is important for artisans to have social interactions with spectators to promote their art and (b) to prove that interactive spaces designed, considering activities helps in promoting art and also improves the engagement of spectators with artisans . Through literature study for collecting data and observation from research papers, out of various parameters four were identified that effects the interactive quality of space. Through a survey from artisans, the best preference in designing space according to their art was identified. Analyzing and comparing the identified cases, based on the factors from the data collected, the final results would be obtained. The study would conclude that spaces designed based on the activity, that promotes interaction, helps the artisans to promote their art, and increases their engagement with the spectators.

CONTENTS Page No. Approval

Declaration

Certificate

Acknowledgement

iii

Abstract

Contents

v-vi

List of illustrations

vii-x

List of tables

CHAPTER 1: INTRODUCTION

1-3

1.1 Background of the study 1.2 Criteria of selection 1.3 Hypothesis `

1.4 Aim 1.5 Objectives 1.6 Scope 1.7 Methodology

CHAPTER 2: SOCIAL INTERACTIVE SPACES 2.1 Social interactive spaces 2.1.1 Introduction 2.2 Need and importance of interactive space 2.3 Factors affecting the extent of interaction 2.3.1 Connectivity and location 2.3.2 Thermal Comfort 2.3.3 Degree of enclosure 2.3.4 Role of Light

4-15

CHAPTER 3: VISUAL ART AND SPACES FOR INTERACTION

16-41

3.1 Visual art 3.1.1 Introduction to visual art 3.1.2 Types of visual art 3.2 Spatial requirements 3.2.1 Survey 3.3 Relation between visual art and interactive spaces and its effect 3.4 Case Identifications 3.4.1 Uttayaryan Art Village, Gujarat 3.4.2 Sanskriti Kendra, New Delhi 3.4.3 National Craft’s museum, New Delhi

CHAPTER 4: ANALYSIS & CONCLUSION

42-46

4.1 Analysis of survey 4.2 Analysis of case identifications

CHAPTER 4: ANALYSIS & CONCLUSION

47-52

5.1 Conclusion 5.2 Recommendations BIBLIOGRAPHY

xii-xiii

ANNEXURES

xiv-xv

LIST OF ILLUSTRATIONS Figure

Illustration Title

Page No.

Source

Chapter 1 - Introduction 1.1 1.2

Art gallery of visual art A workshop initiating group activity

www.thepalaceonwheels.org

Chapter 2 - Social Interactive Spaces 2.1

Illustrations showing social interaction in a building

https://in.pinterest.com/

2.2

Indoor space in a building serving as a gathering space

www.designraid.netning-larsen/

2.3

Illustration depicting effect of physical interaction

https://networkedurbanism. com/posts/tag/interaction/

2.4

Inter-relation of different spaces

Author

2.5

Different arrangements of building blocks

http://annisatuss.blogspot. com/2019/02/

2.6

Configuration of 5 spaces

Author

2.7

Influence of thermal comfort

Author

2.8

Various arrangements for degree of enclosure

Author

2.9

Sculptures displayed in open to sky courtyard, under natural light

www.nationalmuseum.se/ en/utst%C3%A4llningar/ skulpturg%C3%A5rden

2.10

Pottery under natural light (skylight); focus light for paintings

Author

Chapter 3 - Visual art and spaces for interaction 3.1

Painting - A type of visual art

www.architecturaldigest.com-

3.2

Pottery - A type of visual art

www.istockphoto.com/photos/

3.3

Sculpture - A type of visual art

www.istockphoto.com/photos/

3.4

Sculpture - A type of fine art

www.artsy.net/news/

3.5

Folk art painting - A type of fine art

https://goodwiz.weebly.com/ rangoli-designs.html

3.6

Art Installation - A type of contemporary art

www.mgac.com/blog/the-artof-the-art-installation-process/

vii

3.7

Photography - A type of

https://ellyelite.com/

https://mbroider.net/

https://potterykilnsaustralia.

3.8

contemporary art Tapestry- A type of decorative

3.9

Pottery - A type of decorative art

3.10

Example of how a graffiti is created with the help of people’s engagement

https://www.meridian.org/ news/community-engagement-through-the-mural-arts-cali-colombia/

3.11

Site plan of Uttarayan Art village, Vadodra

https://www.scribd.com/doc/

3.12

Art Centre Studio

https://www.scribd.com/doc/

3.13

Seminar Halls

https://www.scribd.com/doc/

3.14

Workshops

https://www.scribd.com/doc/

3.15

Cottages

https://www.scribd.com/doc/

3.16

Plan of Art Studio

https://www.scribd.com/doc/

3.17

Section showing axis view and connectivity

https://www.scribd.com/doc/

3.18

Plan of workshop

https://www.scribd.com/doc/

3.19

Section of workshop area

https://www.scribd.com/doc/

3.20

Double height roof in workshop area

https://www.scribd.com/doc/

3.21

Chimney on roof

https://www.scribd.com/doc/

3.22

Complete enclosure of courtyard by the studio spaces

Author

https://www.kga.co.in/jas-

3.24

Verandah in front of classroom and exhibitions for natural light and ventilaton Skylights

https://dokumen.tips/

3.25

Amphitheatre

https://dokumen.tips/

3.26

Ottala

https://dokumen.tips/

3.27

Deck

https://dokumen.tips/

3.28

Courtyards

https://dokumen.tips/

3.29

Site Plan

http://network.icom.muse-

3.30

Site Plan

http://network.icom.muse-

3.31

Site Plan

http://network.icom.muse-

3.23

viii

3.32

Art Studio

www.sanskritifoundation.org/

3.33

First floor plan

www.sanskritifoundation.org/

3.34

Ground floor plan

www.sanskritifoundation.org/

3.35

Interior of ceramic studios

www.sanskritifoundation.org/

3.36

Interior of enamel studios

www.sanskritifoundation.org/

3.37

Sitting area around Banyan tree

www.sanskritifoundation.org/

3.38

Courtyard surrounding Gaon Manch area for formal and informal gatheringd

www.sanskritifoundation.org/

3.39 3.40

Forest area for nature walk, also used for outdoor sessions

www.sanskritifoundation.org/

3.41

Gazebo for meditation and gatherings

www.sanskritifoundation.org/

3.42

Verandah outside artist studio

www.sanskritifoundation.org/

3.43

Site Plan for National Craft’s Museum, New Delhi

http://archmonk.weebly.com/

3.44

Zoning of National Craft’s Museum

http://archmonk.weebly.com/

3.45

Section through village area

http://archmonk.weebly.com/

3.46

Main spine of the building (a)

http://archmonk.weebly.com/

3.47

Main spine of the building (b)

3.48

Opening and material

nationalcraftsmuseum.nic.in/

3.49

Open and built form

Author

3.50

Folk & tribal craft gallery

nationalcraftsmuseum.nic.in/

3.51

Court Craft Gallery

nationalcraftsmuseum.nic.in/

3.52

Textile gallery

nationalcraftsmuseum.nic.in/

3.53

Amphitheatre

nationalcraftsmuseum.nic.in/

3.54

Festival court

nationalcraftsmuseum.nic.in/

Chapter 5 - Conclusion and Recommendations 5.1

Pottery workshop

Author

5.2

Connectivity of spaces (a)

Author

5.3

Connectivity of spaces (b)

Author

5.4

Section showing inter connectivity of spaces

Author

5.5

Courtyard enclosed by 3 sides

Author

5.6

Spaces connected through open spaces and with no visual hinderance.

Author

5.7

Framing projector can make objects look internally illuminated.

Author

5.8

Aim luminaire down at sharp angle to minimize direct glare.

Author

5.9

Ven diagram for spaces

Author

5.10

Section for common space

Author

LIST OF TABLES Table No.

Page No.

Table Title

Source

Chapter 3 - Visual art and spaces for interaction 3.1

Requirements of sculptors

Author

3.2

Requirements of potters

Author

3.3

Requirements of tapsters

Author

3.4

Requirements of photographer

Author

3.5

Requirements of artist

Author

3.6 Requirements of artist Chapter 4 - Analysis

Author

44-45

Author

4.1

Analysis of survey

4.2

Analysis of case identifications

CHAPTER 1

INTRODUCTION

SOCIAL INTERACTIVE SPACES FOR ARTISANS

1.1 Background of the study

“The conscious use of skill and creative imagination especially in the production

of aesthetic objects” is what is defined as ‘art’ in the dictionary. Anything that you created by getting inspired, motivated, or even with the imagination is art. “Art is important because it encompasses all the developmental domains in human and social development. Art lends itself to physical development and the enhancement of fine and gross motor skills.”[1] The visual arts are a group of arts-based projects that specifically address the sense of sight, the arts such as painting, graphics, sculpture, photography, industrial design, and cinema. From an artist’s perspective to the spectator’s, vision is a way of perceiving things that plays a major role.

Fig 1.1: Art gallery of visual art

Fig 1.2: A workshop initiating group activity

Nowadays, science and technology have advanced so quickly that the world is all about change. People aren’t interested in handmade art anymore. It’s becoming more difficult to keep some art alive. The “experts” are getting older, and the younger generation isn’t interested in taking over the art or promoting it. Part of the problem is that young people don’t know much about various art.[2] Every art needs space to develop and an artist to create, opening his/her window of capability and imagination wide. It is significant for craftsmans to associate with the onlooker and shoppers, and reveal to them about their work and the importance behind it. This inspires the spectator and establishes a connection between artisan, spectator, and consumer. In order to provide artisans with more information about consumer’s opinions during the development process, it is necessary to focus on facilitating communication between artisans and consumers.[3] Physical space is significant where individuals accumulate, work, move one another, learn new things, and interface. Participating in the space carries them into associations with similarly invested individuals who stimulate their reasoning. It is fun, pleasurable, safe, and solid. 1. Source - http://aplaceofourown.org/question 2. Source - https://www.scmp.com/yp/ 3. Source - https://www.semanticscholar.org/

SOCIAL INTERACTIVE SPACES FOR ARTISANS

1 .2 Criteria of selection

To promote any art by creating spaces that can promote interaction between

artisans and spectators and increasing their eagerness in the art, it is important to study the processes of how different arts are carried out. After knowing the process, it is dominant to study the architectural factors that play a major role not only in the emergence of the art but also affects the perception of the spectator. Spaces should be designed in a way that they are visible, accessible, and welcoming for the visitors.

1 .3 Hypothesis Spaces designed as interactive spaces, considering activities, promote both art and engagement of spectators with artisans.

1.4 Aim To prove that interactive spaces designed, considering activities helps in promoting art and also improves the engagement of spectators with artisans.

1.5 Objectives i. To study the importance of engagement and interaction in artistic activities. ii. To study and analyse architectural factors making spaces interactive. iii. To study various visual arts. iv. To study and analyse the needs and preferences of artisans with respect to their art. v. To conclude and suggest spatial arrangements of spaces and other factors that increase the engagement and promotion of art.

1.6 Scope and limitations i. The scope of the study is limited to visual arts only. ii. The study focuses on planning factors, the role of natural light, and social benefits.

SOCIAL INTERACTIVE SPACES FOR ARTISANS

1.7 Methodology

Selection of topic Activity based interactive spaces for artisans Formulating research questions Hypothesis statement Interactive spaces designed, considering activities, promote both art and engagement of spectators with artisans. Framing Aims and Objectives Understanding scope of study and setting limitations

Objective 1: To study the importance of engagement and interaction in artistic activities.

Objective 2 : To study architectural factors affecting these spac es.

Objective 3 : To Objective 4 : To study various visual study the needs arts. and preferences of artisans with respect to their art and space needed.

- Books - Research Papers -Case Study 1. Sanskriti Kendra, Delhi 2. Uttaryan Art Village, Gujarat 3. National Craft’s Museum, New Delhi

- Surveys - Research paper - Books - Documented literature

Analysis Objective 5: To conclude and suggest spatial arrangements of spaces and other factors that increase the engagement and promotion of art.

Conclusion and recommendations 3

CHAPTER 2

SOCIAL INTERACTIVE SPACES

SOCIAL INTERACTIVE SPACES FOR ARTISANS

2.1 Introduction to interactive spaces 2.1.1 Introduction

Space in architecture is a place that protects, isolate, or integrate humans and an-

imals this society possessed. It is often said that architecture is the combination of space and forms. Space encompasses the volume of a structure, the components of a building we have a tendency to move through and experience. Space consists of varied horizontal and vertical elements. Space is an intangible attribute of a design described in phrases of forms, shapes, size, color, smell, time, location. and the atmosphere. “Space by itself is inherently formless and can be as open or as closed, as cluttered or as empty as intended. It can be the smell of flowers in the garden or the cloudy sky occupying our view from the windows. It can be consciously meaningless or meaningful based on our brain associations with the form and mass in our visual field.”[4] At the point when a building is entered, floor, supports, walls, and a roof are seen, which can all be considered and maybe appreciated, while the space, as in one is acclimated with consider it, is void: the nonappearance of mass, filled via air. Bernard Tschoumi believes that the essence of space is descriptive and a subject to philosophical, math and physics. Space is an essence of urbanism and architecture (Madanipour, 1996).[6] An interactive space is a physical or virtual space, for example, a social community, online web-based media, or other get-together places where individuals assemble and collaborate. Space, in its any form, is it open, close, semi-open, that invites multiple people with a sense of engagement, and have a sense of conduct of social interaction can be termed as ‘Interactive space’. “Architecture is a social activity that has to do with some sort of communication or places of interaction, and that to change the environment to change the behaviour.” - Thom Mayne[7]

Fig 2.1: Illustrations showing social interaction in a building

4. Source - Francis D.K. Ching (2007), Architecture, Form, Space, Order, 3rd ed. New Jersey: John Wiley & Sons, Inc 5. Source - http://european-science.com/eojnss/article/download/1982/ 6. Source - https://iaac.net/ 7. Source - Nasser Koleini Mamaghania, Azadeh Parvandar Asadollahib, Seyed-Reza Mortezaei (2015), Designing for Improving Social Relationship with Interaction design approach, Iran: Elsevier

SOCIAL INTERACTIVE SPACES FOR ARTISANS

Enormous public spaces and accumulate when there was no innovation and offer their every day credits of life and these public spaces where planned in the focal point of the city and in and around the neighborhood is a sure example which actually exists and one may discover them around the globe. Be that as it may, as time changes so did the cooperation strategies, presently individuals depend more on the innovation for their correspondence and assemble around together if there should arise an occurrence of occasions refreshed or created through the innovation. The ideal models of the show has changed thus had the techniques with regards to how the show us to oblige itself for the general public. Social interaction in architecture is the generation of interactive spaces in architecture which deals with the branch of architecture that engages its form indulging communications, environmental impacts, social engagements, responses to the surroundings, and its paradigms in its pure and artistic monarchy.

2.2 Need and importance of interactive space

Today, in 21st century, everyone is experiencing a different way of living. The growth

and advancement in technology have become progressively more an integral part of human behaviour and living spaces. Sociocultural practices of any society depend on the desire of the people to continue practicing them. The cities of the world are in serious demand of more specific spaces that fulfils the Socio–cultural relationships of the people. According to the Australian Ethnic Affairs Council, cultural identity is defined as “the sense of belonging and attachment to a particular way of living, including: language, religion, art, food, values, traditions or any other day-to-day practice, associated with the historical experience of a particular group of people”. It has been indicated that modernization and industrialization of modern societies today have had an effective role in reducing the communication of people in their societies (Kaczynski, 2007). [7] Buildings are the complex adaptive systems, communicating with both external and internal environment. Designers routinely search for chances to utilize spatially characterizing connections as a component to understand, shape, and advance the social association. The physical space can be used togather or restrict people from one another, to empower, disperse, or center gatherings. Thusly, in the area of physical plan, intelligent public spaces can significantly influence social collaboration. In most of circumstances, designers ought to address individuals about its capacity. There are a lot of various options inbuilt space for interactive applications, targeted entertainment of any kind: from simply providing pleasure to social engagement to educational benefits.

SOCIAL INTERACTIVE SPACES FOR ARTISANS

Social Communication Communication is viewed as an occasion during which at least two people trade their thoughts, perspectives, emotions, and feelings and advise each other of the utilization of the messages of which importance is equivalent for every one of them. At that point communication is the exchange of the message to someone else and is the premise of social arrangement and develFig 2.2: Indoor space in a building serving as a gathering space opment of the correspondence causes to extend the way of life (Mohsenianrad, 1995). In reality, public spaces can give importance or criticalness to neighborhood networks by people or gatherings (Kurniawati, 2012).

Fig 2.3: Illustration depicting effect of physical interaction

SOCIAL INTERACTIVE SPACES FOR ARTISANS

2.3 Factors affecting the extent of interaction Many factors play a vital role in deciding whether a space can be socially interactive, i.e., is it inviting people to gather, for communication, sharing skills, experience, or even just to gossip ?

2.3.1 Connectivity & Location of spaces

Fig 2.4: Inter-relation of different spaces

Spaces created should be inter-related- studios, gallery, café, outdoor space should be interesting and inter-related. One cannot sit alone or isolated for longer time, it needs communication and transition of space

Fig 2.5: Different arrangements of building blocks

SOCIAL INTERACTIVE SPACES FOR ARTISANS

Fig 2.6: Configuartion of 5 spaces

Three typologically different techniques for associating five clear spaces alongside fundamental charts demonstrating their availability. Such differentiations are presumably going to change the levels of Interaction between people using the spaces. How much it is possible to take care of security, make organization, work surveillance and make custom are on the whole fairly dependent on such plans. 9

SOCIAL INTERACTIVE SPACES FOR ARTISANS

2.3.2 Thermal comfort

Thermal comfort is the condition of mind that expresses satisfaction with the thermal environment and is assessed by subjective evaluation.[8] The THERMAL COMFORT is determined by: - Air temperature - Surface temperatures - Humidity -Absence of draughts Thermal comfort and social interactiont Thermal Comfort: The THERMAL COMFORT is experienced via a number of conscious interactions between three personal and environment factors: Physiological : the way our bodies work and interact with our environment; Physical : the main parameters of the environment around us (air temperature, air humidity, air movement, room surface temperature); Socio Psychological: the way we feel as a whole (for example, if we are tired, stressed, happy…) and the kind of social environment we live in. The physiological aspect Regulations inside our bodies constantly endeavor to offset our warmth trades with the climate, by accelerating or hindering our pulse to adjust our bloodstream and direct warmth dissemination; by shuddering when too cold to build heat creation; by perspiring more when too hot to even think about reducing skin temperature because of dissipation. A comfortable indoor climate restricts the endeavors our bodies need to make to manage internal heat level, setting up a decent energy balance. The physical aspect In the physical environment, thermal energy (warmth or cold) is moved through conduction, radiation, and convection. Conduction is energy move through a strong, for example, the floor or divider. Convection is an energy move from a strong to a neighboring gas or liquid (air or water). What’s more, radiation is the energy transmitted from a surface, for example, a radiator.[8]

8. Source - https://www.engineering-society.com/2020/05/thermal-comfort-in-buildings-explained.html

SOCIAL INTERACTIVE SPACES FOR ARTISANS

The socio psychological aspect

A person’s present enthusiastic state, mind-set, level of weariness, and so on will influence their experience of a climate. Desires assume a significant part in how an individual encounters the actual world: one would anticipate that a sea shore should be hot and a mountain hotel to be cool, however more by and large, observations are probably going to dependent on one’s own warm history. Other ecological factors, clamor or glare for instance, may impact warm observation, prompting an expanded impression of overheating.

Behavioral

Physical Factors Cultural

Social

Personal Indirect influences

Physiol ogical Effects

Thermal Comfort

Psychol ogical Effect

Direct influences Fig 2.7: Influence of thermal comfort

A workspace should be thermally, intellectually, and actually agreeable. Thermal comfort can be picked up by the utilization of passive methods. It is very hard to keep up the thermal comfort in a workspace.

SOCIAL INTERACTIVE SPACES FOR ARTISANS

2.3.3 Degree of Enclosure

‘Enclosure’ is the term given to any part of a building that physically separates the external from the interior environment. It is often referred to as the ‘building envelope’, although ‘enclosure’ is considered the more precise term. The degree of enclosure provides a sense of intimacy and spatial comfort. The higher the spatial comfort, the higher the footfall. 1. Asymmetric Implied Space • Least degree of enclosure • More connectivity with other surroundings that makes it an inviting space.

2. Dictional Implied Space • A single line of sight as well as for circulation. • This diminishes the importance of the space and its sense of enclosure from the entrances.

3. Blocked sight line • The sight line from every entrance to the space is terminated at a building. Therefore, the space seems completely enclosed as one enters.

SOCIAL INTERACTIVE SPACES FOR ARTISANS

4. Whirling Squares • Variations in the facade or the arrangement of the buildings can deliberately create subspaces within the larger space.

5. Complete enclosure • Because of the complete enclosure of this volume, the orientation of the user is inward.

Fig 2.8: Various arrangements for degree of enclosure

The arrangement of building blocks makes an impact on the user how it approaches the block. Unbuilt spaces should be surrounded by the built so as to invite more people towards built as well as keeping in mind that the unbuilt should be used well by the same user group.

SOCIAL INTERACTIVE SPACES FOR ARTISANS

2.3.4 Role of Light

Lighting plays a vital role in the way people experience and understand architecture. Regardless of whether it’s daylighting or counterfeit lighting, light causes to notice surfaces, shadings, and types of room, helping engineering accomplish its actual reason. Vision is the absolute most significant sense through which we appreciate design, and lighting improves the manner in which we see engineering considerably more. To make an effective harmony among lighting and engineering, it’s essential to recall three key parts of building lighting • Aesthetic • Function • Efficiency

• It is important for the visitors to feel safe in a space, so it is essential for it to be well illuminated, providing users with the feeling of reassurance. • The location of an opening affects the manner in which natural light enters a room and illuminates its forms and surfaces.[9] • Keeping in mind that no glare should be produced, both should be provided with natural light, outdoor, and indoor. • The interior lighting should awe them as they walk through the doors in addition to showing off the final product/process, exterior lighting should draw the consumers in.

9. Source - Architecture- form, space, and order by D.K. Ching

SOCIAL INTERACTIVE SPACES FOR ARTISANS

In space, where there is both the art is taking its shape and is displayed, it is necessary to have good provisions of light. For the artist, during their process, they should be provided with ample and indirect source of natural light, for better efficiency of work. For the display of work, the light should be chosen according to the art. For example art with intricate work should have artificial, direct light to focus on the work, while for large scale art, natural light or a combination of both can be used, for better display and for the play of light and shadow.

Fig 2.9: Sculptures displayed in open to sky courtyard, under natural light

Fig 2.10: Pottery under natural light (skylight); focus light for paintings

CHAPTER 3

VISUAL ART AND SPACES FOR INTERACTION

SOCIAL INTERACTIVE SPACES FOR ARTISANS

3.1 Visual art

3.1.1 Introduction to visual art

“Visual Art is everywhere.” Visual Art is an art form primarily perceived by the eye.

The Visual Arts incorporate a wide cluster of media, tools, and techniques. The areas, the vast majority partner with the visual expressions incorporate drawing, painting, printmaking, model, and photography. There are, notwithstanding, numerous different territories that fall altogether or halfway inside the visual expressions, running from architecture, for example, design and the built environment, fiber and apparel to the people expressions, and from artworks to video activity. Normally found in the artistic creation, photography, printmaking, and even film making. Numerous individuals have various meanings of visual expressions. Yet, to put it easier, visual craftsmanship takes nature and the man’s capacity to catch a moment to a bit of paper so others may appreciate the captured image. Visual art is, for example, painting, drawing, printmaking, form, pottery, photography, video, filmmaking, architecture, specialties, and design. Numerous creative teaches, for example, performing expressions, theoretical craftsmanship, and material expressions include parts of visual expressions just as specialties of different sorts. Likewise included inside the visual expressions are the applied expressions, for example, industrial design, graphic design, fashion design, interior design, and decorative art.

Fig 3.1: Painting - A type of visual art

Fig 3.2: Pottery - A type of visual art

Envision a world without art. No music, no films, no works of art, no drawings, no designs, and so on. The world will be a dull spot to live in. Maybe the main thing you would be seeing is black and white. No laughter, no grins, for all intents and purposes no feelings by any means. Visual art is life in itself. The manner in which we see the world and how we value it. That is an art and we in reality live with it consistently. Art is an outlet of our internal identity. An extension that unites holes in our general public, it is a scaffold among 17

SOCIAL INTERACTIVE SPACES FOR ARTISANS

man and nature, among nations, and landmasses. People today may neglect to know the different facts about the visual arts of their places. Thus, visual arts is one of the most interesting things every individual can try to participate and to learn. Visual arts today is so diverse, the transition of these helps every individual to establish their skills.

Fig 3.3: Sculpture - A type of visual art

3.1.2 Types of visual art “Visual Arts” is a modern yet uncertain umbrella term for a broad category that incorporates various creative orders from different sub-classifications. 1. Fine Arts All fine art belongs to the general category of visual arts. These include activities such as: Drawing, Painting, Printmaking and Sculpture, along with associated activities like graphic art, manuscript illumination, book illustration, calligraphy.[10]

Fig 3.4: Sculpture - A type of fine art

Fig 3.5: Folk art painting - A type of fine art

10. Source - http://www.visual-arts-cork.com

SOCIAL INTERACTIVE SPACES FOR ARTISANS

2. Contemporary Arts

The visual arts also include a number of modern art forms, such as :Installation, along with film-based disciplines such as Photography, Video Art and Animation, or any combination.[11]

Fig 3.6: Art installation - A type of contemporary art

Fig 3.7: Photography - A type of contemporary art

3. Decorative Arts & Crafts In addition, the general category of visual arts encompasses a number of decorative art disciplines and crafts, including: ceramics and studio pottery, mosaic art, mobiles, tapestry, glass art (including stained glass), and others.[12]

Fig 3.8: Tapestry - A type of decorative art

Fig 3.9: Pottery - A type of decorative art

11. Source - http://www.visual-arts-cork.com 12. Source - http://www.visual-arts-cork.com

SOCIAL INTERACTIVE SPACES FOR ARTISANS

3.2 Spatial Requirements

Every art has its set of spatial requirements in order to get the result that can be praised worthy. Along with this, the audience perceives the art the way it is displayed, so along with keeping in mind the requirements during the process, it’s also important to display them keeping in mind the art, so that the art can be highlighted.

3.2.1 Survey The purpose of the survey is to find out the spatial needs of the artisans depending on the previous parameters. 10 artists/artisans are choosen from each art category.

Direct Approach

Personal Interviews

Sculpture, Pottery, Tapestry

Indirect Approach

Online Surveys

Drawing/Painting, Installation, and Photography

Approach

1. Sculpture

SCULPTURE MAKING 8 7 6 5 4 3 2 1 0

Table 3.1: Requirements for sculptors

Table 3.3: Requirements of Tapsters

Table 3.2: Requirements of Potters

3. Tapestry

TAPESTRY

Direct Indirect

<1m 1-5m can be seen from far

Interacting with the public… Individual Interaction Project-based work…

Yes No Maybe

Natural Artificial Both

Yes No Maybe

Natural Artificial Both

Open Closed Semiopen

Physically Visually Both

Yes No

<5 hours 5-10 hours >10hours

Others

SOCIAL INTERACTIVE SPACES FOR ARTISANS

2. Pottery

POTTERY

0 0 2 0 2 4 4

0 2 0

Table 3.5: Requirements for artists

22 4

2 0 2 0 4

1 0 1 4

3 0 0

Direct Indirect

2 4 4

Direct Indirect

<1m 1-5m can be seen from far

0 4 4

Interacting with the public… Individual Interaction Project-based work…

Yes No Maybe

0 0 0 0 0 4 4

Natural Artificial Both

1 3 4

Yes No Maybe

2 4 4

Natural Artificial Both

Open Closed Semiopen

Physically Visually Both

3 7

Yes No

<5 hours 5-10 hours >10hours

Home Rented Place School/institute Others

<10 years 10-20 years >20 years

SOCIAL INTERACTIVE SPACES FOR ARTISANS

4. Photography

PHOTOGRAPHY

10 9 8 7 6 5 4 3 2 1 0

Table 3.4: Requirements of photographer

5. Drawing/Painting

DRAWING/PAINTING

7 6 6

5 4 4

3 3

2 0

SOCIAL INTERACTIVE SPACES FOR ARTISANS

6. Installations

INSTALLATIONS 8 7 6

7 6

4 3 2 1 0

44 3

5 4

3 2 0000

2 0

101

Table 3.6: Requirements of artist

From table 3.1 to table 3.6 depicts the spatial needs of artisans that differs according to the art that includes their prefrence on connectivity, light, interaction with spectators in relation with practice of work and display of work as well. X-Axis depicts the factors for spatial need and Y-axis depicts the number of pondents in favor. The limit range from 0 to 10.

re-

SOCIAL INTERACTIVE SPACES FOR ARTISANS

3.3 Relation between visual art and interactive spaces Visual art is an artwork that appeals primarily to the visual sense and typically exists in permanent form, such as traditional plastic art (drawing, painting, sculpture, printmaking) and modern visual art like photography, video, filmmaking, computer art etc.) as well as architecture, design and crafts.[13] Fine art can convey aesthetic appeal, historical significance, and an appreciating price tag. It can hold monstrous weight with regards to a creative period or development or inside the viewer’s very own set of experiences. Engaging in with workmanship concerns a work’s experiential worth: the manners by which we appreciate and cooperate with the craftsmanship and that guarantee assortments worked Visual art has a distinct conversation with every prospector. Visual art is purposely created to engage more people with the help of aesthetics. While undergoing the process, one needs to seek through every movement carefully to understand it. This process may be an inciting factor for those who want to learn more about it. Moreover, one can not be harmed by listening experiences that of those experts and creating their own experiences. Each art has different techniques and processes that have different spatial requirements. Creating the spaces keeping in mind the process and integrating them with the elements that can invite people and make them curious about art. Clearly, some forms of such art, including a major chunk of folk art, are on the verge of extinction. Engagement of more and more people that too of the new generation can surely be helpful in saving the life of the art. Even if it is not practiced in the way of daily wage-earning as by the older generation, it can still be preserved and practiced in a form of a hobby or passion.

Fig 3.10: Example of how a graffiti is created with the help of people’s engagement

13. Source - https://www.intechopen.com/

SOCIAL INTERACTIVE SPACES FOR ARTISANS

3.4 CASE IDENTIFICATION

3.4.1 Uttarayan art village, Vadodara, Gujarat The Arts Village is located 20 Kms away from Vadodara in the serene hillocks of Jaspur on the river front of Mahisagar and constructed using local materials (exposed brick work) and intricately carved stone jharokhas.

Fig 3.11: Site Plan of Uttarayan Art Village, Vadodra

Why Uttarayan Art Village? The Arts Village is conceived as a space of interaction between artists of various fields and as a space for workshops which includes studios for ceramic, photography, painting / print making and sculpting and also residential units for the artists with the canteen and interesting spaces in this village overlooking the water front to inspire the best in the artists.

Fig 3.12: Art Centre Studio

Fig 3.13: Seminar Halls

SOCIAL INTERACTIVE SPACES FOR ARTISANS

Fig 3.14: Workshops

Fig 3.15: Cottages

Connectivity and Location

The art village is planned with open studios surrounded by courtyards that provide visual connectivity and physical connecivity too.

courty ard D ig it al st u di o printi ng studi o

offic e

1. Art studio have two levels with courtyard as a connectivity and providing a view to “Green roof” and the lower court.

courty ard verand ah

Fig 3.16: Plan of Art Studio

Fig 3.17: Section showing axis view and connectivity

Fig 3.18: Plan of Workshop

2. Every workshop area differs according to the usage, like ceramic studio have more shelves while sculpture workshop does not have confine furniture.

Fig 3.19: Section of workshop area

SOCIAL INTERACTIVE SPACES FOR ARTISANS

3. Use of contours such that level difference segregate the activities and creates social gathering spaces such as “Verandah”.

Every activity have been assigned with their particular spaces keeping in mind the requirements and how people should be invited and interacted in that particular activity. For example 1. Art studio that will should have maximm interaction is placed near entrance. 2. Amphitheatre is provided along side workshop area so that people can share their interest and can also view th activites going in the workshop area. 3. Cafeteria and library situated seperately for informal, casual gatherings.

Thermal Comfort

Fig 3.20: Double height roof in Workshop

Fig 3.21: Chimneys on roof

1. Since it is a working space for artist , studios are carefully angled towards the best source of light.

2. Double heighted studios with sky lights for natural lighting and wind turbine ventilation. 27

SOCIAL INTERACTIVE SPACES FOR ARTISANS

Degree of enclosure

Open Space

Closed Space 1. Courtyard is surrounded by built form by 3 sides in which different activities take place.

Fig 3.22: Complete enclosure of courtyard by the studio spaces.

2. Overall site have open plan with higher degree of open spaces in comparison of built spaces. 28

SOCIAL INTERACTIVE SPACES FOR ARTISANS

Role of Light

Fig 3.23: Verandah Infront of classrooms and exhibitions for natural light and ventilation.

• Skylights are provided in circulation spaces as well as in exhibition halls. • Open exhibition areas for display in open areas. Natural light is kept in mind in workshop areas as majority work needed natural light.

Fig 3.24: Skylights

Common Interactive spaces

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 3.25: Amphitheatre

Ottala – Located at the end of the art studio, purposely designed for informal and outdoor sessions, without disturbing existing vegetation.

Fig 3.26: Ottala

SOCIAL INTERACTIVE SPACES FOR ARTISANS

Deck : Using natural stones available on the site, a deck is designed, providing scenic view from the site.

Fig 3.27: Deck

Courtyard: Act as communal space and sometimes as a performance space. It is well connected to workshop and studios.

Fig 3.28: Courtyards

SOCIAL INTERACTIVE SPACES FOR ARTISANS

3.4.2 Sanskriti Kendra, New Delhi, 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 3.29: 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 31

SOCIAL INTERACTIVE SPACES FOR ARTISANS

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 3.30: 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. 32

Nature walk at the end of Nahar.

SOCIAL INTERACTIVE SPACES FOR ARTISANS

Degree of enclosure

Fig 3.31: 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.

SOCIAL INTERACTIVE SPACES FOR ARTISANS

Artists studio

Fig 3.32: Art Studio

Fig 3.33: First Floor Plan

• 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.

Fig 3.34: Ground Floor Plan

Workshops

1. Ceramic Centre

Fig 3.35: Interiors of ceramic studios

• Big windows for natural light and ventilation. • The studio is connected to outdoor space. 34

SOCIAL INTERACTIVE SPACES FOR ARTISANS

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

SOCIAL INTERACTIVE SPACES FOR ARTISANS

3.4.3 National Craft’s Musem, 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 3.43: Site Plan of National Craft’s Museum, New Delhi

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. 36

SOCIAL INTERACTIVE SPACES FOR ARTISANS

Connectivity and Location

Fig 3.44: Zoning of Nationat Craft’s Mseum

• 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 37

SOCIAL INTERACTIVE SPACES FOR ARTISANS

Fig 3.45: 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 3.46: 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 3.47: Main spine of the building (b)

SOCIAL INTERACTIVE SPACES FOR ARTISANS

Thermal Comfort

Fig 3.48: 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 3.49: Open and built form

SOCIAL INTERACTIVE SPACES FOR ARTISANS

Role of Light

Combination of both natural and artificial of light is provided for the display of art depending on the art.

• The Folk and Tribal Craft gallery displays a diverse selection of paintings, sculptures and other daily objects from the folk and tribal traditions of India because of which artificial indoor light focusing on the detail is peferred so that they are not destroyed.

Fig 3.50: Folk & Tribal Craft Gallery

• Court Craft Gallery features objects of exquisite craftsmanship and precious materials that are created for home and are displayed in courtyard area to be well perceived in natural lighting.

Fig 3.51: Court Craft Gallery

• As textile gallery includes textiles with intricate and fine details, it is preferred to be displayed under artificial light.

Fig 3.52: Textile Gallery

SOCIAL INTERACTIVE SPACES FOR ARTISANS

Common Interactive Spaces

Fig 3.53: Amphitheatre

Fig 3.54: 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. 41

CHAPTER 4

ANALYSIS

Open and closed spaces are preferred over semi open spaces Closed and semi open spaces are preferred

Closed and semi open spaces are preferred

Open and semi open spaces are preferred

Open and closed spaces are preferred

Open and semi open spaces are preferred

Connectivity is needed. Both physically and visually

Connectivity is needed. Physical connectivity is preferred

Connectivity is needed. Both physically and visually

Physical connectivity plays a very vital role.

Visual connectivity is more important

Connectivity is needed. Both physically and visually

Sculpture making

Pottery

Tapestry

Photography

Drawing/Painting

Installations

Table 4.1: Analysis of survey

Type of space

Preference of interaction Artisans tend to interact more on group level and on the basis of project. Artisans tend to interact more on group level and on the basis of project. Artisans tend to interact more in group level and on the basis of project. Artisans tend to interact more on individual level and on the basis of project. Artisans tend to interact more on individual level and on the basis of project. Artisans tend to interact more on group level

Light During Work – Natural light is preferred Display – Artificial light is preferred During Work – Natural light is preferred Display – Artificial light is preferred During Work – Both the lights Display – Artificial light is preferred During Work – Both the lights Display – Artificial light is preferred During Work – Both the lights Display – Artificial light is preferred During Work – Both the lights Display – Artificial light is preferred

PARAMETERS

Connectivity

ACTIVIES

SOCIAL INTERACTIVE SPACES FOR ARTISANS

4.2 Analysis of Survey

SOCIAL INTERACTIVE SPACES FOR ARTISANS

4.3 Analysis of Case Identifications

SOCIAL INTERACTIVE SPACES FOR ARTISANS

Table 4.2: Analysis of case identifications

CHAPTER 5

CONCLUSION AND RECOMMENDATIONS

SOCIAL INTERACTIVE SPACES FOR ARTISANS

5.1 Conclusion

The research focuses on spaces, both built and unbuilt, that will improve social interaction between artisans and spectators which in turn helps the artisans to promote their art and reach more people. It is clear that social interactive spaces are important for artisans, not only to provide a good working environment but to also decrease the gap between them and spectators. The study also identifies that there is an obvious need for spaces that are particularly dedicated to a particular activity. The buildings analyzed have the elements that help in increasing the interaction of spaces and it is identified that factors like connectivity, location of spaces, thermal comfort, degree of enclosure, and light, helps in improving social interaction of that space.” The study concludes that spaces designed, keeping in mind the activity/process of the art, their outcome, can impromptu interactions in the users, promotes both art and engagement of spectators and artisans. These spaces can be used to design and enhance the interaction of the users and to engage people more towards art.

SOCIAL INTERACTIVE SPACES FOR ARTISANS

5.2 Recommendations i. Activity Based Spaces

Art centers should have spaces designed according to the requirements of the artisans and their designated art, keeping in mind the process that particular art involves. They display area should also be designed keeping in mind the same. Large windows for natural light

Division of spaces according to the process

Fig 5.1: Pottery workshop

ii. Location and Connectivity of spaces

Other spaces Exhibition area

Workshop

Unbuilt space

Art Studio

Unbuilt space

Exhibition area

Other spaces

Exhibition area

Unbuilt space Art Studio Other spaces

A Fig 5.2: Connectivity of spaces (a)

SOCIAL INTERACTIVE SPACES FOR ARTISANS Workshop Unbuilt space

Workshop

B Unbuilt space

Unbuilt space

Exhibition area

Art Studio

Exhibition area

Unbuilt space

Other spaces

Other spaces Other spaces

Unbuilt space

A Fig 5.3: Connectivity of spaces (b)

• The spaces should be planned on the site in a way that it allows the user to go through every art and every space. • In Fig. 5.2 and Fig. 5.3 the movement allows the spectator to go through maximum spaces either physically or visually. Exhibiton spaces are well connected with studios and unbuilt spaces.

Fig 5.4: Section showing interconnectivity of spaces Amphitheatre

Courtyard

Closed Exhibition space`

Workshop

Exhibition space`on terrace

• Working spaces should be situated in the vicinity of the outdoor spaces with best visual connectivity to make the visitors eager to learn the art. • Spaces created should be inter-related- studios, gallery, café, outdoor space should be interesting and inter-related, i.e. with spaces that can cater people with pleasant aesthetics and welcoming nature.

SOCIAL INTERACTIVE SPACES FOR ARTISANS

iii. Degree of enclosure

Exhibition Area

Open space should be surrounded by built spaces with regular flow of activities, like workshops at least from 3 sides so that unbuilt space can be utilized to maximum use.

Courtyard

Art Studio

Fig 5.5: Courtyard enclosed by 3 sides.

Fig 5.6: Spaces connected through open spaces and with no visual hinderance

The line of sight through open space to built space with assigned activity should not be obstructed to provide visual connectivity of activities. iv. Role of light • Workshop areas should have provision for natural light and artificial light as it will improve the quality of work during the course of preparations as well as during the display. • Display area should have lights focusing on the art and enhance its intricate work to invite more people towards it.

SOCIAL INTERACTIVE SPACES FOR ARTISANS

Fig 5.7: Framing projector can make objects look internally illuminated.

Fig 5.8: Aim luminaire down at sharp angle to minimize direct glare.

v. Common spaces

Workshops

Studios

Common space

Other spaces

Fig 5.9: Ven diagram of spaces

Fig 5.10: Section of cmmon space

• Common spaces should be well connected, both physically and visually, to built spaces like workshops, studios, and other spaces. • Unbuilt spaces designed as a common space should be flexible to be used for various purposes like exhibition space, informal events, baithaks.

BIBLIOGRAPHY BOOKS 1. Francis D.K. Ching (2007), Architecture, Form, Space, Order, 3rd ed. New Jersey: John Wiley & Sons, Inc 2. Bill Hillier, Julliene Hanson (1984), The Social Logic of Space, New York: United States of Americs by Cambridge University Press 3. Bryan Lawson (2001), The Language of Space, Woburn: Reed Educational and Professional Publishing Ltd RESEARCH PAPERS 4. Nasser Koleini Mamaghania, Azadeh Parvandar Asadollahib, Seyed-Reza Mortezaei (2015), Designing for Improving Social Relationship with Interaction design approach, Iran: Elsevier 5. Reza Askarizad (2019), Influence of Socio-Cultural Factors on the Formation of Architectural Spaces 6. Boychenko Kristina (2017), Benefits of interactive environment in public space design, Italy: European Journal of Technology and Design 7. Martin Ludvigsen (2006), Designing for Social Interaction, Denmark: Department of Design, Aarhus School of Architecture 8. Vicente Guallart, Eulalia Moran (2017), Social Interaction - The self sufficient habitat- From the city to the building, Barcelona: Institute for advanced architecture of Catalonia WEB REFRENCES 9. http://www.iaacblog.com/wp-content/uploads/2017/01/Habitat-OS-Social-Interactions-Pratyaksh-Sharma.pdf 10. http://www.visual-arts-cork.com/definitions/visual-art.htm 11. https://www.lacountyarts.org/sites/default/files/pdfs/lacac_pubenglitrev.pdf 12. http://www.sanskritifoundation.org/about-the-foundation.htm 13. http://rothsociety.org/the-importance-of-visual-art.htm 14. https://www.meridian.org/news/community-engagement-through-the-mural-arts-cali-colombia/ 15. https://miro.medium.com/max/1968/0*__y5-uDGekLtAXSF. 16 . http://www.sanskritifoundation.org/images/enamel-centre/001.jpg xii

17. http://museumcasestudy.blogspot.com/2014/12/crafts-village-charles-correa-321328.html 18. https://ebuild.in/national-crafts-museum-delhi 19. https://www.artshab.com/app/uploads/Arts-Habitat-Survey.pdf 20. https://www.kga.co.in/jaspur-arts-village.php 21. https://www2.slideshare.net/JuhiKumari11/uttarayan-art-foundation

xiii

ANNEXURE QUESTIONNARE Spaces for artisans (The study aims to focus on the needs of artisans and the art they practice with respect to the space they work in and display their work to promote their art and engaging more people ensuring better interaction.) 1. What creative skills do you practice? E.g. - Painting, Sculpture making, Photography, Pottery, etc. ____________________________________________________ 2. From how many years are you practicing the skill? (In months and years) ____________________________________________________ 3. Where do you mostly work in? Home □ Other - ______

Rented place □

school/Institute □

4. Is it important for that you and your space to be connected to the outdoors/nature? Yes □

No □

5. If yes, how? Physically □

Visually □

Both □

6. What kind of workspace do you prefer with respect to your art? Open □

Closed □

Semi-open □

7. What kind of light do you prefer? Natural □

Artificial □

Both □

8. Do you want that people should witness your art while you practice it? Yes □

No □

Maybe □

9. What kind of light preferred for display of your work? Natural

Artificial

Both

10. What is the proximity to view your work? xiv

between 1- 5m

can be witnessed from far

11. Do you prefer social interaction while you practice your art? Yes □

No □

Maybe □

12. Rate the importance of interaction in order of preference1

Promotion of art Peoples’ engagement Social recognition Contribution to society More opportunities 13. Identify the types of work styles/interactions that support your task Interacting with the public (public-facing)  Yes  No Individual Interaction  Yes  No Project-based work (team space)  Yes  No 14. How should be the working space be visibly connected? Directly □

Indirectly □

15. How should be the working space be accessible? Directly □

Indirectly □