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Figure 11: Year-wise export of Indian handicraft with Trend line
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(Handicrafts industries in Odisha: Problems and prospects , 2015)
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ḷ
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https://en.wikipedia.org/wiki/Konark_Sun_Temple cite_note-officialkonark2-6
https://en.wikipedia.org/wiki/Konark_Sun_Temple - cite_noteunesco-4
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Notes: CAGR – Compound Annual Growth Rate, E - Estimates, GDP stands for Gross Domestic Product, Source: World Travel and Tourism Council’s Economic Impact 2017, News Articles
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REPORT OF THE WORKING GROUP ON TOURISM FOR XII FIVE YEAR PLAN
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The graphical information is extracted from L.S.Raheja’s, NASA’s Nari Gandhi trophy 2014-15 panels unless mentioned otherwise.
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Image taken from google maps, further edited by author.
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Table 3: Classification of hubs
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Figure 156: Desired functional relationship- Bubble Diagram
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Functions 17
1
10
3 30 30 13 5 3 20 20 10
25 30
Entrance Lobby
Parking
Administration
Food Court
Research block
Cultural School
Performance arena
Exhibition block
Craft Baazars
Workshop
Lanscape area
Open air theater
Residential
Surplus area
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(n.d.). Retrieved from dollsofindia: https://www.dollsofindia.com/search.php?q=santhal+dancer&maincategory=paintings& sold=1&submit.x=24&submit.y=15 A Society For Crafts And Craftspeople . (1995). Dastkar. (2013). Retrieved from OTDC : http://www.odishatourism.gov.in/ DDIR architecture studo. (2011). Retrieved from http://ddirarchitecture.com/jaffna-2/ Economic Survey 2014-15, Odisha. (n.d.). GLOBAL MARKET ASSESSMENT FOR HANDICRAFTS . (2006). Retrieved from usaid.gov: http://pdf.usaid.gov/pdf_docs/Pnadn210.pdf Handicrafts industries in Odisha: Problems and prospects . (2015, may). Retrieved from International Journal of Multidisciplinary Research and Development: www.allsubjectjournal.com In Dastkar. (1995). Retrieved from A Society For Crafts and Craftspeople: http://www.coop4coop.org/highlight/dastkar Team Architrave . (2013). Retrieved from http://www.teamarchitrave.com/inner.php?property_id=37 179 | P a g e
Raising Spirits Of Odisha
Dhvani Shah | L.S.Raheja School Of Architecture
Figure 1:............................................................................................................................................. 2 Figure 2: Statistical data showing India's export of handicraft Source: www.epch.in ........................................................................................................................ 5 Figure 3: Picture’s showing use of handicrafts in the interiors, worldwide Source: Pinterest ............................................................................................................................... 6 Figure 4: Handlooms in India ............................................................................................................ 9 Figure 5: Painting on coconut kernel Figure 6: Palm leaf craft ......... 11 Figure 7: Pattachitra paintings Figure 8: Stone carvings Figure 9: Paper mache masks ................................................................................................................................... 11 Figure 10: Handicraft Market Channels .......................................................................................... 13 Figure 11: Year-wise export of Indian handicraft with Trend line ................................................. 14 Figure 12: Comparison between Growth of Total Export and Handicraft Growth in USD. ............ 15 Fig 13:labour employment in India by economic sectors,2010 Fig 14:GDP is exponential and almost double every 5 years. .......................................................................................................... 16 Figure 15: The global contribution to world's GDP by major economies from 1 CE to 2003 CE according to Angus Maddison's estimates. Up until the 18th century, China and India were the two largest economies by GDP output. .......................................................................................... 16 Figure 16: Contribution to GDP of India by economic sectors of Indian economy have evolved between 1951 and 2013, as its economy has diversified and developed. ..................................... 16 Figure 17: India's exports (top) and imports (bottom), by value, in 2013–14................................ 16 Figure 18: Kalinga war of emperor Ashoka (261 B.C.) .................................................................... 23 Figure 19: Lifestyle of people during the war ................................................................................. 24 Figure 20: Odisha and Neighboring States ...................................................................................... 25 Figure 21: Terrain map of Odisha.................................................................................................... 26 Figure 22: Annual Rainfall in Odisha from 1961 to 2013 graph ...................................................... 30 Figure 23: Climate change vulnerability profile generated by integration of adaptive capacity and climate sensitivity profiles (TERI, 2013} .......................................................................................... 32 Figure 24: THE BANSADHARA, ODISHA ........................................................................................... 33 Figure 25: Landuse landcover map of Odisha ................................................................................. 33 Figure 26: Earthquake zones of Odisha .......................................................................................... 34 Figure 27: Wind and cyclone zones of Odisha ................................................................................ 34 Figure 28: Geology map of Odisha .................................................................................................. 35 Figure 29: Pie diagram for land use pattern ................................................................................... 38 Figure 30: statistics on fertilizer consumption in Odisha................................................................ 39 Figure 31: statistics on food grain production in Odisha ................................................................ 39 Figure 32: statistics on rice production in Odisha........................................................................... 39 Figure 33: statistics on different crops occupying different areas of land ..................................... 39 Figure 34: From L-R, T-B; Slowworm, Dugong, Green sea turtle, White bellied sea eagle, forest cover of Raghurajpur, Flamingos .................................................................................................... 40 Figure 35: Asian elephants in odisha .............................................................................................. 41 Figure 36: Rhinos suffering during floods ....................................................................................... 41 180 | P a g e
Raising Spirits Of Odisha
Dhvani Shah | L.S.Raheja School Of Architecture
Figure 37: Temples of Odisha Figure 38: Jagganath temple during processions ..................................................................................................................................... 43 Figure 39: conceptual diagram explaining how the agricultural land is slowly tearing apart and handicrafts can suffice future needs. ............................................................................................. 54 Figure 40: The Overall Growth of Cottage and Handicraft Industries in On Odisha ..................... 55 Figure 41: Problem of Handicraft Units .......................................................................................... 55 Fig 42: Craft witnessed at the Raghurajpur’s secretary’s shop: paintings on coconut kernel, bottles, cow dung toys, papier Mache. .......................................................................................... 69 Figure 43: Linear planning, plantations and thatched roof construction ....................................... 70 Figure 44: Dissemination of the knowledge (Training programmes) ............................................. 71 Figure 45: Examples of wall paintings............................................................................................. 71 Figure 46: Meetings of village women............................................................................................ 72 Figure 47: Regular village meetings ................................................................................................ 72 Figure 48: Fairs and festivals ........................................................................................................... 72 Figure 49: construction of guest houses in process ....................................................................... 75 Figure 50: Flow chart and images showing the process of talapatchitras ..................................... 77 Figure 51: the definition of creative crafts versus other crafts and skills ...................................... 80 Figure 52: Plan of Sun Temple, Konark .......................................................................................... 82 Figure 53: Elevation of Sun Temple, Konark ................................................................................... 83 Figure 54: The composition of dwelling in Guptaganga is typical of Juang villages upon the plains where clusters of three to six dwellings are grouped together and arranged to form a courtyard in the centre which forms the most important space for social interaction. ................................ 85 Figure 55: Section and plan of a typical cluster layout in Juang villages situated upon flatland. The layout of the dwelling is such that it can be portioned off or extended as per requirements in the future. All the dwellings open out on to the courtyard. Each family has its own cattle shed which is usually located along the corners................................................................................................ 86 Figure 110: The reflection of the Tibetan styled building seems to shimmer in the water – the vibrant reds a striking contrast against the greenery, and the blue of the sky.............................. 99 Figure 111: Art work done by the students at Norbulinka ............................................................. 99 Figure 112: Proportions of Avalokitesvara Figure 113: The site ....................................................................................................................................................... 100 Figure 114: Proportions of Avalokitesvara ................................................................................... 100 Figure 115: Entrance to Norbulinka .............................................................................................. 101 Figure 116: Deden Tsuklagkhang Temple ..................................................................................... 102 Figure 117: Losel Doll Museum..................................................................................................... 103 Figure 118: Souvenir shop exhibiting student’s art work ............................................................. 103 Figure 119: Outdoor cafe .............................................................................................................. 103 Figure 120: Using shades of a color breaks the monotony; keeping the center simple yet interesting ..................................................................................................................................... 105 Figure 121: Museum block and prominent day lighting............................................................... 105 Figure 122: Conidial roof............................................................................................................... 106 Figure 123: Design is such that it allows natural light to enter interior spaces through niches and at the same time provide shade to the open courtyard spaces ................................................... 106 Figure 124: simple yet sharp approach to design ......................................................................... 106 181 | P a g e
Raising Spirits Of Odisha
Dhvani Shah | L.S.Raheja School Of Architecture
Figure 125: Fenestrations on the facades ..................................................................................... 107 Figure 126: Working area for artisans Figure 127: Display levels.............................................................................................................................................. 108 Figure 128: original exhibits used a few decades ago Figure 129: Temporary exhibition cum sale area ............................................................................................................... 108 Figure 130: Display of ethnic wears Figure 131: Permanent exhibition gallery ........................................................................................................................... 108 Figure 132: Mass and Void ............................................................................................................ 109 Figure 133: Scaled model to explain the overall scheme of the project ...................................... 109 Figure 134: Open to built volume is greatly balanced in the strcture, also built masses are managed with appropriate niches ................................................................................................ 110 Figure 135: Installations in the water body at the entrance makes the structure metaphorically interactive. .................................................................................................................................... 110 Figure 136: Datum of rectangular niches in the overall structure is balanced with a few intricate ethnic jaalis ................................................................................................................................... 110 Figure 56: Map showing tribal museum and surrounding............................................................ 111 Figure 57: Wind flow diagram ....................................................................................................... 111 Figure 58: Circulation through the structure ................................................................................ 111 Figure 59: Pedestrian and vehicular pathways ............................................................................. 112 Figure 60: winter solstice (22nd December) and summer solstice (21st June) ............................ 112 Figure 61: Raised entrance levels ................................................................................................. 112 Figure 62: Dense green cover around the built form ................................................................... 113 Figure 63: Distribution of specific zones on site ........................................................................... 113 Figure 64: Schematic section showing rain water pipe drainage and water channels ................ 113 Figure 65: Stages of design development ..................................................................................... 114 Figure 66: Exploded view of the 'Janjaatiya snagrahalaya'........................................................... 115 Fig 67: Reception overlooking courtyard Figure 68:'Tribal art' gallery Fig 69: The arterial passage & art canvas ........................................................................................................ 116 Figure 70: 'Tribal games' gallery Figure 71: Arterial passage providing glimpse of tribal art ....................................................................................................................... 117 Figure 72: The central pavilion is the prime focus Figure 73: Courtyards and verandahs ...................................................................................................................................... 117 Fig 74: Animating spaces with light Fig 75: Easy accessibility due to ramps Fig 76: Amphitheater for plays ................................................................................................................. 118 Figure 78: Seating area in the canteen Figure 79: Residential area for tribal artisans ................................................................................................................... 119 Figure 77: Section explaining internal spaces ............................................................................... 119 Figure 80: The castellated beams supported by steel columns.................................................... 121 Figure 81: Steel columns for the integral part of the structural framework ................................ 121 Figure 82: Trusses in the ceiling of the arterial passage ............................................................... 122 Figure 83: Exploded view of the pathway along the amphitheater showing materials used for construction .................................................................................................................................. 123 Figure 84: conceptual section through the galleries showing mutual shading of the courtyard . 124 Fig85: conceptual plan showing wind tunnel effect in the galleries ............................................ 124 182 | P a g e
Raising Spirits Of Odisha
Dhvani Shah | L.S.Raheja School Of Architecture
Figure 86: conceptual section through courtyard and galleries ................................................... 124 Figure 87: shading devices along the arterial passage ................................................................. 125 Figure 88: Evapo-transpiration of green cover ............................................................................. 125 Figure 89: schematic section showing how trees help to channelize the wind through the structure........................................................................................................................................ 125 Figure 90: plan showing channels for water runoff ...................................................................... 126 Figure 101: A little bit of lifestyle at shiplgram ............................................................................. 128 Figure 102: Impression of traditional village huts ........................................................................ 129 Figure 103: platform for performances ........................................................................................ 129 Figure 104: Craft market scenario ................................................................................................ 129 Figure 105: Views showing accommodation and other facilities ................................................. 130 Figure 106: Artisans and animals ready for the festival ............................................................... 131 Figure 107: Pottery workshop during the festival ........................................................................ 132 Figure 108: Artisans and their huts ............................................................................................... 132 Figure 109: Traditional performances during the festival ............................................................ 132 Figure 91: Ariel view of the proposed cultural centre at Jaffna ................................................... 133 Figure 92: Map showing site context ............................................................................................ 134 Figure 93: Colonnaded faรงade of JCC and the gateway to the fort along with thumbnail views of a few spaces ..................................................................................................................................... 135 Figure 94: Floating stage in front of the amphitheatrically designed seating .............................. 136 Figure 95: Urban public plaza ....................................................................................................... 136 Figure 96: Facade- timber and transparent .................................................................................. 136 Figure 97: Schematic plan cut above the auditorium ................................................................... 137 Figure 98: vertical spaces .............................................................................................................. 137 Figure 99: Timber screens ............................................................................................................. 137 Figure 100: Spaces about light and shadow and ventilation ........................................................ 138 Figure 137: Entry to Ekamra haat ................................................................................................. 139 Figure 138: Entry to Dilli haat ....................................................................................................... 139 Figure 139: Section showing drain under the site, (Sachdeva, 1994) .......................................... 139 Figure 140: Activity based zoning map ......................................................................................... 140 Figure 141: Structure for exhibiting art work Figure 142: Food stalls in the haat ............................................................................................................................................... 141 Fig 143: Ariel view of landscape at ekarma haat, landscape and seating, landscape merging with the exhibition space ...................................................................................................................... 141 Figure 144: Understanding mass production Figure 145: Understanding production by masses ........................................................................................................................................... 149 Figure 146: Google map of the Ekamra Kshetra, old BBSR........................................................... 154 Figure 147: Most famous Lingaraj temple Figure 148: Roads of old BBSR .............................................................................................................................................. 155 Figure 149: Dhauli hill with shanti stupa at the top ..................................................................... 156 Figure 150: On left, 3D view from google images of Dhauli ........................................................ 156 Figure 151: Historically important sites at Dhauli, along with Dhauli Handicraft Market ........... 156 Figure 152: Shanti stupa at dhauligiri Fig 153: Light and sound show at shanti stupa ....................................................................................................................................................... 156 183 | P a g e
Raising Spirits Of Odisha
Dhvani Shah | L.S.Raheja School Of Architecture
Figure 154: Land use map of sisupalgarh ...................................................................................... 157 Figure 156: Desired functional relationship- Bubble Diagram...................................................... 163 Figure 155: Conceptual diagram explaining elements that will contribute to the overall design 163 Figure 157: Important factors contributing to the design ............................................................ 170
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