GROWMORE SCHOOL OF ARCHITECTURE HIMATNAGAR (S.K)383001
CRAFT PROMOTION CENTER, ABHAPUR GAM, POLO FOREST (SABARKATHA), GUJARAT
DRASHTY SHAH BARCH3641256530
SUBMITTED YEAR 2017
CRAFT PROMOTION CENTER, ABHAPUR GAM, POLO FOREST
THANKS TO, MY PARENTS
CRAFT PROMOTION CENTER, ABHAPUR GAM, POLO FOREST
ARCHITECTURAL THESIS 2017
APPROVAL CERTIFICATE UNDERGRADUATE DESIGN THESIS GROWMORE SCHOOL OF ARCHITECTURE, HIMATNAGAR, H.N.G.UNIVERSITY. INDIA The following study is hereby Approved as a creditable work on the approved subject, carried out and presented in a manner sufficiently to warrant its acceptance as a pre-requisite to the Degree for which it has been submitted. The study has been carried out only for the academic purpose as per the best knowledge of the student.
STUDENT NAME: DRASHTY SHAH ENROLLMENT NO. : BARCH3641256530
THESIS TOPIC: CRAFT PROMOTION CENTER ABHAPURGAM, POLOFOREST (S.K), GUJARAT
INTERNAL GUIDE: SHIRISH PATEL
APPROVAL
EXTERNAL GUIDE: NARESH CHHATWANI
DATE:
CRAFT PROMOTION CENTER, ABHAPUR GAM, POLO FOREST
ARCHITECTURAL THESIS 2017
DECLARATION I do hereby declare that this dissertation entitled “CRAFT PROMOTION CENTER” is a bonafide record of studies done by me independently during the fifth year B.ARCH degree course at Grow More School of Architecture, Himatnagar and that this dissertation has not previously formed the basis of any report in any other institution.
DRASHTY SHAH
CRAFT PROMOTION CENTER, ABHAPUR GAM, POLO FOREST
ARCHITECTURAL THESIS 2017
ACKNOWLEDGEMENT Before I begin I would like to express my gratefulness for all those who knowingly or unknowingly, directly or indirectly helped in this thesis. The researcher must acknowledge the role of GOD in their lives, as without his perennial guidance and protection, the task at hand would not have been complete. I am extremely happy to mention my special thanks to AR. NARESH CHHATWANI and AR. SHIRISH PATEL, my guides without whom this thesis work could not have been realized. First and foremost, My sincere and heartily thanks to MY PARENTS, who always encouraged supported and stood by me in every situation and struggle of this journey. Meet, Ronak, Dhari, Haresh, Nidhi, Sahil, Sanskruti Polo forest Guard, Abhapur Gam local people, Shilpgarm officer and Craft’s man, Molela village local people and countless people for the spirit and commitment with which they helped me on this thesis. Concentration, dedication, hard work and application are essential but not the only factors to achieve the desired goals. These must be supplemented by guidance and assistance of people to make it a success. Many people have given their experience, ideas and invaluable time to enable me to complete this thesis. I am really thankful to these persons for making my thesis so live and understandable to me and making me aware of many things which would help me in my future. I am highly indebted to them and my sincere thanks goes to them only. In the end i would like to thanks GROW MORE SCHOOL OF ARCHITECTURE, for providing me with the opportunity to work on this thesis.
CRAFT PROMOTION CENTER, ABHAPUR GAM, POLO FOREST
ARCHITECTURAL THESIS 2017
CONTENTS APPROVAL CERTIFICATE DECLARATION ACKNOWLEDGEMENTS CONTENTS 1. 1.1 1.2 1.3 1.4
INTRODUCTION CRAFT CRAFT IN GUJARAT QUESTIONS ASKED DURING SITE VISIT AIM, OBJECTIVE, SCOPE OF WORK METHODOLOGY
1 2 4 6 7
2. 2.1 2.2 2.3 2.4 2.5
CASE STUDY REASONS FOR SELECTION OF CASE STUDIES SHILPGRAM, UDAIPUR MOLELA VILLAGE, RAJASTHAN NATIONAL CRAFT MUSEUM, DELHI NATIONAL SANSKRITI KENDRA, DELHI
8 9 15 19 22
3. 3.1 3.2 3.3
DESIGN PROJECT GENERAL CONSIDERATIONS CRAFTS AND THEIR REQUIRED AREAS INDOOR OUTDOOR SPACES DETAILED REQUIRNMENTS FOR CRAFT CENTER
29 30 32
CRAFT PROMOTION CENTER, ABHAPUR GAM, POLO FOREST
ARCHITECTURAL THESIS 2017
CONTENTS 4. 4.1 4.2 4.3 4.4 4.5
SITE ANALYSIS LOCATION LINKAGES AND TRANSPORTATION HISTORICAL BACKGROUND FLORA SITE ANALYSIS
5. 5.1 5.2 5.3
DESIGN PROCESS CONCEPT DESIGN EVOLUTION FINAL DESIGN
42 44 47
6.
CONCLUSION
62
7.
BIBLIOGRAPHY
63
34 34 34 36 38
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ARCHITECTURAL THESIS 2017 \ 1
1. INTRODUCTION 1.1 CRAFT An activity involving skill in making by hand. Arts and crafts comprise a whole of activities and hobbies that are related to making things with one’s one hands and skill. These can be sub divided into handicrafts or “traditional crafts” (doing things the old way) and the rest. Some crafts have been practiced for centuries, while others are modern inventions, or popularizations of crafts which were originally practiced in a very small geographic area. The specific name Arts and Crafts movement was also given to a design. Movement of the late 19th and early 20th century, whose proponents included William Morris and Edwin Lutyens. They believed that medieval craftsmen achieved a joy in the excellence of their work, they strove to emulate. These activities are called crafts because originally many of them were professions. Adolescents were apprenticed to a master- craftsman, and they refined their skills over a period of years. By the time their training was complete, they were well equipped to set up in trade for themselves, earning their living with the skill of their hands. The industrial revolution and the increasing mechanization of production processes gradually reduced or eliminated many of the roles professional craftspeople played, and today crafts are most commonly seen as a form of hobby. Most crafts require a combination of skills and talent, but they can also be learnt on a more basic level by virtually anyone. Many community centers and schools run evening or day classes and workshops offering to teach basic crafts skills in a short period of time. Many of these crafts become extremely popular for brief periods of time (a few months, or a few years), spreading rapidly among the crafting population as everyone emulates the first examples. The term Craft also refers to the products of Artistic production or creation that require a high degree of tacit knowledge, are highly technical, require specialized equipment and/or facilities to produce, involve manual labor or a blue-collar work ethic, are accessible to the general public and are constructed from materials with histories that exceed the boundaries of western art history such as ceramics, glass, textiles, metal and wood.
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These products are produced within a specific community of practice and while they differ from the products produced within the communities of art and design, the boundaries of such often overlap resulting in hybrid objects additionally, as the interpretation and validation of art is frequently a matter of context, an audience may perceive crafted objects as art objects when these objects are viewed within an art context, such as in a museum or in a position of prominence in one’s home. Art and craft are inter-related in many aspects. They are a form of expression of ideas and solutions through items they create. Different items that craftsman have made, during their civilization has brought a masterpiece and stated about the period of their times. 1.2 CRAFT IN GUJARAT Gujarat is blessed with rich and vibrant art and craft. It is widely differing in its proportions of its patterns to the element of wonderful exquisite artifacts in various forms. It stands unique with diverse arts and crafts- a mixed combination with aesthetic appeal. Surat: Sandly, Sankheda: woodworking, Chhota udepur: Pithora Painting, Jasdan: Brass Embellished wooden chests and boxes, Bhavnagar: Metal utensils of sihore, Jamnagar: Bandhani, Bhujodi: Weaving, Rabari Embroidery of Dasada, Batik in Mandvi, Bhuj: Block Printing to Khavda Embroidery and craft trail, Embroidery, applique and Beadwork in Saurashtra, The cithara’s of Ahmedabad, The Prajapati block makers of Pethapur, the Salvi weavers of Patan, Rogan Art, Nirona, Namda, Mundra, weft Ikat, Anjar, Mashru, Kutch, Patan and Surat. Ambaji: Stone carving, Poshina: Terracotta Horses, Embroidery in North Gujarat, Wooden Toys: Idar These are the famous Tribe art and craft in Gujarat.
CRAFT PROMOTION CENTER, ABHAPUR GAM, POLO FOREST
Embroidery work in ABHAPUR GAM DWCRA mahila SEWA association (BDMSA), an organization of SEWA, is active in Abhapur gam and supports the artisans. an NGO also works on knowledge in local village woman who are interested in work are taught by them with embroidery craft and its skills, which helped them in improving their lifestyle. Wooden Toys in IDAR Idar is known for it’s wooden toy making. There are many household industries where mainly women carve out the toys and make them in their free time from local wood and men sell those in the market. There is one room for storage and other one on the street side for a ‘Toy Making Machine’ that is attached to each of the house. Terracotta Horses In POSHINA Sabarkantha district, including villages like Poshina, are known for their votive terracotta figures that are very much part of the rituals of tribal communities like the garasia adivasis. The terracotta horse called ‘Ghoda Dev’ has special place for rituals, considered a messenger for the gods in many cultures. Symbolic sacrifice of terracotta horses for fulfilment of wishes is common, and at some sites you can see scores of terracotta horses that have stood here for decades. The potters called Kumhars, make the various hollow parts of the terracotta horse on their wheels and then join them together, with some parts moulded by hand and added in grooves. These terracotta horses, elephants and other figures are becoming popular adornments for houses and gardens.
ARCHITECTURAL THESIS 2017 \ 3
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1.3 QUESTIONS ASKED DURING SITE VISIT At, the beginning of my design process for the purpose of my research, I visited Polo forest, for information and data collection which helped me out to carry my further process. There by, here are some questions which help me for design development as are my supporting data. • Which communities are located near the area ? communities : Aadiwashi, Vaniya, Harijan, Rabari, Muslims. • Any government transport service provided from Ahmedabad city for its approach ? Bus named Rani departs, early morning and arrives at 9 to Polo forest. • Any travel’s buses facility provided ? No travel’s bus is provided, people prefer private vehicles for their visit and other jeeps comes at regular days from nearby areas like Idar, etc. • Which Animals are generally seen and observed in Polo Forest ? Bear, snakes, deer, cows and different types of birds are observed through out the forest. • Which Historical Monuments are Famous which attracts the tourist most ? monuments like, sun temple, Jain temple, sharneshwar temple and wanaj dam. • During which Period the Place is crowded most with Tourists? The place is crowed mostly during weekends and from the onset of monsoon season. •
How many Tourist Visit per day and weekend ? During regular days, 200 -300 people are seen and during weekends the number extends to more than 1000.
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QUESTIONS ASKED DURING SITE VISIT • Any near by Accommodating Places for tourists ? Resorts are available throughout the year and government tents from December to February period as an event called Polo utsav is held during this. • Which activities are made for Tourists Purpose ? Camping is held and which includes trekking, site seeing, games playing, camp fire . • Any Government Camping Package ? Government provides one day visit free cost to government school students , which includes transport facility, stay facility, food facility. • Any other purpose of this area? Many meetings and gatherings are held openly in the forest area. • What is the occupation of nearby people ? Nearby people held activities like. bird caretaker, cooking activity for tourists, crafts making for tourists, taking part in activities with tourists like horse riding etc. • Any NGO involved in Polo Forest ? Mahila mandal and Wakaner Bhilodi, these NGO work for the progress and uplifting of crafts , by helping nearby women and conducting classes in nearby houses.
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1.4 AIM Understanding skills of crafts with an aim of acquiring it’s knowledge. To uplift and promote their lifestyle through their inbuilt skills. OBJECTIVE • The programme is for strengthening local art forms and crafts of nearby region. • Developing a platform, which will promote the understanding and knowledge among people. • A place where knowledge(student) meet skill(artisans) for unique outcomes or product. • Providing opportunities for craftsmanship and artisans with an aim of giving exposure freely of their skills. • A place for awareness and creativity among the local people as well as the artisans. • To create a space for creation and interaction for artisan. REASON FOR SELECTION OF SITE • The site is adjoining the polo forest boundary, which results in tourist place. • The site is surrounded by historical monuments which lead to crowded place. • The area is also preferred for students for their study visit. • The craft of Polo forest is organized which results in attracting more people for it visit. • Sharneshwar temple is the most important landmark in polo forest. The visit to this temple will be archaeological people as well as religious people. • With the research, the best place to work is at the polo forest, as the importance of craft seems less in that area, so developing the craft center will uplift the importance and value of it. • The site is distance of theirs crafts Abhapur: 0.9km, Idar: 38km, Poshina: 72km SCOPE OF WORK Study will be limited with to specific local crafts (1) Embroidery North Gujarat (2) Wooden (Idar) (3) Terracotta (Poshina)
POSHINA
ABHAPUR
IDAR
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ARCHITECTURAL THESIS 2017 \ 7
METHODOLOGY
Stage:1
• • • •
Stage:2
• Case study • Literature study • Comparative studies between case studies and literature study
Stage:3
Stage:4
Stage:5
• • • • •
Data collection Study of site and analysis of available information Collection of basic information about the project. To study the local craft persons life style and work environment
Research Project formulation Aim/ objectives Interacting with local people Inferences for programme
• Concept development • Sketches, 3ds, concept, models • Develop integrated design solutions
• • • • •
Final design development Refinement of architectural proposal Defining of movement patterns, open spaces, zoning of various functions Detailing of building blocks Landscape planning of internal and external spaces
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2. CASE STUDY 2.1 REASON FOR SELECTION OF CASE STUDIES
SHILPGRAM UDAIPUR: An organized place developed by the government for local activities as well as artisans from all over the country. Organized allotted spaces for habitation, carrying out, their crafts and shops for selling them. The building is designed with the skill of artisans and making it eco friendly, mainly with the materials. MOLELA VILLAGE: In the village, called Molela, the terracotta craft is famous and popular for its unique skill and design. Local people carry their activities in their own shops and sells it within their local village market. With an aim of getting understanding between allotting space and space of own for carrying out the craft production. NATIONAL CRAFT MUSEUM, DELHI: Its an organized planned place mainly for exhibitions, monuments and short term workshops, carrying through out the year production of old material and village area displayed in the museum. NATIONAL SANSKRITI KENDRA DELHI: Acting more as an institute, it also comprises of exhibition spaces, workshop spaces (indoor space, outdoor shop), classrooms for students, space for visitors and works through out the year.
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2. CASE STUDY 2.2 SHILPGRAM, UDAIPUR The rural arts and crafts complex. The rural arts and crafts complex is conceived as a living ethnographic museum to depict the lifestyles of the folk and tribal people of the west zone. Within this complex, huts of the member states are constructed incorporating traditional architectural features of different geographical and ethnic groups residing within the west zone of India comprising of five federal states. One of the important objectives of Shilpgram is in the sphere of increasing awareness and knowledge of rural life and crafts, specifically, for the younger generation. Special emphasis is laid on workshops for children on arts, crafts, theatre and music. SITE AREA: 130 bighas (70 acres) LOCATION: Udaipur Completion: 8 February 1989 VICINITY: 3 kms west of Udaipur near the Havala village surrounded by the aravallies FUNCTION: The village displays a lot of diversities in craft, art & culture of various Indian states. Wonderful terracotta products made in dark brown and dark red sand material along with the wooden carvings are the specialty of this cultural village. Workshops on arts, crafts, music and theatre were organized for Children's to spread awareness and knowledge of rural life and crafts. COMPONENTS: Workshop, Mela ground, Museum, dance theatre, restaurant, residence for craftsman, guest room ACCESSIBILITY: tourist travel buses, auto rickshaw and taxi are available.
SHILPGRAM
SHILPGRAM
FATEH SAGAR LAKE
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The rural arts and crafts complex - Shilpgram - also provides an opportunity to rural and urban artists to come together and interact through the process of camps and workshops. It is hoped that through intimate observation of different styles and experiences, urban and rural artists would learn from one another and enrich their skills and art forms. The centre promotes contemporary urban ceramists, potters, designers, visual artists etc. To work with their traditional counterparts in creating works of everyday art which would then be put up for exhibition and sale for visitors.
Shilpgram Resort Space Work Space, Museum, Mela Space Amphitheatre, Festival Space
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Shop Craftsman living space, work space n exhibition space Shop and amphitheatre
Museum
Administration
Craftsman living space, work space n exhibition space
Shop
In this integrated pattern are 5 huts from Rajasthan, representing weaver's community from marwar. There are 2 huts named after the two sand bound villages of rama and sam from the desert region of western Rajasthan. From the hilly region of mewar, is a potter's hut from the village dhol, 70 kms west of Udaipur. Two huts represent the tribal farmer communities of the bhil and the sehariyas of the southern regions of Rajasthan.
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There are 7 representative huts from the state of Gujarat. A cluster of six huts from Banni area and one from Bhujodi have been selected from the arid wastelands of kutch. The banni cluster consists of two huts each of the rabari, harijan and Muslim communities famous for their weaving, embroidery, bead & mirror work, wood work and rogar work. Equally well known for its valiant horses, lambdia village near poshina in north Gujarat is represented with a potter's hut. Adjoining to the lambdia potter's workshop at the shilpgram is the weaver's hut from vasedi village in chota udaipur area in western Gujarat. Two huts represent the dang and rathwa tribal farmer communities of southern Gujarat. In addition to these, there is an ornately carved wooden house from pethapur near gandhinagar. Selected after an exhaustive survey of the Konkan coast of Maharashtra, the Koli hut is from a seashore hamlet in raigarh district. Close to the koli hut stands one from Kolhapur - representing leather chappal craftsmen from southern Maharashtra. From thane district in north Maharashtra is a warli hut replete with its wall paintings. The tribal farmer community of the kunbis is also represented along with two huts of the gond and maria tribal communities from eastern Maharashtra famous for their 'dokra' work. From the member state of Goa, there are 5 representative huts. A potter's hut from bicholim stands in close proximity to a Hindu hut and Christian hut made of local laterite stone. From the lush green taluka of canacona is a typical hut of the kulumbi tribal agriculturalists renowned for their grass and cane weaving work. A hut chosen from the Mondovi riverside represent the traditional fisherman's way of life. Thus each member state of the west zone has huts derivative of certain basic occupations fundamental to the way of life of the people of the area. In addition, certain occupations feature a commonality so as to offer a basis for comparison. For example, three member states have a potter's hut since working with the earth is fundamental to all our cultures.
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What is interesting to highlight is how Indian people have fashioned and reshaped this basic element to suit their environment, needs and aesthetics. Similarly, two member states of the west zone feature weaving, again as an affirmation of how geography and needs have given rise to such a variety in this most basic of occupations. Also while the above are illustrative and not exhaustive, the occupations and crafts to be shown will differ so as to cover a wider variety of our crafts heritage. In order to ensure that a visit to rural arts and crafts complex shilpgram Udaipur - becomes an educative and enriching experience, the hut from sam (marwar) is planned as the activity and documentation section where workshops, seminars etc. Can be organised. Similarly the cluster of Banni and Bhujodi huts from Gujarat would comprise of guest room facilities for the visiting master craftsmen, researchers and scholars. A goan mainstream hut and mewar potters hut can accommodate children and students. The centre developed two museums in the shilpgram where simple objects of day-to-day use, that represent the sense of wonder and aesthetics in rural and tribal life are put on display. In addition, a crafts bazar in the fashion of a traditional 'haat' was made where visitors could buy traditional crafts from the zone. Craftsman were invited periodically to demonstrate their skills and sell the crafts to the visitors at the shilpgram. An attraction no less of the rural arts and crafts complex is the open air amphitheatre with a seating capacity of approximately 8000.
CRAFT PROMOTION CENTER, ABHAPUR GAM, POLO FOREST
Besides the major theatre festivals which the centre holds here, it is hoped that this facility would motivate the local community as well as outside visitors to take a keener interest in theatre and the traditional folk performing arts. Shilpdarshan is a continuing activity at shilpgram in which traditional performing artists and craftsmen are used to draw from the interior villages of the member states. They are regularly invited to exhibit their skill and to demonstrate their crafts, and sell their masterpieces in order to have direct access to the buyers. This programme has encouraged the rural craftsmen and performers in a big way. The shilpgram has become an important landmark in India. In these traditional huts, household articles of everyday use whether terracotta or textile, wooden or metal, along with decorative objects and implements - agricultural or craftsmen's tools, etc. Are featured with appropriate signage's and explanatory details. The objective is to give a realistic glimpse of the people and their belongings representing unity in diversity and national integration. Lessons: Traditional village life was said to have been, to a considerable extent, self-contained and selfsufficient with a potter, a carpenter, a blacksmith, often a weaver, living alongside one another. the huts are constructed around an interlocking occupational theme. The centre's rural arts and crafts complex adopts this cellular approach such that each individual hut is at once an organic entity and at the same time nourishing and husbanding a series of such transactions.
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2.3 MOLELA VILLAGE, RAJASTHAN MOLELA Molela is famous for a unique style of ceramics. The kumhars (potters) of Molela make an assortment of devotional plaques, large panels depicting rural MOLELA village scenes and smaller items such as temple bells and domestic ware but it is the hand-modelled, hollow relief votive plaques that they are most famous for. These products make for extremely charming visual narratives of their customs and everyday life. Village area: 1022 hectares Location: Molela, Nathdwara Population: 4,275 Households: 885 Vicinity: 13 kms of Nathdwara Accessibility: private and govt. buses, auto rickshaw and taxi are available. Molela village, located near the religious town of nathdwara, is 50 kilometres away from Udaipur. Also known as the 'potters village', this place has a settlement of a few thousand people out of which, there are about 40 . families from the Kumhar caste producing terracotta sculptures. The inherent charm of these plaques attracts buyers from far off places but the demand for these plaques tends to be seasonal. New vessels and votive murtis are needed at festival and harvest times. These are mostly bought by the Bhil, Gujjar and Gujarat communities who arrive here accompanied by their priests in order to buy new votive images of their deities. The craftspeople turn to agriculture to sustain themselves in the lean months Like most crafts, 'murtikala' has been passed on from generation to generation, through the sons of the family, evolving with each generation. Earlier, square tiles depicting scenes of day-to-day life in the village were arranged in a single large panel. Those panels gave birth to the contemporary secular plaques. Subsequently these strikingly variant panels also led to reworking of traditional subjects by jumbling together of various unrelated gods, goddesses, folk heroes and symbols into one single panel.
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PROCESS: (1) Clay preparation (2) Hollow-relief work (3) Firing 1. CLAY PREPARATION Clay is sourced locally from areas along small drains and ponds. This clay is extremely mouldable and is of two types: nada, a coarse black clay with a high sand grog and alum, a finer grey clay used for throwing. The two clays are mixed together in equal parts with the addition of 20% dried and sifted donkey dung, which helps to disperse the heat through the plaque, provides strength and lessons the thermal shock during firing. Most men wedge the clay with their feet and then knead it by hand into a round ball ready for use. This is laid flat in the courtyard where the floor has been dusted with dung so it doesn't stick. It is further evened out using wooden tools and water that renders it into a smooth slab approximately 15mm thick that works as the base surface of the tile. 2. HOLLOW-RELIEF WORK: The wet clay is cut into a square or rectangle shape of required size using a stencil or measuring scale. Coils of clay are rolled out and used as outlines of these plaques. This is the base on which the image of the subject is carefully hand-crafted. Nine Incarnations Of Durga, Dashavataras, Nav Grihas, Shrinathji, Gauri Nritya (Religious Dance From Southern Mewar), scenes from Ramayana and everyday village life make for the more popular depictions in molela clay craft. Various parts of these forms like face, body, limbs etc. Are created using a combination of basic clay work techniques - squeezing, pinching and coiling. These are then attached one after the other on the wet, soft base of clay in crude form by keeping one hand under (inside). This prevents them from collapsing under their own weight. The process has to be halted at intervals to allow the clay to keep drying.
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When the figures get a firm shape, ornaments, eyes and other details are added. This detailed line work is done using a 'badli' (small flat chisel-like instrument made of metal). Both ends of the baldi are used, one end for drawing lines and patterns and the other end for making holes. As many areas as possible are left open (and hollow) to encourage air circulation. This also ensures that the plaque is not bulky. Once the forms are finely detailed out, the plaques are left to dry for several days before they are fired.
3. FIRING The dried plaques are stacked up one by one carefully in the kiln for firing. 'Awara', a circular open kiln, constructed from brick is one of the most convenient ways to fire the products in-house. The work is loaded into the bhatti on top of cowdung cakes and sealed with few layers of pottery shards. Fire is lit from openings at the bottom of the kiln. The firing temperature achieved is between 600 to 700 degrees centigrade. Firing lasts for 4 to 6 hours. Most people prefer to buy the terracotta plaques in their original and stunning red-brown color whereas others like to have them painted in different colours and then lacquered.
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PRODUCTS The deities whose images appear on Molela terracotta may be part of the mainstream Hindu pantheon (chamunda, kali, durga, Ganesh) or more commonly, regional divinities whose cults are rooted in animistic belief systems (for example, nagadeva) or in folk legends. Scenes from everyday village life also make for interesting story-telling through clay. These narratives pan across different product categories like tiles, vases, toys and the increasingly-becoming-popular murals that are mostly commissioned to be installed in contemporary, urban buildings.
LESSONS: The craftsman of Molela village spends their full time in their shop. Their house are located inside the village while their shop are located to the main road connected to the village so, they are occupied their whole day in the shop so they have made their working space, selling space as well as living space in their shop.
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2.4 NATIONAL CRAFT MUSEUM, DELHI CONCEPT : An Indian village street affable , accommodative and active organized around a central pathway , going from the village to the temple to the palace. ZONING: The museum complex includes demonstration area Museum village complex PLANNING :This professional unfolding of spaces arranged around a succession of courtyards make complex and sub tie references to local Indian traditions and perhaps the only device by which space can retain its own integrity and ambiance. Exhibits such as in the village court and the temple court lie along with path in the connected courtyard , off these courts are particular exhibits such as village crafts etc. The exhibits may be viewed and individually or seen the unfolding events along with way. The sequence ends with the exit via roof garden which forms an amphitheater for folk dance. As well as an open air display of large terracotta houses and other handicrafts. ENTRANCE: Entry not very prominent height and the initial tunnel like space leads visitors in creates anticipation YEAR
1972
BROAD ACTIVITIES
LOCATION
MATHURA ROAD , NEW DELHI
SITE AREA
4 ACRE
ARCHITECT
CHARLES CORREA
CLIENT
TRADE FAIR AUTHORITY OF INDIA
CLIMATE
HOT DRY CLIMATE
CONSTRUCTION
RAJASTHAN P.W.D.
TEMPRATURE
AVG. MAX. 31 C AVG. MIN. 18 C
ORENTATION
NORTH-SOUTH
CRAFT DEMOSTRATIONS BY MASTER CRAFTPERSONS BHATA SCULPENTURES GALLARY , FOLK & TRIBALE CRAFT GALLARY CULTIC OBJECTS GALLARY COURTTY CRAFTS GALLARY TEMPORARY EXIBITION GALLARY REFRENCES COLLECTION OF HANDICRAFTS. TAXTILE GALLARY AND REFRENCE COLLECTION.
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THE COLLECTION: the care collection of the craft museum was put together to serve as a reference material for craftsman who are increasingly losing touch with their tradition. There are more than 2500 items of the folk and arts, crafts, and textiles in the prominent collection less than the total floor 5500 sqm is open to public. The rest of collection stored inn special area for the use of the very finest craftsman. LIBRARY : The museum has specialized library of more than 1000 books of period acts partition and traditions of rural and cultures.
DEMONSTRATION SPACES The demonstration program provide an opportunity to see there craft creation unfold before them. The architect has brought about the ruff in the complex by use mud and cave plaster walk. Brick paved flooring and by getting authentic style. The open walls with getting structure in authentic style. THE VILLAGE COMPLEX A museum village complex is a remint of temporary exhibition on the theme of rural set India in 1972. The village complex carries of structure representing village dwellings. Items of day to day life are displayed in order to give glimpse of wider cultural context Some at wall provide canvas for visit tribble and ruble painters. ANALYSIS – LAYOUT LAVEL A craft museum is organized around a central pathway as one travels down this spine punctuated by village court. One can progress through all section in contribution sequence. All huts , courtyards are shines are built in accordance with regional constructions and materials. Use of dark colors to create rural ambiance causes negative feeling and visitor wishes to move on. Various sections demo crated by varying floor levels.
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Village complex often left out of circulation due to low activity. No elements highlighted the no hierarchy of spaces consuming wondering. Hierarchy in courtyard spaces evident scale and hierarchy of courts emphases by space of spacing consuming wondering. The entire museum is organized around a central pathway reveling sequence of spaces. OBSERVATION – TRANSITIONAL SPACES Raised level at entrance bridge level descending from the bridge transforms to a natural rural environment on seeing the Plan of craft’s heavily decorated vole shop Excellent village interplay of open semi open and closed spaces. Facades are used to reelect a geographical area as well as property household activities. Only public area expands. Clusters put to look like whole unit by use of door and plantation beyond. To exhibits attracts and large exhibits carefully along line of monument. .LESSONS: The craft museum has stated a good example by preserving and conserving the tradition Or art and culture in a modern way. The skill full art, the lost tradition must be preserved As they are our identity; we need not go out and search for our identity if it is preserved. The craft museum serves and preserves the spirit of art, making awareness. The Thoughtful space planning, the human scale, the tribal and rural display all gives a sense Of belonging.
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2.5 NATIONAL SANSKRITI KENDRA, DELHI ARCHITECT: UPAL GHOSH CONCEPT : A living, creative complex, the Kendra is intended to provide temporary residential and working space to both traditional and contemporary artists and craftsperson's and in doing so, it aims to promote interaction between the two. Thus the complex includes in addition to two museums, an open-air auditorium, conference hall and studio apartments. For rural craftsperson's, a separate cluster of huts with individual cooking facilities provided. All spaces are scattered in a manner of a village dwelling. Over two thousand trees were planted across the plot with a banyan tree at the entrance. Professor Mohammad Shaheer was responsible for the landscape architecture of the complex. SITE LOCATION : ANANDGRAM QUTAB ( MEHRAULI) the Sanskrit Kendra is located at anandgram, in the qutab mehrauli on the outskirts of Delhi. The Kendra is spread over 3 hectares in the foot hills of the Ravalli range. Located amidst farmhouses, the peaceful environments is idyllic for the creative activities at the Kendra. Accessibility the Kendra is accessible from mehrauli-gurgaon road. The India Gandhi international airport is located 12 km from the Sanskrit Kendra and new Delhi railway station or the old Delhi railway station, are about 20 km from the Kendra. Built VS Open architect says… “the complex manifestation of built form in a warm climate, where between closed-box and open to sky, there lies in a whole continuum of zones, with varying definitions and varying degrees of protection. One steps out of the box to lend oneself in a verandah from which one moves into a courtyard and then under a tree, and beyond onto a terrace covered by a bamboo pergola, and then perhaps back onto a balcony and so on. The boundaries between these zones are not formal and sharply demarcated, but easy and amorphous. Subtle modulations of light, of the quality of ambient air, register each transitions on our senses…”
Peaceful natural environment for artist
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CIRCULATION AND MOVEMENT : Movement patterns are very clear service road runs on the periphery of the site. Distribution of spaces: 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 allowing artists to work with concentration in a very natural & fresh environment. Services like laundry, washing are placed at the end of the site away from public movement along the service road.
Craft person working CERAMIC CENTRE The Sanskrit - Delhi Blue Ceramic center – the only one of its kind in India - plays host to diverse ceramic activities and interactions, both national and international. The programs offered include residencies, classes, interactive workshops for ceramicists, talks, slide shows, firings and demonstrations. Facilities at the Ceramic Centre The ceramic center is well equipped with the following types of wheels and furnaces:8 Kick wheels, 2 Painters wheels, 1 Electric wheel, 1 Wood Furnace, 2 Gas Furnaces
Children's workshop
CRAFT PROMOTION CENTER, ABHAPUR GAM, POLO FOREST
By pass drain
The rain water drainage channel
A wooden pigeon house from Gujarat
Kind near the textile museum
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Landscaping Landscape supervised by landscape architect Mohammad shaheer. The Kendra being spread over 3 hectares on the foothills of the aravalli range, landscape is thus recognized as focal to the scheme. No activity that would disturb the basic character of the land was undertaken. Landscape elements judicious mix of formality and informality, both in plant and hard landscape. Geometric forms, pavements, paths and hedges intersperse the lawns, vans, and the near and the meandering parks. Approximately two thousand trees have been planted to predominate the complex. The rainwater drainage channel that runs down the center, and existing clumps of trees become the major structuring elements of the layout plan. The rainwater channel has been converted into a linear water body. This starts from a semi-circular pool fed by water attention pond, passed under a couple of foot bridges, washes up the steps of Ghats on either sided, and ends at the munch. Excess water is run off through a by pass.
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DISTRIBUTION OF THE ACTIVITIES BAITHAK The bathe is the common room of the Kendra, housing facilities such as the dining room, conference room, library, computer room and office. A two-storied structure, it is internally connected, both visually and physically by a double height covered court with steps so configured that they can be used as tiered seating during conferences, etc. FLOW OF SPACES : The building can be entered from various levels. Except the office and the library, all other spaces flow into each other giving the interior a very open feeling. OFFICE AT HIGHER LVL : In keeping with its supervisory role the office has been strategically placed at a higher level overlooking the entire complex. PLAY WITH LEVELS : The architect has also played with levels within the building maintaining smooth movement horizontally as well as vertically. Green architecture workspace and the living areas get north light as north side gets only light throughout the day without any heat so it is cooler. Bedrooms , diningkitchen and the sitting areas along with a separate personal garden are facing south side , thus get more sun(heat & light) in winters and lesser in summers.
HAVELI: This is the residence of O.P.Jain, the moving force behind the organization, the plan is based on six and a half overlapping squares with intersecting pyramidal roofs. The dining, living, bedroom and the kitchen are arranged around an anagram (courtyard).The most striking feature is the meticulously restored old entrance door from Rajasthan from where one gets the first glimpse of the anagram - a perfect square patch of green with an equally geometric rectangle of water along one side. Haveli courtyard STUDIOS: there are eight studios in two blocks placed along the nahar where participants with an urban background can live and work. The units are small and simple but provide a variety of spaces, both indoor and outdoor. These are located away from other built forms that allows artists to concentrate on their work.
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Studios are located in the calm area surrounded by greenery and away from any built form to maintain privacy and providing environment to concentrate. Water body nearby add to its beautiful environment.
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EXHIBITION AREAS The Kendra incorporates two museums – the Sanskrit museum of India terra-cotta and the Sanskrit museum of everyday art. These, the most public of all the spaces, needed special attention for clarity of movements. The layout of spaces is such that a visitor moves from one exhibit to the next without repeating any. Museum of Indian terra-cotta A series of modular units, have been arranged around landscaped courtyards, Good play with transition of spaces : The module, square in plan, has been used in various forms – sometimes as just a platform, a room without roof, a room with roof but no walls, and sometimes totally enclosed with regular doors and windows . the roof is always pyramidal as it suits the square plan and blends well with the scale and rural setting. A majority of terracotta belonged to open and semi-open environments. From the common earthen pot that stores drinking water to giant-sized cultic equestrian figures of rural Tamil deities of the aiyyanar cult, terracotta art occupies a central position in Indian life and culture. Having had their existence always outside the rigid and binding rules and regulations of the shilpshastras or the constituted Hindu canons governing artistic expression, terracotta art enjoys tremendous freedom in imagination and conception. Sanskriti found it somewhat intriguing that in spite of their widespread usage, antiquity, artistic merit and cultural significance, terracotta objects have not been systematically collected.
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MUSEUM OF EVERYDAY ART TEXTILE MUSEUM TYPES OF DISPLAY Situated at the Sanskriti Kendra, Sanskriti Museum of Everyday Art is a rich repository of about objects of everyday life of traditional India which show some sign of excellence in craftsmanship, conception, design or ingenuity of practical device. The collection includes folk and tribal sacred images, accessories for rituals, lamps, incense burners, writing Materials, women's toiletries, weights and measures, ovens and tongs, locks and latches, apparatus for opium and cannabis, vessels, children's accessories and kitchen implements. The museum of everyday art is housed in a building sunk partly below ground and its roof is effectively used a outdoor exhibition terraces for the terra-cotta museum. TYPES OF DISPLAY
DISPLAY
OPEN DISPLAY
SEMI-COVERED DISPLAY
HANGING
ENCLOSED DISPLAY KEPT IN STAINLES S STEEL DISPLAY BOARDSWI TH GLASS TO LOOK THROUGH
.
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TEXTILE MUSEUM
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DISPLAY
TEXTILE MUSEUMTHE MUSEUM OF EVRYDAY ART SUNK PARLTY BELOW GROUND BY 1500 m.
ENTRANCE TEXTILE MUSEUM IS HAVING FULLY ENCLOSED DISPLAY SYSTEM FOR THE PROTECTION OF THE MATERIAL.
THE TERRACE OF THE EVERYDAY ART MUSEUM SERVES AS THE DISPLAY AREA FOR ‘MUSEUM OF INDIAN TERACOTTA
LESSONS: Building exhibits a perfect example of an environment suitable for a cultural setting. A building designed in the landscape, with the built form complementing the natural landform. Spaces are well articulated and the movement pattern provides a good experience to the visitors as he walks from open to sky to semi-covered courts and finally into a covered space. The building holds a deserted look as the craftsmen are not generally seen at work. One would say that all the environment lacks are the people. People hold a lot of importance; their presence not only enhances the festive environment but also encourages the craftsmen displaying the work.
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3. DESIGN PROJECT 3.1 GENERAL CONSIDERATIONS INDOOR OUTDOOR SPACES As most of the handicraft production is done in household scale, the working environment is not ideal. In urban areas, space at household scale is felt inadequate to expand production. Hence, for ideal working condition - large ventilated rooms, with high ceiling and transitional areas such as courtyard, or open to sky spaces should be well appreciated in the studios and work areas. The link between indoor and outdoor space should be maintained as far as possible.
Indoor Outdoor Space
VISUAL ENVIRONMENT Workshop must have good amount of natural daylight, with high level windows equal to at least 25-30% of the floor area. Roof lighting is also preferred. All windows should have some sort of daylight control. Artificial light comes into use in absence of natural light, where detail work and displayed images are to be focused. Lighting should be such that it does not produce any glare, less maintenance, much saving of wall and ceiling space. THERMAL COMFORT A workspace should be thermally, mentally and physically comfortable. Thermal comforts can be gained by application of passive techniques. It is quite difficult to maintain the thermal environment in a workspace. As there is frequent opening for supply of raw materials, heat produced by machine and vibration, heat gain and loss are frequent. Use of proper ventilation, growing vegetation as shading devices, using double glazing can be the solutions. Spaces created should be inter-related- workshop, exhibition, shop, craftsman houses and outdoor space should be interesting and inter-related.
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3.2 CRAFT AND THEIR REQUIRED AREAS INDOOR OUTDOOR SPACES
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3.3 DETAILED REQUIRNMENTS FOR CRAFT CENTER NO.
1.
2.
SPACE
NO. OF USERS
CRAFT CLUSTER EMBROIDERY CRAFT WOODEN/BAMBOO CRAFT TRRACOTTA CRAFT (WORKSHOP, TRAINNG AREA, RAW MATERIAL STORE, SHOP, EXHIBITION SPACE)
AREA IN SQ.M
520 520 520
MELA GROUND 570
3.
AMPHITHEATRE
200
290
4.
DORMITARY ROOM (FOR STUDENTS AND TEACHERS)
6 ROOM
450
5.
RESIDENCE (FOR CRAFTSMAN)
6 FAMILY
650
6.
ADMIN BLOCK DIRECTOR OFFICE STAFF ROOM RECEPTION DESK STAFF TOILET
1 5-6 1 MALE\ FEMALE
35 35 35 33
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3.3 DETAILED REQUIRNMENTS FOR CRAFT CENTER
NO.
7.
SPACE
CAFETERIA KITCHEN SERVICES
8.
LANDSCAPE
9.
INFORMATION DESK
10.
DISPLAY AREA
NO. OF USERS
AREA IN SQ.M
50-60
470 150
1
15
730 11.
12.
PARKING
SHOP
5-7 (BUS) 18-20 (2 WHEELERS) 18-20 (4 WHEELERS)
1000
6
250
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4. SITE ANALYSIS 4.1 LOCATION Polo forest lies in the hilly areas of Vijaynagar in Sabarkatha district of Gujarat. It lies in the southern tip of Aravalli ranges. Geographically it is situated between latitudes 23`13`15” and 24`35`30” north and longitudes 72`47 and 72`37`30”east. Polo forest is 175 kms from city of Ahmedabad.
4.2 LINKAGES AND TRANSPORTATION SH10 passes through the taluka. Facilitate by inter state bus transport hourly. Local transport by private jeep and auto rickshaw. Rail facility till idar only- not up to Polo can be accessed by state transport buses from ahmedabad as well as Vadodara. The region is well connected by the state transport and private vehicles. Best time to visit polo forest Winter and monsoon is the best season to visit this place. Annually 40,000 n more people are visit to polo forest.
4.3 HISTORICAL BACKGROUND The ancient Polo city was built around the river Harnav, an ancient water body spoken of in the puranas. It is believed to have been established in the 10th century by the parihar kings of idar, and was tern conquered in the 15th century by the rathod Rajput's of marwar. The name is derived from pol, the Marwari word for "gate," signifying its status as a gateway between Gujarat and Rajasthan. The 400 square km area of dry mixed deciduous forest is most lush between September and December after the monsoon rains when the rivers are full, but at any time of the year it provides a rich wildlife experience. There are more than 450 species of medicinal plants, around 275 of birds, 30 of mammals, and 32 of reptiles. There are bears, panthers, leopards, hyenas, water fowl, raptors, passerines, and flying squirrels (mostly heard, rarely seen), all living under a canopy of diverse plants and trees. During winter, all manner of migratory birds occupy the forest; during the rainy season there are wetland birds.
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The ruins of a fort wall, gateways, street patterns, settlements with residential quarters and various temples of Hindu and Jain religious suggest the presence of a prosperous town in the polo region. The temple are now scattered over the region and have decayed on account of the subsequent outgrowth of the vegetation. There are number of temple complex in the region, they can be classified into two main categories: (1) Hindu Temple (2) Jain Temples Hindu Temple : Temple With Kund, Shiva-shakti Temple, sharaneshwar Temple, Shivpanchayatan 1, Shivpanchayatan 2, Shiva Temple, Shakti Temple Jain Temple: Lakhena Jain Temple, Jain Temple 2, Jain Temple 3, Navdera Group Of Temple.
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4.4 FLORA The total forest are in the district in 1991 was 1,26,893 ha. of which 65085 ha. was reserved forest. In major part soil has become poor and shallow at many places due to removal of nature crop which has contributed towards further deterioration. Dry Teak, The Species Comprise Of Teak (Tectonic Grandees), Sadad (Terminally Crenulated), Timru (Diospyros Melanoxylon), Dhav (Anogleissus Latifolia), Bhongaro (Erythrina Sub-rosa), Amla (Emblica Oficinalis), Khakhrao (Butte Monospermous), Sissoo (Dalbergia Disso), Dudhi Kalo (Weightier Tormentors), Khair (Acacia Catechu), Asitro (Bauhinia Racemes), Billi (Aegle Marmelos), Bamboo, Ubiyo (Ficus Glomeration).
SITE
5 3 2
1
4
1
2
3
4
5
6
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LOCATION: Polo Forest, Abhapur (Gujarat) SITE AREA: 17,280 SQ.M Site Is Near By Polo Tent City, Shrneswar Temple, Sun Temple, Polo Retreat Resort.
5 6
4 2
3
1
1
5
2
6
3
4
CRAFT PROMOTION CENTER, ABHAPUR GAM, POLO FOREST
4.5 SITE ANALYSIS SITE AREA AND ROAD NETWORK TOTAL SITE AREA: 17,280
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IMPORTANT LANDMARK
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SITE NEAREST BUILDING
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SITE CLIMATOLOGY
POLO FOREST MAX. TEMPRATURE 43 DEGREE C MIN. TEMPRATURE 6 DEGREE C
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5. DESIGN PROCESS 5.1 CONCEPT The conceptual design is started by taking Sharneshwar temple as it’s AXIS, from where the approach or site starts. The monuments which comes between are redevelopment.
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CENTER AXIS 3D VIEWS
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5.2 DESIGN EVOLUTION SITE EVOLUTION TEMPLE WORKSHOP ADMIN BLOCK CENTER PROMENADE AMPHITHEATER SHOP CAFETERIA ROOMS (CRAFTSMAN AND STUDENT) SITE AND TEMPLE CONNECT PATHWAY PARKING GARDEN
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5.2 DESIGN EVOLUTION CLUSTER EVOLUTION
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PROCESS MODEL
WORKSHOP AND STUDIO RAW MATERIAL PREPRATION AREA DISPLY AREA COUTRYARD
CRAFT PROMOTION CENTER, ABHAPUR GAM, POLO FOREST
5.2 DESIGN EVOLUTION CLUSTER MATERIAL EVOLUTION
PROCESS MODEL.
All wall material is BRICK WALL STONE and BAMBOO both are local material of polo forest.
All vertical wall material is STONE WALL All horizontal wall material is BAMBOO WALL
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5.3 FINAL DESIGN SITE PLAN
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5.3 FINAL DESIGN SITE ROOF PLAN
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SITE PLAN AND SECTIONAL ELEVATION
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WORKSHOP PLAN AND SECTIONAL ELEVATION
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WORKSHOP ROOF PLAN
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WORKSHOP PLAN AND SECTIONAL ELEVATION
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WORKSHOP ROOF PLAN
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ADMINISTRATIVE PLAN AND SECTIONAL ELEVATION
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ADMINISTRATIVE ROOF PLAN
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CAFETERIA PLAN AND SECTIONAL ELEVATION
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CAFETERIA ROOF PLAN
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RESIDENCE FOR CRAFTSMAN PLAN AND SECTIONAL ELEVATION
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RESIDENCE FOR CRAFTSMAN ROOF PLAN
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RESIDENCE FOR STUDENT PLAN AND SECTIONAL ELEVATION
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RESIDENCE FOR STUDENT ROOF PLAN
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6. CONCLUSION Crafts, Visual Arts and other forms of cultural expression are closely related to the identity, heritage and sociocultural well being of indigenous and local communities. Tradition referring to cultural expression generally were first created a long time ago, which have been transmitted from generation to generation and are regarded as pertaining to a particular people or its territory. Craft as such are a source of tradition which has been passed on from one generation to the other. It is our duty to continue this generation of craft, a skill to be preserved and promote. The Craft Center tries to achieve this continuation of generation. It will give a space for craft as well as craft people to house. It will continue the culture of craft and inspire people to be indigenous. Modernization has crept into scene but it is also true, that forgetting our tradition and culture is like loosing our identity. Both should go hand in hand - preserve and develop. Craft Center is a modern achievement but the elements provided are traditional and based on culture and society. Thus the Craft Center has tried to achieve a communicable space for craft, craftsmen and visitors.
CRAFT PROMOTION CENTER, ABHAPUR GAM, POLO FOREST
7. BIBLIOGRAPHY http://www.gurjari.co.in/crafts http://www.gujaratindia.com/about-gujarat/handicraft.htm http://www.gujarattourism.com/destination/details/12/82 http://www.shilpgram.in/Home/Shilpgram-Udaipur http://gaatha.com/molela-terracotta-plaque/ http://www.dsource.in/resource/molela/people http://www.sanskritifoundation.org/museums.htm http://collegeworkventures.blogspot.in/2014/05/thesis.html http://slideplayer.com/slide/6067521/ BOOK The Gujarat hidden treasures of GUJARAT How the Arts impact communities A TH- 1046 PAY
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B. ARCH. THESIS
2017