Thesis Report Year: 2020-2021 Batch No. 18
UNEXPLORED SOCIETY ‘ETHNIC TOURISM CENTER’ ZIRO, ARUNACHAL PRADESH
Undertaken by: Harshita Mangal Enrollment No.:16E1AAARF40P041 V Year B.Arch. (A)
Prof. Pushpak Bhagwati
Prof. Archana Singh
GUIDE
COORDINATOR
Aayojan School of Architecture ISI-4, RIICO Institutional Block, Sitapura, Jaipur-302022
APPROVAL The thesis titled “Unexplored Society” is hereby approved as an original work of Harshita Mangal, enrolment no. 16E1AAARF40P041 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.
18 June 2021 Jaipur
Prof. K.S. Mahajani EXTERNAL EXAMINER 1
PRINCIPAL
Prof. Archana Singh EXTERNAL EXAMINER 2
COORDINATOR
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DECLARATION I, Harshita Mangal, here by solemnly declare that the thesis undertaken by me, titled ‘Unexplored Society’ is my original work and wherever I have incorporated any information in the form of photographs, text, data, maps, drawings, etc. from different sources, has been duly acknowledged in my report. This thesis has been completed under the supervision of the guide allotted to me by the school. Further, whenever and wherever my work shall be presented or published it will be jointly authored with my guide. Harshita Manga V Year B.Arch. (A) Aayojan School of Architecture, Jaipur
CERTIFICATE This is to certify that the thesis titled, Unexplored Society is a bonafide work by Harshita Mangal of Aayojan School of Architecture, Jaipur. This thesis 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 thesis fulfills the requirements relating to the nature and standard laid down by the Rajasthan Technical University. Prof. Pushpak Bhagwati Guide Aayojan School of Architecture, Jaipur
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ACKNOWLEDGEMENT
I am taking this opportunity to share my profound sense of gratitude and the indebtedness of Prof. K.S. Mahajani, my Principal, for providing a suitable atmosphere for healthy learning. I would like to thank Prof. Dean of Academics and my guide. Prof. N. S. Rathore for his continued guidance during the project, motivation and support. I'm very grateful to my thesis coordinator Prof. A.S. Rathore for providing me with this chance to carry out this thesis and her valuable guidance and time. I express my deep gratitude to my guide Prof. Pushpak Bhagwati, for his valuable insights, guidance and support. Thank you, for being patient with me. I wish to thank my family, friends for being a constant motivation and for their valuable inputs. Thank you, Rachit for patiently listening to my rants and always giving me valuable inputs, innovative ideas to relate to, books to read and most importantly for always having faith in me. I also express my gratitude to my colleagues for their help and guidance. Thank you, Dad, for helping me with the case studies and Mom for always being supportive.
Harshita Mangal V Year B.Arch. (A) Aayojan School of Architecture, Jaipur
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CONTENTS Approval
i
Declaration
ii
Certificate
ii
Acknowledgement
iii
Contents
iv-v
CHAPTER 1: INTRODUCTION
1-7
1.1 Background of the Study 1.2 Research Question 1.3 Project Aim 1.4 Project Need 1.5 Project Objectives 1.6 Methodology CHAPTER 2: CULTURE AND ARCHITECTURE
8-10
2.1 Activities 2.2 Space Activity with requirements 2.3 Stakeholders CHAPTER 3: PRE-DESIGN STUDIES
11-19
3.1 Dilli Haat, INA 3.2 Dilli Haat, Janakpuri 3.3 Choki Dhani, Jaipur CHAPTER 4: SITE CONTEXT
20-43
4.1 Site Selection 4.2 About Ziro 4.3 Site Analysis Macro Level 4.4 Site Analysis Micro Level 4.5 Area Programme 4.6 About Apatanis 4.7 Housing Characteristics of Apatani iv
CHAPTER 5: ETHNIC TOURISM DESIGN
44-74
5.1 Conceptual Illustration 5.2 Form Development 5.3 Architecture Presentation Drawings - Site Plan - Floor Plans - Axonometric Drawings and Part Plans - Sections, Structure, Services & Details CHAPTER 6: INTERIOR DETAILS
75-118
6.1 Introduction 6.2 Pre-Design Studies - Krushi Bhawan, Orrisa - Choki Dhani, Jaipur 6.3 Bamboo as Construction Material 6.4 Admin Block 6.5 Museum and Workshop 6.6 Café 6.7 Construction Details CHAPTER 7: ELECTRICAL SYSTEM IN TOURISM CENTER
119-132
7.1 Introduction 7.2 Selection of technology 7.3 Electric Installation 7.4 Implementation of technology
GLOSSARY OF TERMS
vi
BIBLIOGRAPHY
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CHAPTER 1
INTRODUCTION UNDERSTANDING THESIS PROJECT
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“Architecture should speak of its time and place, but yearn for timelessness.” -Frank Gehry The culture of a society is recognized through its manifestations like language, art and architecture.
As quoted by Parvizi, "Architecture is the portray of a nation's culture integrated with all aspects of human life and has a profound impact on it. Architecture is the result of the culture of the society."
1.1 About the Project Project Title: Ethnic tourism Center, Ziro, Arunachal Pradesh Project Type: Tourism/Cultural •
Ethnic tourism is one of the emerging concepts of planned tourism.
•
An interest in exploring the indigenous lifestyle of the exotic people has given rise to the development of ethnic tourism in many countries of the world.
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This form of travel offers an opportunity to the traveler to have a first-hand interaction with the local people and learn from them, their way of life, culture, tradition and beliefs, by way of observing or participating in the festivals, rituals, dances, and other celebrations.
•
As a result, it has been observed that tourism can help in reviving the pride and interests of the local people in their own ethnic traditions and culture and they can be motivated to conserve and preserve the same.
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1.2 Research Question HOW ARCHITECTURE CAN HELP PRESERVING THE CULTURE OF THE PLACE? In the dissertation research ‘Role of Place Identity on Built Environment’ the hypothesis proved is ‘Sense and Identity of a place defines it’s Built environment and helps preserving culture of the place’ The research helps in answering the question and help in developing future objective of the projects.
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1.3 Project Aim The aim of the project is to promote the tourism of the Culturally rich Tribe in Arunachal Pradesh named ‘APATANI’ tribe with promoting the culture of the tribe and helping in preservation of the tribe through tourism development. The tourism development will subsequently create an income flow helping upliftment of Apatani Tribe.
1.4 Project Need The project helps in developing a tourism center for the promotion and upliftment of tribes and the tourists. The major Needs of the project are stated below:
Create Awareness in tourists and locals
Fig 1.1 Image of tourist with Apatani tribe
Promotes Tourism
Fig 1.2 Ziro Landscape
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Boosts Economy through Tourism
Fig 1.3 Ziro’s community
Provides better infrastructure for locals and tourist
Fig 1.4 Ziro’s accommodation
Helps in Preserving culture
Fig 1.5 Settlement in Ziro
It is seen that the emerging trends in tourism are a more conscientious forms of tourism along ecological lines The project will incorporate the emerging concept of sustainable tourism and its application in North East India. The project would provide useful and relevant information for tourism planners, tourism projects decision makers, tour operators and other tourism industry stakeholders who explore the needs and interests of indigenous people, with a view to involving them more fully in tourism as well as other economic and cultural developments.
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1.5 Project Objectives To promote tourism of Ziro Valley through development of the tourism industry.
Tourism Promotion
Highlighting the place identity of Ziro and helps in Culture preservation through infrastructure development.
Highlighting Place Identity
To Help in creating a public community development area for the locals involvement.
Local people Development
To use design strategies which includes sustainable approach and preserving local construction methods.
Minimal harm on site and environment
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1.6 Methodology ETHNIC TOURISM CENTER
Introduction to study
Need of study
Background of study
Analysis
Activity Spaces
- Site
- Users
- Culture
- Requirements
- Local Architecture Case Studies
Design Development
Drawings with details
Concept & Zoning
Interior detailing of different zones
Electrical system of the project
Alternate source of energy production
Load Calculation Conclusion 7
CHAPTER 2
CULTURE & ARCHITECTURE DEVELOPMENT OF THESIS PROJECT
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2.1 DEFINING ACTIVITIES
Tourism Promotion
Administration Auditorium Market Food Court Accommodation
Place Identity
Museum Workshops Food Court Market Festive Areas
Local People Development
Educating Preserving Developing Markets Celebrating
Minimal harm to environment
Construction technology Management Energy resources
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2.2 SPACE ACTIVITY WITH REQUIREMENTS
2.3 STAKEHOLDERS Arunachal Pradesh and tourism JURISDICTION & GOVERNING BODY Arunachal Pradesh government
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CHAPTER 3
PRE-DESIGN STUDIES ANALYSIS OF DIFFERENT BUILDING DESIGNS
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3.1 DILLI HAAT, INA Criteria of Selection Cultural relation to the design of the study Circulation pattern of the Market Area Program of different spaces according to study User group Regional context Local construction technology
DILLI HAAT is a project of Delhi tourism and New Delhi municipal corporation. It provides an ambience of a traditional village market for more contemporary needs. It provides a synthesis of craft, food, and cultural activities. DILLI HAAT is not just a market place; it has been visualized as a showpiece of traditional Indian culture forum where rural life and folk art are brought closer to an urban business. Pedestrian Circulation
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Factors influencing the form & planning of Dilli Haat
Linear Planning helps in the proper circulation required for the overall journey of the building.
Part Plan Use of Trees near the seating in Food Plaza
Part Plan Using landscape in between shops nearby street
Elements and Embellishment Use of Pillar like structures at the entry of the haat for demarketing the grand entrance to the street and used in breaking the visual connection.
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Journey within the Building
Ticket Counter: The Entrance plaza is the first visual that we perceive of Dilli Haat
Curved Shops: To your Right we see the first arcade of shop
Entry Junction: this junction comes when we enter into the haat after the security check. This gives us the overview of the haat
Food Plaza: After all the shops and stall, we see the cuisines coming from all over the India with their most favorite dish
O.A.T.: at the end of the vistas, we see the performance and visual art Open Air Theatre.
The linear planning helps in manifesting the proper outcome and the function of a space proposing its location with the level of user interaction. This makes the planning more interesting in respect to a public square
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3.2 DILLI HAAT, JANAKPURI Criteria of Selection Cultural relation to the design of the study Area Program of different spaces according to study User group Regional context Local construction technology ‘Haat Beat’ was the starting point to this design competition entry in 2005. Delhi Tourism and Transportation Development Corporation had invited entries for a Dilli Haat in Janakpuri - a massive site with a large residential audience, in a part of Delhi that had very few places to go out to.
Fig 1.5 Settlement in Ziro
Fig 3.1 Isometric view of Dilli haat
Pedestrian circulation in Dilli haat is not linear and does not provide a sense of direction in the whole place.
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Concept Conception of the program is as large a design intervention as its physical manifestation. The final functionality found an indoor, well-equipped, 800- capacity auditorium for formal concerts and an informal similar capacity open-air amphitheater that works simultaneously with independent spaces and support services. A multipurpose, multi-scaled exposition hall for exhibitions and seminars is proposed. A set of four baskets houses a music museum, a music store and music workshop space along with tourism offices and cafes.
Fig 3.3 view of Dilli haat
Fig 3.2 view of Dilli haat
The green and paved amphitheater instantly reduces the huge mass of the auditorium and at the same time helps retain the green cover, helping in heat control.
Fig 3.4 Section of Dilli haat
Fig 3.5
Section of Dilli haat
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3.3 CHOKI DHANI, JAIPUR Criteria of Selection -Cultural relation to the design of the study -Area Program of different spaces according to study -User group -Regional context -Local construction technology -Accommodation area program Chokhi Dhani is “A placid complex begetting a panoramic countryside view.” In the magical land of Rajasthan where the heat shimmers like phantom water, where the things one sees are not really there and where the things that vanish behind veils of illusion, stands Chokhi Dhani, an ethnic village and resort with a blend of rustic environment and modern amenities making it an important destination in Pink city. ZONING ANALYSIS-Choki Dhani village -Cluster planning -Functionally inter-related spaces were clubbed together and segregated in a hazard manner -The entire theme of Rajasthan was depicted in terms of jungle, lake side, desert side etc.. The proximity of these spaces were a beautiful amalgama on to the visitors -Open spaces were rightly acknowledged with right use of activities Like merry-go-rounds, camel rides,chaat shops etc. 17
ELEMENTS, ENHANCING THEME Very minute detailing has been done to enhance the theme and to create a real village scene. The whole environment is adorned with such elements as • Chakki • hal • bamboo bridge • lanterns • chakkas • potteries • cots • well • chabutaras (platform) • aalias (nooks) for deepaks. ANALYSIS • Site provides no natural views, which are supposed to be essential for a project like ethnic village but this shortcoming has been entirely subsided by the environment created with in the resort. • Parking area is not detailed is not covered and not given much importance in planning. • Walkways after car parking are long and unprotected from rain and sun. • No covered connections between any two units, but problems aroused by this are taken care by efficient management. • Reception hall area, capacity, and facilities are grossly insufficient. • Visitors and recreation areas are well segregated from residential units providing privacy and avoiding cross circulation patterns. • Underground bar, indoor restaurants, performing arenas although elegant and intimate but also gives feeling of congested ness. • Variety in design is achieved through different forms provided to huts, variation of interior facilities and the variety of detailing both in interiors as well as exteriors- give a sense of individuality and belongingness to the visitors.
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CHAPTER 4
SITE CONTEXT THESIS PROJECT SITE
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4.1 SITE SELECTION Ziro lies in the Lower Subansiri District of Arunachal Pradesh, which has derived its name from the river Subansiri, a tributary of the river Brahmaputra.
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Site is located on the existing Concert Area in Ziro which is Situated 4-5 km away from the main city helping in avoiding the blocking of view.
Fig 4.1
Top view of site
Fig 4.2
view of site
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Land Use Plan
Development Controls
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4.2 ABOUT ZIRO It presents a picturesque landscape where the rice fields are surrounded by thickly forested mountains on all sides. They plant trees on private land even though they live in the middle of forests to support the expanding population, where planting follows cutting which has been a sustainable practice. These forests are not only the source of fuel, fodder, food, and timber, but also a part of socio-cultural and ritualistic purpose.
Fig 4.3
view of Ziro
Fig 4.4
Fig 4.5
view of Ziro
view of Ziro
Ziro valley comprises of the seven main historic villages namely Hong, Hari, Bulla, Hija, Dutta, Bamin-Michi and Mudang Tage, as already stated. Besides the seven traditional villages,recently some new settlements have been made by the Apatanis in places like Tarin,Hakhe-Tari, Siro, Manipolyang, Dilopolyang, Sibe, etc.
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Fig 4.6
Map of Ziro
The emphasis of ethnic tourism, such as visits to native homes and folk villages to observe and/or participate in native customs, rituals, ceremonies and other traditional activities has a profound impact on the host culture and environment”. The place is great for adventure seekers too; whether one is looking forward to a soul-captivating trekking experience, a jungle camping fun or wildlife exploration
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4.3 SITE ANALYSIS AT MACRO LEVEL Ziro has a humid subtropical to temperate type of climate with an average annual temperature of 16.8 °C. The climate may be divided into four seasons in a year, namely, the cold weather season December to February, the pre-monsoon season from March to May, the south-west monsoon from June to the middle of October and the post monsoon season from the second half of October to November. December and January are the coldest months of the year, while July and August are warmest months in the valley.
Climate, temperature and rainfall patterns of a destination play an important role in determining the tourist flow and availability of tourism products. Like any other region of North East India, Ziro is also challenged by the seasonality aspect in tourism development resulting from the heavy monsoon season, which disrupts the accessibility through the hilly terrains causing landslides and road blockages.
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Cloudy, sunny, and precipitation days
Maximum temperatures
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Precipitation amounts
Wind rose
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Drainage Ziro is drained by the small river named Kile, which flows to the south for about 40 kms and meets the river Panior, near Yazali (Subansiri District Gazetteer). The river Kile acts as the main source of irrigation system in the Apatani plateau.
Soil type The Apatani valley has humid black and reddish colored soil which has originated as a result of older alluvial deposits. The top soils are sandy loam to clayey loam in texture.
Forest Resource Bamboo plantation of the Apatani tribe is yet another attraction, which is almost owned by every individual household. It serves the purpose of house construction, fencing, firewood, and also used as edible shoot consumption. It is the proper maintenance of these cane and bamboo gardens that has always helped the Apatani community to rebuild a house within two to three days in case of a fire breakout, which is an easy possibility for the closely packed villages. The bamboo plantation is dominated by a single species, Phyllostachys bambusoides (Giant Timber Bamboo), popularly known as bije bamboo.
Analysis Sunny days in Ziro is very less, major days have pleasant weather which leads to design elements in buildings which leads to natural light in the space.
Rainy days is much more in jun.Aug. month which reduces the tourist foot fall, By designing a building which provides proper facilities of stay, it will increase the tourism of Ziro. Fig 4.7
view of Ziro
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4.4 SITE ANALYSIS AT MICRO LEVEL
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4.5 AREA PROGRAMME
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4.6 ABOUT APATANIS The Apatanis, like the many tribes of Arunachal Pradesh, have no written script depicting their historical evidences from the past. It is only in the oral traditions, performances of rituals and beliefs and the material culture that the stories relating to their origin and migration is reflected.
Fig 4.8
Apatani tribe
Fig 4.9
Dance of Apatani tribe
Physical features of the Apatani tribe The members of the Apatani tribe stand distinct in their physical appearance in comparison to their neighboring tribes. They have features which are somewhat not typical Mongoloid type. The history behind this unusual facial feature is that the Apatani women were considered to be the most beautiful among other tribes and were constantly kidnapped by men of other tribes, especially the Nyishis. Therefore, in order to protect themselves by making them look less attractive, they started to wear nose plugs which were replaced every year, progressively increasing their size until it reached up to 5 centimeter in diameter. Further typical tattoos were marked over the face in blue lines running along the nose and chin. However, this brutal practice was stopped in the 1960s when the truce was signed between Apatani and Nishi tribes.
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Religion From the earliest period of time, most of the Apatani tribes are followers of Donyi Polo faith Donyi means sun locally called Ayo Danyi and Polo for moon called as Atoh Piilo.
Food and beverages The Apatanis have a very simple cuisine, where rice is the staple food besides maize and millet and take it with pork and beef or fish and vegetables mostly in boiled form. Supplementary diet consists of wild roots and shoots, herbs and shrubs. Rice beer is very much common among this tribe which is prepared in every household, served with local herbal salt known as tapyo and boiled meat as well as some herbs.
Fig 4.10
Facial feature of Apatani tribe
Fig 4.11
Apatani tribe women
SOCIAL LIFE, FAIRS AND FESTIVALS The Apatani society is traditionally divided into two classes; Mite and Mura, meaning the rich and the poor respectively. The upper class hold the larger part of land and are believed to have more power and influence in administrative decisions. The tribe is known for their colorful culture with various festivals, intricate handloom designs, skills in cane and bamboo crafts, and vibrant traditional village councils called bulyañ. 32
Fairs and Festivals Fairs and festivals play an integral role in the life of every Apatani. It is an expression of their culture and tradition. Although there are many ceremonial fairs and festivals in the Apatani society, the three important and focused are Murung, Myoko and Dree festivals, celebrated in the month of January, March and July respectively.
Fig 4.12
Apatani tribes dance
Fig 4.13
Apatani tribes in ziro festival
Dance and Music The Apatani tribe has many popular dance forms and music which are mainly performed during the festival time. One of the most popular dance and music performance is Daminda, which is performed during the celebration of Dree festival Art and Craft The Apatani tribe is known for making many items made of bamboo (bije) and cane (tarpi) for their daily requirement. These traditional products have now become craft items with attractive designs sold as souvenirs Fig 4.14
Crafts of Apatani tribe
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4.7 Housing Characteristics of Apatanis Apatani’s believed in living together. Oral history says that they always lived in a colony together as a family. Apatani’s live in middle altitude region. They follow Row housing system. Walls of all the adjacent house are attached. The planning of house is done in continuous pattern in a row until or unless there is a breakage like a road or any other obstacle in between.
Plan is divided in two parts, first part of the house is used as storage space, hen coop. The second part of the house is the main living area, where almost all the activities are done like cooking, sleeping, resting, changing, chit-chatting, house hold work, practicing handicraft, seaving. At the center of the living area is the fire place called ‘Oogu’. The fire usually burns throughout the day, especially during the cold season. It is not only for cooking and warmth but also to keep insects away. The area of the house is adjusted according to the size of the family. The Fire Place is defined by placing wooden logs in a rectangular form called ‘Piri’. The wood and meat which is to be used is placed right above the fireplace in two levels. The place where it is kept is called ‘Darake’.It is made of wood and hang with the help of jute or cane rope tied to the ceiling.
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The houses are on Silts and are called ‘Chang Ghar’.The height of the slit varies from 1.5-2m.The reason for using Slits: • Protection against disaster (Arunachal is landslide prone area). • Space of the stilts are used as pig pit. The main stairs ‘Abya’, leads to the veranda called ‘Simbya’ leading to the entrance to the house.
Fig 4.15
Typical house of Apatani tribe
Fig 4.16 Inside house of Apatani tribe
Fig 4.17 Inside house of Apatani tribe
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Elements of Apatani House Abya (Staircase): Abya is the Staircase leading to the veranda of the house. It varies in size and shape. Materials from which it is made may also vary from house to house
Fig 4.18
Fig 4.19
Fig 4.20
Simbya (Veranda) Simbya is a veranda leading to the entrance of the house. In most of the houses there are two Simbya one in the front and other at the back of the house. The size of the Simbya may vary from house to house. A parapet is made covering the Simbya. The design, height and the material used to make the parapet may vary from house to house.
Fig 4.21
Fig 4.22
Fig 4.23
Aangya,Babo (Totem) It is a post made of bamboo, which can be seen outside every house. It is believed to be sacred for the Apatani’s. These are of two type ‘Aangya’ and ‘Babo’. Aangya is the shorter post which is decorated with cane, egg shells and bird feather. Babo is more like a pole that is decorated using thin strips of cane and bamboo. It is placed outside their house throughout the year. These are changed during the festival of Myoko. Their design may vary from house to house. 37
Fig 4.24
Fig 4.25
Aai jiri (Pig pit) The houses being built on the stilts have space below them. This space is used for the pigs and is called ‘Aai jiri’. The Aai jiri serves as a space for the pigs to eat and stay. All the waste from the house, the vegetable waste, meat waste and human excreta are discarded into the Aai jiri. There are openings given in the Aai jiri for proper air circulation for the pigs staying there. The main material used to make the Aai jiri is bamboo or timber. The design and size may vary from house to house according to their requirements and needs. Window There are no windows in a typical Apatani house. The only source of light and ventilation were the doors.
Fig 4.26
Aaiye (Door) Aaiye is made of bamboo or timber. The standard door size for an Apatani house is 750X1800 mm. Since, the Apatani people are short so the standard size is different in their style of Architecture. The design of the door may vary from house to house.
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Fig 4.27 Door of Apatani House
Tarsi (Walls) The Tarsi are made of bamboo or timber. The main supporting columns for the walls are long bamboo or wooden logs. And the walls are mainly made of bamboo weaved together in different patterns or wooden planks.
Fig 4.28 Fig 4.29
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Myopii (Floor) and Reke (Ceiling) Myopii and Reke are made of bamboo or timber placed in different pattern and style accordingly. For supporting the Myopii and Reke bamboo or timber joists are used. In the image we can see that bamboo is used in the ceiling which is supported by another bamboo member, wooden planks are used for the wall which is also supported by bamboo, and bamboo weaved is used for flooring which is supported by floor joists. Fig 4.30
Nengka (Toilet) In the old Apatani house no proper space for Nengka was defined. In some of the houses there was just a partition in one corner of the house and a hole was there in that space. The waste from that hole was discarded into the Aai jiri (pig pit). In the below image the bamboo platform we see is used to sit facing towards the wall and the waste is disposed into the pig pit. Fig 4.31
Fig 4.32
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Malo (Roof) Malo is made of bamboo supported by bamboo or timber purlins and rafter. Image shows the use of bamboo in the roof which is supported by long bamboos.
Fig 4.33
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Storage space There are two storage space. First one is the space is between the ceiling and the roof of the living area of the house and the other one is the first part of the house All the regularly needed things are used in the first part of the house, it is also as hen coop. All their extra things like utensils, wood, food,their local drink (Apong) is also left for fermentation there.
Fig 4.35
Fig 4.34
MATERIALS Materials used are: • Bamboo • Wood • Stone • Dry paddy straws, thatch grass, cane leaves, banana leaves.
Fig 4.36
Fig 4.37
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Bamboo: Bamboo, known as ‘Green Gold of Arunachal Pradesh’. Bamboo used for construction are Bambusa tulda,Dendrocalamus hamiltonii,Dendrocalamus hamiltonii, Bambusa tulda. Bamboo is the most commonly is used in every elements of architecture like roof, floor, ceiling, wall, and stairs.
Fig 4.38
Fig 4.39
Wood Woods used are Pine and Teak wood. As these are very easily available in the jungle. It is used for wall, flooring, stairs, door, as supporting members. Stone Stone is used for steps. Dry paddy straws, thatch grass, cane leaves, banana leaves, Chinese palm They are used for rope for tying the joints in constructions. It is also used for decorating, basketing.
Fig 4.40
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CHAPTER 5
ETHNIC TOURISM CENTER THESIS PROJECT CONCEPT AND DESIGN
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5.1 CONCEPT DEVELOPMENT
Different Zones Connection
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Activity Nodes
Areas according to contours
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5.2 FORM DEVELOPMENT
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5.3 ARCHITECTURE PRESENTATION DRAWINGS - SITE PLAN - PLAN AT 1500 - PLAN AT 5000 - ISOMETRIC VIEWS OF PLANS - DETAIL PLANS OF DIFFERENT ZONES - SECTIONS - AXONOMETRIC DRAWINGS - STRUCTURE DETAILS - SERVICE DETAILS - VIEWS OF PROJECT
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SITE PLAN 1 – Admin Block 2 – Reception 3 – Café 4 – Food Court 5 – Market 6 – Food court 7 – Semi open court
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8 – Auditorium
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9 – Workshop 10 – Museum
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11 – Concert Area 12 &13 – Accommodation
1
2
7 5 8 6 13
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4
3
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PLAN AT 1500
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PLAN AT 5000
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ISOMETRIC VIEWS OF PLANS
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SITE SECTIONS
A’ B
SECTION AA’
A
B’
SECTION BB’ 54
AXONOMETRIC SECTIONS C’ D
C D’
SECTION CC’
SECTION DD’
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Admin block
Plan 56
Section AA’
Section BB’ 57
Admin block
Admin Block has Bamboo as the whole construction material The columns are strengthen by combining 4 bamboo and roof has truss as the structural member for better support
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Museum and Workshop
Plan
Exploded View 59
Section AA’
Section BB’ 60
Cafe
Plan
Exploded View 61
Section BB’
Section AA’ 62
Reception
Plan
Exploded View 63
Market Area
Plan 64
Market Area
Viewing Deck
Exploded View 65
Auditorium
Plan
Exploded View 66
SECTION AA’
67
Concert Area
Plan
68
Accommodation
Isometric View of Accommodation Block
Plan
Plan 69
Section AA’ 70
Construction Details
71
Service Area
72
3D Views
View 2
View 1
View 2
View 1 View 3
View 3
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View 4
View 5
View 6
View 5
View 4
View 6 74
CHAPTER 6 - DESIGN ELECTIVE INTERIOR DESIGN
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6.1 INTRODUCTION
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Ziro valley It presents a picturesque landscape where the rice fields are surrounded by thickly forested mountains on all sides. They plant trees on private land even though they live in the middle of forests to support the expanding population, where planting follows cutting which has been a sustainable practice.
Apatani Tribe The Apatanis, like the many tribes of Arunachal Pradesh, have no written script depicting their historical evidences from the past. It is only in the oral traditions, performances of rituals and beliefs and the material culture that the stories relating to their origin and migration is reflected.
Fig 6.1 Apatani Tribe
Fig 6.2 View of Ziro Valley
Site is located on the existing Concert Area in Ziro which is Situated 4-5 km away from the main city helping in avoiding the blocking of view
Fig 6.3 View of Site in Ziro
Fig 6.4 View of Site in Ziro
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7 ELEMENTS OF INTERIOR DESIGN
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6.2 Pre-Design Studies
Fig 6.5 Elevation of Krushi Bhawan
Fig 6.6 Details of Krushi Bhawan
Fig 6.7 Details of Krushi Bhawan
Fig 6.8 Details of Krushi Bhawan
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Fig 6.9 inside Krushi Bhawan
Fig 6.11 Details of Krushi Bhawan
Fig 6.12 view of Krushi Bhawan
Fig 6.10 Details of Krushi Bhawan
Fig 6.13 Details of Krushi Bhawan
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Fig 6.14 Entrance of Choki Dhani
Fig 6.16 Inside Choki Dhani
Fig 6.15 Inside Choki Dhani
Fig 6.17 Inside Choki Dhani
84
Fig 6.18 Inside Choki Dhani
Fig 6.19 Inside Choki Dhani
Fig 6.21 Inside Choki Dhani
Fig 6.20 Inside Choki Dhani
Fig 6.22 Elevation of Choki Dhani
85
86
6.3 Bamboo as Construction Material
86
Fig 6.23 Bamboo nomenclature
Fig 6.24 Bamboo treatment
87
Fig 6.25 Type of Bamboo Walls
88
Fig 6.26 Joist Arrangement Primaries
Fig 6.27 Joist Arrangement Primaries and secondary
Fig 6.28 Bamboo Floor Panels
89
Fig 6.29 King post truss
Fig 6.30 Fink truss
Fig 6.31 Janssen truss configuration
Fig 6.32 Bamboo rafters with metal couplers
Fig 6.33 Preferred Ceiling Details
90
Fig 6.34 Bamboo tiles
Fig 6.35 Bamboo shingles
Fig 6.36 Bituminised Bamboo mat
91
Fig 6.37 Fixing details of Bamboo post into plinth masonry Fig 6.38 Filling the gaps with sand
Fig 6.39 Fixing detail of bamboo to plinth using bolted connection
Fig 6.40 Bamboo Window
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1 – Admin Block 2 – Reception 3 – Café 4 – Food Court 5 – Market 6 – Food court 7 – Semi open court
11
8 – Auditorium 9 – Workshop
10 9
10 – Museum
1
11 – Concert Area 12 &13 – Accommodation
8 13
2
7
12
5 6
4
3
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Concept Inspired by the traditional architecture of Ziro which has following points, 1. the whole building is constructed using Bamboo which is a single material as a construction material 2 .The roof style is inspired by the original style of the traditional buildings 3 .Furniture is made of bamboo, which gives maintains the flow of the theme of interior. 4. Colors used are all monochrome following the tint and shades of brown as the main color.
94
6.4 - ADMIN BLOCK
95
Layout Plan
Structure Plan
96
Electrical Plan
Flooring Plan
97
Section AA’
Section BB’
98
MOOD BOARD
99
Admin Block has Bamboo as the whole construction material The columns are strengthen by combining 4 bamboo and roof has truss as the structural member for better support
100
Furniture details
101
6.5 - MUSEUM AND WORKSHOP
102
Layout Plan
103
Structure Plan
104
Electrical Plan
105
Flooring Plan
106
Section AA’
Section BB’
107
Mood Board
108
6.6 - CAFE
109
Layout Plan
Structure Plan
110
Electrical Plan
Flooring Plan
111
Section BB’
Section AA’
112
Mood Board
113
References
114
6.7 Construction Details Furniture Details
115
Roof Detail
116
117
Joinery Details
118
CHAPTER7 - ELECTRICAL SYSTEM IN PROJECT CONTENTS
CHAPTER 7.1: INTRODUCTION 7.1.1 About the project 7.1.2 Elective Description CHAPTER 7.2: SELECTION OF TECHNOLOGY 7.2.1 Criteria of selection 7.2.2 Scope of work 7.2.3 Backup Load CHAPTER 7.3: ELECTRICAL INSTALLATION 7.3.1 Broad area requirements 7.3.2 Codes and standards 7.3.3 Load calculations 7.3.4 Single line diagram CHAPTER 7.4: IMPLEMENTATION OF TECHNOLOGY 7.4.1 Site Plan 7.4.2 Transformers
119
Chapter 7.1 INTRODUCTION 7.1.1 About the project Thesis Topic: Ethnic Tourism Center, Ziro, Arunachal Pradesh Criteria of selection Ziro is a place which is famous for sustainable farming which leads to production of organic waste. The organic waste can be used to produce fuel by method of Bio gas plant placement in ziro. Since the setup of the plant is low cost, it will be feasible for all the villagers in ziro and will be a sustainable and economic approach. This type of alternate source of energy is also similar to the traditional living approach of the tribes of the ziro, so this gives a good approach for the source.
7.1.2 Elective Description Technology subtopic: Alternate Source of Energy by waste produced in the center. Bio gas Plant It mainly comprises of hydro-carbon which is combustible and can produce heat and energy when burnt. Bio-gas is produced through a bio-chemical process in which certain types of bacteria convert the biological wastes into useful bio-gas. Since the useful gas originates from biological process, it has been termed as bio-gas. Methane gas is the main constituent of biogas.
Biogas production process The process of bio-gas production is anaerobic in nature and takes place in two stages. The two stages have been termed as acid formation stage and methane formation stage. In the acid formation stage, the bio-degradable complex organic compounds present in the waste materials are acted upon by a group of acid forming bacteria present in the dung. Since the organic acids are the main products in this stage, it is known as acid forming stage. In the second stage, groups of methanogenic bacteria act upon the organic acids to produce methane gas.
120
Raw materials for biogas production Although, cattle dung has been recognized as the chief raw material for bio-gas plants, other materials like night-soil, poultry litter and agricultural wastes can also be used.
Table 7.1
40+53+160=250l/kg on site which gives 4kg for 1000l(1metercube) Advantages of biogas production •
It is an eco-friendly fuel.
•
The required raw materials for biogas production are available abundantly in villages.
•
It not only produces biogas, but also gives us nutrient rich slurry that can be used for crop production.
•
It prevents the health hazards of smoke in poorly ventilated rural households that use dung cake and fire-wood for cooking.
•
It helps to keep the environment clean, as there would be no open heap of dung or other waste materials that attract flies, insects and infections
•
Availability of biogas would reduce the use of firewood and hence trees could be saved.
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Components of biogas plants • Mixing tank - The feed material (dung) is collected in the mixing tank. Sufficient water is added and the material is thoroughly mixed till a homogeneous slurry is formed. •
Inlet pipe - The substrate is discharged into the digester through the inlet pipe/tank.
•
Digester - The slurry is fermented inside the digester and biogas is produced through bacterial action.
•
Gas holder or gas storage dome - The biogas gets collected in the gas holder, which holds the gas until the time of consumption.
•
Outlet pipe - The digested slurry is discharged into the outlet tank either through the outlet pipe or the opening provided in the digester.
•
Gas pipeline - The gas pipeline carries the gas to the point of utilization, such as a stove or lamp.
Site selection
While selecting a site for a biogas plant, following aspects should be considered
The land should be levelled and at a higher elevation than the surroundings to avoid water stagnation •
Soil should not be too loose and should have a bearing strength of 2 kg/cm2
•
It should be nearer to the intended place of gas use (eg. home or farm).
•
It should also be nearer to the cattle shed/ stable for easy handling of raw materials.
•
The water table should not be very high.
•
Adequate supply of water should be there at the plant site. The plant should get clear sunshine during most parts of the day.
•
The plant site should be well ventilated.
•
A minimum distance of 1.5m should be kept between the plant and any wall or foundation.
•
It should be away from any tree to prevent root interference.
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Fig 7.1 Process of Bio gas plant
Size of Bio Gas Plant and it’s Components Table 7.2
1cubicmeter equivalent to 4.7KWh approx. 171Kw equals to 36cubicmeter Biogas
Digester Design The recommendation of KVIC is to have a digester volume of 2.75 times the volume of gas produced per day. KVIC recommendation for the depth of the plant is between 4 to 6 m according to the size but for economical use of building materials, a depth to diameter ratio between 1.0 to 1.3 are considered ideal for all types of plants. Hence it makes 36x2.75=100cubicmeter size for digester 123
Gas Holder Design In a floating drum plant, the gas holder diameter is 15 cm. less than the diameter of the digester and accordingly the other dimensions are decided. The gas holder can be given a rotary movement around its guide to break the scum formation at the top.
Inlet Tank Before the dung is fed into the plant, it is mixed with water in a tank to give a solid content of 7.5 per cent to 10 per cent in the slurry. This tank also helps in removing grass and other floating materials from the raw materials to prevent excessive scum formation in the plant. This tank is connected to the digester by an asbestos cement pipe. The floor of the mixing tank is given a slope opposite to the direction of inlet pipe to help heavy inorganic solid particles to settle and get separated from the slurry. The electricity produced is AC form from the electric generator
Fig 7.2 Floating gas-holder type Bio gas plant
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Chapter 7.2 Selection of Technology 7.2.1 Criteria of selection Ziro is a tribal settlement which has a high number of cattle waste production. In the historic times the tribe of Ziro has already been using bis waste as a production for the energy for their firewood area and has used them in the farming method to increase the quality of the soil and use it again for agriculture purpose which makes the livelihood of the Ziro settlement sustainable.
7.2.2 Scope of work 1. The Bio gas production method will be used as an alternate energy method for the electrical production 2. Solid waste management will also be considered in this method to maintain a sustainable approach 3. Load calculation of the project will help in an energy saving approach with standards.
7.2.3 Back up Load Total required load = 80% of total consumed load 171 x 0.8=137Kva approx. 100% backup is also provided through the Biogas energy production which s a step towards sustainable energy production on the site
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Chapter 7.3 Electric Installations 7.3.1 Area Requirements Spaces
Area(sqm)
RECEPTION
285
ADMIN
250
MARKET
500
WORKSHOP
250
MUSEUM
200
AUDITORIUM
470
FOOD COURT
500
PAVILLION
200
ACCOMODATION
600
TOTAL
3255 (approx.)
7.3.2 Codes and Standards Lightning load
Table 7.3 PG 68-ECBC
126
Appliance Load Table 7.4
Exterior Lighting Load Table 7.5
127
7.3.3 Load Calculations
KW
128
7.3.4 Single line Diagram
2.7kVA
6.2kVA
3.5kVA
2.0kVA
7.6kVA
5.7kVA
2.7kVA
5.0kVA
129
Chapter 7.4 IMPLEMENTTION OF TECHNOLOGY 7.4.1 Site Plan
Placement of transformer and Bio gas Plant
Service Block which connects the projects electric system to the whole area.
130
7.4.2 Transformer Table 7.6
Total substation area 91 sqm (contains panels, transformers, but not generator) Total transformer room size according to standards 15 sqm Total room size for substation 9 x 10 m
131
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GLOSSARY OF TERMS
1. Place Identity - Place identity is a fluid term that draws on many psychological theories of human-environment relationships. 2. Aangya: A Bamboo post covered with egg shells 3. Abotani: A Legendary ancestor 4. Agher: Dykes in rice fields 5. Ahu-Yari: A Loin belt worn by Apatani men 6. Ajang Buliyang: A messenger in village council 7. Aji Eha: Apatani festival 8. Aji Lenda: Traditional farmer group 9. Aji-ngyii: Wetland rice cultivation 10. Akha Buliyang: The highest authority in village council 11. Apong: Rice beer 12. Arirutu: Baskets of rice gifted by Apatani bride’s side to the groom during marriage ceremony 13.Atoh Piilo: Moon 14.Ayo Danyi: Sun 15.Babo: A pole made of cane and bamboo 16.Bije: Bamboo 17.Bijee Lenda: Traditional farmer group 18.Myoko: Apatani festival celebrated during March and April month 19.Myokung: Apatani festival 20.Apatani: Tribe in Arunachal Pradesh
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BIBLIOGRAPHY Chen, Wen-chyi, "Role of ethnic places in maintaining cultural identity of business travelers" (2008). Malwika Bajaj,” Apatani- Tribal Architecture” Research and Documentation, Earthscapes consultancy (2015). Shamsuddin, Shuhana (1997) Identity of place: a case study of Kuantan town center, Malaysia. Alex Opoku (2015), University college London, “The Role of Culture in a Sustainable Built Environment”. Jones, C & Svejenova, S 2017, 'The architecture of city identities: A multimodal study of Barcelona and Boston' Research in the Sociology of Organizations, vol. 54B Place Identity Architecture Rethinking moments of transition in the age of universality Sandra Katarzyna Dorozynska Master of Architecture 2017, Architecture Program, Ryerson University Lewicka, M. (2010). What makes neighborhood different from home and city? Effects of place scale on place attachment. Journal of Environmental Psychology,30, 35–51. Bronfenbrenner, U. (1979). The ecology of human development. Experiments by nature and design. Cambridge: Harvard University Press. Kyle, G., Mowen, A. J., & Tarrant, M. (2004). Linking place preferences with place meaning: An examination of the relationship between place motivation and place attachment. Journal of Environmental Psychology, 24, 439–454. Jorgensen, B. S., & Stedman, R. C. (2001). Sense of place as an attitude: Lakeshore owners’ attitudes toward their properties. Journal of Environmental Psychology. Jorgensen, B. S., & Stedman, R. C. (2006). A comparative analysis of predictors of sense of place dimensions: Attachment to, dependence on, and identification with lakeshore properties. Journal of Environmental Management. Barnali Patowary, Sustainable Ethnic Tourism: A Study of the Apatani Tribe of Ziro, Lower Subansiri District in Arunachal Pradesh References https://issuu.com/okristal/docs/place_culture_architecture http://www.talkingstreets.co.uk/ https://www.archdaily.com/941738/krushi-bhawan-studio-lotus
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