INTERPRETATION OF ART VILLAGE AS A MEDIUM FOR THE ADVANCEMENT AND PRESERVATION OF CULTURE AND COMMUNITY
By: ADITI CHOUDHURY Enrolment No.-A1904018048 Batch-2018-23
Guided by – Ar.Rahul Khare,Ar.Rajeev Sinha
Amity School of Architecture and Planning Amity University,Noida Uttar Pradesh
ACKNOWLEDGEMENT
I, ADITI CHOUDHURY, would like to thank my mentors, Ar. Rahul Khare and Ar. Rajeev Sinha, for providing me with the wonderful opportunity to work on this wonderful project, 'INTERPRETATION OF ART VILLAGE AS A MEDIUM FOR THE ADVANCEMENT AND PRESERVATION OF CULTURE AND COMMUNITY,' which also assisted me in conducting extensive research and provided me with new information. Second, I'd like to express my gratitude to my parents and friends for their assistance in completing this project in such a short amount of time. I was able to complete my report and turn it into a fantastic learning experience only because of them. The purpose of this paper is to gain experience in space planning for artists.
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This is to certify that ADITI CHOUDHURY bearing enrolment no. A1904018048 has prepared the report for Architectural Seminar on ’INTERPRETATION OF ART VILLAGE AS A MEDIUM FOR THE ADVANCEMENT AND PRESERVATION OF CULTURE AND COMMUNITY’ under my guidance.
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Ar.Rahul Khare
Ar.Rajeev Sinha
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ABSTRACT "Art is not merely a luxury in India. As Sonu Mulchandani put it, "it is a belief system and a celebration that empowers our country." India is a place rich in living, vivid art, crafts, and culture traditions. Villages are rich in culture and have a lot of potential for artistic and cultural development in terms of tourism. As a strategy for rural tourist development, tourism growth potential can be used. Because of its ecological, ethnic, farm, cultural, and historical significance, rural tourism is a complex destination. The evolution of human society and accompanying changes in spatial utilisation are both factors in the modification of urban environments. However, little study has been done on the impact of location modification on traditional folk art societies. Folk communities, or those whose lives, occupations, and activities are dependent on folk art, have evolved dramatically over time. Did the consequences of urbanisation and globalisation, as well as spatial changes, promote or detract from them? If at all, how has place alteration impacted the artists' careers and financial situations, as well as the community as large? Philanthropy must recognise the potential to monetise the crafts sector through the funding of high-impact, scalable approaches that may sustainably boost livelihoods. The concept of artist village promotes neglected values of art in the modern world and re-examines the function of architecture by leveraging the potential of the craftsperson/artisan sector. The goal of this paper is to devise a comprehensive plan for developing a link between the urban and rural sectors by preserving and revitalising India's craft sector. The goal is to bring together various types of artisan crafts from throughout the country to form a community that values Indian heritage: a venue to practise, teach, and showcase culture. It also considers some of these issues with the goal of studying, documenting, and resolving them.
Keywords: Artisan Heritage,Artisan Village,Rural Development, Handicraft
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TABLE OF CONTENTS 1.INTRODUCTION ....................................................................................................................... 9 1.1 Need of the Study ................................................................................................................ 10 1.2 Contribution ........................................................................................................................ 10 1.3 Research Question ............................................................................................................... 10 1.4 Aim ...................................................................................................................................... 10 1.5 Objectives ............................................................................................................................ 10 1.6 Methodology ....................................................................................................................... 11 1.7 Scope of the Study............................................................................................................... 11 2. LITERATURE REVIEW ......................................................................................................... 12 2.1 Concept of an Artist Village................................................................................................ 12 2.2Why is it needed? ................................................................................................................. 14 2.2.1. Improving the lifestyle of artists .................................................................................. 14 2.2.2 Socio-economic and cultural development through Tourism or generate Tourism ..... 14 2.2.3 Promote Interaction in Public Space ............................................................................ 15 2.3 Role of Government and NGO for preserving culture ........................................................ 15 2.4 Analysis of the major typologies of crafts .......................................................................... 17 2.4.1Pottery Art ..................................................................................................................... 17 2.4.2 Knife Work ................................................................................................................... 17 3.CASE STUDIES ........................................................................................................................ 19 3.1Secondary case study ............................................................................................................... 19
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3.1.1Sanskriti Kendra,Anandgram,Delhi .............................................................................. 19 3.1.2.Andretta Artists’ Village,Palampur,Himachal Pradesh ................................................ 24 3.2Primary Case Study .............................................................................................................. 32 3.2.1National Crafts Museum And Hastkala Academy, Delhi.............................................. 32 4.COMPARATIVE ANALYSIS .................................................................................................. 40 5.CONCLUSION .......................................................................................................................... 44 6.BIBLIOGRAPHY ...................................................................................................................... 48
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LIST OF FIGURES Figure 1– Views of different Artist Villages in India .................................................................... 12 Figure 2 -The three models of typologies of housing, by craftsperson ......................................... 18 Figure 3- Sanskriti Kendra ,Delhi ................................................................................................ 19 Figure 4--Site Plan of Sanskriti Kendra ....................................................................................... 19 Figure 5 - Built spaces in Sanskriti Kendra,Delhi ........................................................................ 20 Figure 6- Typologies of Housing Studio in Sanskriti Kendra,Delhi............................................. 21 Figure 7--Plan of the typologies of exhibition spaces in Sanskriti Kendra,Delhi ........................ 22 Figure 8 - Views of different typologies of exhibition spaces in Sanskriti Kendra,Delhi ............ 23 Figure 9-Andretta Village,Palampur ............................................................................................ 24 Figure 10- Timeline of Andretta Village,Palampur ...................................................................... 25 Figure 11- Photograph of Norah Richards ................................................................................. 26 Figure 12-Area Statement ............................................................................................................. 28 Figure 13– Staircase of Norah Richards House ........................................................................... 28 Figure 14-Plans of Norah Richards House ................................................................................. 29 Figure 15-Section of Norah Richards House............................................................................... 29 Figure 16- Site Plan of Andretta Pottery House ........................................................................... 30 Figure 17- National Crafts Museum and Hastkala Academy,Delhi ............................................. 32 Figure 18-Entrance open area of National Crafts Museum and Hastkala Academy,Delhi ......... 32 Figure 19-Entrance of National Crafts Museum and Hastkala Academy,Delhi .......................... 33 Figure 20-Area Statement of National Crafts Museum and Hastkala Academy,Delhi ................ 33
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Figure 21-Plans of National Crafts Museum and Hastkala Academy,Delhi............................... 34 Figure 22- Section of National Crafts Museum and Hastkala Academy,Delhi ........................... 34 Figure 23- Different galleries National Crafts Museum and Hastkala Academy,Delhi ............. 35 Figure 24- Parameters for comparison of spaces of National Crafts Museum and Hastkala Academy,Delhi .............................................................................................................................. 36 Figure 25- Parameters for comparison of spaces of National Crafts Museum and Hastkala Academy,Delhi .............................................................................................................................. 37 Figure 26- Parameters for comparison of spaces of National Crafts Museum and Hastkala Academy,Delhi .............................................................................................................................. 38 Figure 27- Interaction with the Artists ......................................................................................... 39 Figure 28- Different Museums in the National Crafts Museum and Hastkala Academy ............. 39 Figure 29-Open Space - Courtyard surrounded by 3 major museums ... entrance attracts visitors and adds to revenue generation
Figure 30-Cafe at the
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Figure 31 Dormitory for the artists to reside and work .............................................................. 39 Figure 32- Conceptual and spatial organisation ......................................................................... 47 Figure 33 - Left hand side – Conceptual model of housing model #1 , middle #3 and right hand side housing model #2................................................................................................................... 47
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CHAPTER-I 1.INTRODUCTION Art changes opinions, lights the values, and affects society by translating spaces and time experiences. Research shows art and affects its own basic sense. ART is not the basic history record. In this sense, art is a form of communication. It allows social society and stroke times to communicate with images, sounds and stories with each other. Craftsmanship is often a vehicle for social change. It can give a voice to those who are politically or socially disappointed. A song, movie, or novel can evoke emotions and motivate others to get together. "Art Village is a project at the forefront of art and reality," says ARTUR KLINAU. These artist colonies, or artist villages, serve as creative hubs for artists, students, business owners, and neighbors who live and work there. Handicrafts are very crucial to Indian culture. These crafts thrive in remote parts of the country. In India, most crafts are practiced as a legacy of the past and family. People who make handicrafts inherited them from their ancestors, and this tradition has existed for centuries. The concept of the artisan village was to combine most artisan specimens and artisans under one roof. In the craft village, you can experience how craftsmen make crafts in front of you. The infrastructure and atmosphere of the craft village will also be a village that also gives visitors in India to a sense of rural life. The craftsmen also acts like a market because you can buy their choice artifacts at a more positive price in the general market. This craft hut has exceeded one of a single platform. It is also a way to promote area tourism activities with the following characteristics. ● Population density low ● Landscape and Country House controlled by art and culture ● Traditional social structure and lifestyle
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1.1 Need of the Study To generate literature that will help to create a better interdisciplinary art module that weaves together all its participants easily and effectively and also helps to communicate in more open - living and informal manner. Also, art & culture are the best ways to imbibe confidence to find oneself again with a new skill to perform better in their personal lives, these all leads to an increased level of personal motivation & happiness, thus a better life.
1.2 Contribution Also, art & culture are the best ways to imbibe confidence to find oneself again with a new skill to perform better in their personal lives, these all leads to an increased level of personal motivation & happiness, thus a better life.
1.3 Research Question How Art Village showcases an interpretation of culture and living and how it helps to sustain a community and its culture? 1.4 Aim To establish an interdisciplinary module of Art Village connecting culture, living, education,retail and recreation and it’s contribution to the long-term sustainability of a community's culture. 1.5 Objectives 1. Understanding the concept of Art Village. 2. Examining the role of architecture in the field of art. 3. Learning the design development of the settlement and typical housing model which holds the incremental possibilities and Indian architectural characteristics. 4. Formulating design parameters for art village to understand how it aids in preservation and strengthening of a community's art and culture.
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1.6 Methodology
1.7 Scope of the Study
Understanding of preservation and revitalisation of the craft sector
An opportunity to understand an open living and formal setting for collective socio-cultural growth
Great opportunity to promote and grow tourism through local art and culture
Promotion of vernacular architecture
Systematic job opportunities generation
Help in understanding the spaces and creating good working environment for the creation, workshop,exhibition and presentation
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CHAPTER-II 2. LITERATURE REVIEW India is a land of farmers, but it is also a land of artisans: "Indian art is the result of thousands of underappreciated artisans and their persistent efforts." This art has been evolving for thousands of years. Indian rites and traditions usually provide a plethora of activities and opportunities. India is a handicrafts powerhouse. Each Indian state has its own ethnic character as well as a rich legacy of handicrafts and works of art. Some craft traditions arose naturally, while others developed as a result of people's natural desire for beauty. Local history, social climate, religion, culture, climate, natural resources, and demographics have all had a role in the creation of India's unique folk craft traditions. State Special: Folk Crafts
Millions of Indians continue to rely on indigenous modes of production, traditional skills, and techniques to make a living from handcrafted goods despite the onset of industrialization. These artisans play a significant role in India's non-farm rural economy. An estimated 7 million artisans rely on craft production for a living. Self-employed craftspeople account for 63 percent of artisans, while wage employees account for 37 percent. AN ARTISAN VILLAGE, SURAT, INDIA: SAFEGUARDING THE ART & CRAFT HERITAGE OF INDIA 2.1 Concept of an Artist Village Indian crafts have deep roots and are an important aspect of Indian culture. Because of their utilitarian nature, the use of indigenous materials, and the demand in local and international markets, these crafts continue to thrive in distant areas of the country.
Figure 1– Views of different Artist Villages in India
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Most of the crafts that are practised today are a remnant of the past, and this tradition has been carried on for generations. The concept of a craft village was born out of a desire to preserve the past. This concept gathered together the majority of the crafts' specimens and artisans.
By sowing a seed in the minds of the current generation, a platform for forgotten values enlightens them. "A craft village is a site where one may learn about a community's customs, historical interests, and art-making abilities. The ambiance and infrastructure of this community are quite loyal to its culture, and tourists get a sense of rural life. The materials and procedures used to construct the houses are unique to each community." "The crafts village is a mixed-use development of the residential and commercial place," according to Indian Handicrafts. As a result, it fulfils multiple functions from a single platform." Artist colonies, also known as artist villages, serve as a creative hub for local artists, students, business owners, and neighbours. These settlements allow like-minded modern artists to critically re-examine established assumptions, values, and notions of artmaking, as well as encourage artists to experiment with radical new ways and ideologies in art-making that are in sync with society developments. The main goal of these artist villages is to promote international interchange with artists from all over the world and to build a lively community of artists, both local and international, developing and established. Allowing artists to live in close contact to local handmade craftspeople, encouraging them to draw inspiration for their art from the neighbourhood and dynamic local culture. By teaching craftspeople in new technologies, this notion can help them better their living standards. It also offers public programmes and workshops where the general public can learn Indian crafts directly from the artisans. This platform also facilitates a unique edifying exchange of ideas, experience, and crafts practise among artists and designers from all backgrounds on a national and worldwide level.The concept is to establish a link between precious crafts of India with modern consumers. Following are some famous crafts villages of India. Shilpgram,Shilparamam Crafts Village,Dilli Haat,Surajkund Mela (Jinal Shastri, 2018)
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PYATKER PAINTING REVIVAL THROUGH CRAFT VILLAGE: STUDY OF JHARKHAND
2.2Why is it needed? 2.2.1. Improving the lifestyle of artists Individuals who develop skills between themselves and work hard in the creation of handicrafts, as well as build awareness amongst themselves of market conditions and client requirements, will undoubtedly enhance their living situations. It is critical that artisans focus on capacity building in order to improve their living situations. As their capacity grows, they will be able to generate more productivity, which will result in improved living conditions. Many districts around the country have the richest handcraft traditions, as well as strong marketing potential, which might provide employment prospects for a large number of people. Individuals can get work in the handicrafts sector if they are willing to work hard. This design allows artists to live in close proximity to local craftsmen and artisans, encouraging them to draw inspiration for their art from the neighbourhood and dynamic local culture. As a result, it contributes to the improvement of craftsmen's living standards by providing them with current technical education. It also offers public programmes and workshops where the general public can learn Indian crafts directly from the artisans. (Gaitri Kumari, 2017) 2.2.2 Development in terms of Socio-economy and culture through tourism Craft tourism refers to tourism activities that take place mostly in craft communities. Tourism resources include the villages and their cultures. Craft villages have been formed as tourist attractions in rural areas and have become a paradigm of community-based tourism. An artists' village provides a natural setting with its social, cultural, and customs, as well as lodging, food, and other tourist necessities. The development of a craft village affects the lives of its residents. In general, a tourism village requires favourable economic, social, cultural, physical, and natural environment conditions, as well as a lack of urbanisation and tradition uniqueness.
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2.2.3 Promote Interaction in Public Space The village's cultural identity is the most crucial part and appealing aspects of the community. Art tourism is a large section of the market because people travel from all over the world to attend, discover, and participate in activities linked to art festivals, concerts, events, and local culture. Art tourism is a collaboration between culture and the tourism sector that focuses on enhancing what makes a town unique. In every community, public spaces and marketplaces are necessary components. People can meet and be exposed to a diverse range of neighbours through using public space. These encounters frequently happen by happenstance, but they can also occur as a result of purposeful planning. In many places, the art of encouraging constructive interaction among people in public settings has almost been forgotten. Planners, architects, and government officials have placed a greater emphasis on creating aesthetically pleasing environments and providing for the free movement and storage of automobiles than on developing environments that stimulate social contact. Officials have recently been more concerned with security and maximising their power to surveil and control people in public settings. A craft village is a place where people may learn about a community's customs, historical interests, and art-making abilities. The ambiance and infrastructure of this community are quite loyal to its culture, and tourists get a sense of rural life. "We make between Rs 3,000 and Rs 5000 a month through Pyatker, but not always," Bijoy Chitrakar informed Bose (2015). To reach out to customers, we need more art camps in the city." Young people do not believe that this art is sufficient to provide their basic requirements of food, clothing, and shelter. They see relocation to Jamshedpur as a means of obtaining a better living. (Gaitri Kumari, 2017) 2.3 Role of Government and NGO for preserving culture In July 1992, the Indian Department of Labour Commission launched a scheme called as "Supply of Improved Toolkits to Rural Artisans (SITRA)" with the goal of enabling rural artisans living below the poverty line to enhance the quality of raw materials, production, income, and quality of life.
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This programme has now been amalgamated with the "Swarn Jayanti Swarojar Yojna (SJSY)", a new self-employment initiative. The Swarn Jayanti Swarozgar Yojna strives to provide rewarding employment to unemployed and underemployed people in urban and rural areas, either through positive self-employment programmes or wage employment.
This programme provides financial help and self-employment subsidies. This area offers a huge potential for generating self-employment that isn't well-known or enumerated. Women from low-income families are more likely to stay at home and be unemployed; yet, they can be trained in this sector to improve their economic standing. Women are thought to be more proficient than males when it comes to needlework skills such as embroidery, sewing, and other types of needlework, therefore they should take an interest in it and make it a source of revenue . The work of artisans must also be promoted and supported among unemployed men and women in urban areas, in order for government and public institutions to take more action. Amadubi's rural craftspeople are unaware of contemporary market conditions. Pyatker painting provides no means of subsistence for rural craftspeople. They are obliged to sell veggies or migrate to Jamshedpur in search of better career opportunities (Bose, 2015). Pyatker painting is attracting the attention of the government and non-governmental organisations (NGOs), but it needs more attention because it is a fading art form. The state tourism department has constructed a centre in Amadubi named Rusika Sangeko, which means "home of artists." It is run by Kalamandir, a Jamshedpur-based NGO. Tourists can see Pyatker paintings in Rusika Sangeko. In Bistupur, an NGO called Kalamandir maintains a store called Biponi with the goal of rescuing Pyatker paintings. In the heart of the city, this shop sells Pyatker paintings. Recognized haats are an excellent venue for displaying and selling goods. Handicrafts face significant hurdles, including financial and societal disadvantages for craftspeople. Artisans have a limited educational background. In addition, they are underserved in terms of social security and healthcare. Jharkhand's tribal people have issues. She recognised poverty, bad socioeconomic conditions, unemployment, and other factors as contributing to tribal difficulties in Jharkhand. Marketing is crucial, according to Kumar (2013). He discovered Internet marketing to be the most cost-effective way of marketing in today's market. It helps you save both time and money. It also has a maximum reach capability.
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2.4 Analysis of the major typologies of crafts This research aims to come to a conclusion that will allow multiple models to be designed based on the functional requirements of each craft. The eleven crafts are divided into three categories based on whether they require a shared or separate workshop and retail area. 2.4.1Pottery Art - Since ancient times, the art of pottery has been a well-known culture all across the world. Similarly, potters in Gujrat use natural resources such as 'Jaru' plant leaves, soft stems of Prosopis Julifera, water, clay, black stones, and so on to create one-of-a-kind works of art. It is distinguished from other Indian states for its beautiful traditional sculptures. 2.4.2 Knife Work - Knives are one of those tools that is utilised on a daily basis, from household tasks to commercial use. Kachchh craftsmen add a bit more imagination to it by hand-crafting this work of art and carving cultural motifs into it. In most cases, only one artist can complete the full process, which improves production quality and efficiency. Raw materials such as aluminium, copper, brass, iron, zinc, and steel are purchased from local scrap dealers for this purpose. Fresh metal is purchased from Ahmedabad and Rajkot vendors. 2.4.3 Lacquer -Lac is a wood-based substance made from insect resin. Colored lacquer is applied to the wood by navigating around the arrangement while turning it on a hand lathe. 2.4.4Metal Bells Art - A prominent occupation in Kachchh is the art of plated copper bells, which evolved to meet a communal need. The majority of recycled metal is utilised to create a bell, which is then covered with powered brass and copper, baked in a kiln, and polished. 2.4.5Block Printing Craft - Block printing is a type of art in which fabric is dyed and coloured using wooden blocks, as the name suggests. Artists obtain these colours from natural sources such as rusty iron solution, madder root, and indigo, among others. India is a major producer and exporter of block printed textures. In Indian villages, geometric block imprinting is the most common. 2.4.6Bandhani Craft and Batik Printing - The word "bandhani" comes from Sanskrit literature. done completely by hands. Because of this, a wide and combined space is ideal to accomplish synchronised tasks. 2.4.7 Rogan Art - This is a fabric painting method that uses castor oil to create vibrant colours. Because castor is harvested locally in Kachchh and exported all over the world, artists receive it directly from farmers.
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2.4.8 Kachchhi Weaving Art - Kachchh weaving was previously done entirely by hand using a Panja loom. Instead, today's craftspeople use shuttle looms. On the loom, the wrap is first prepared, then stretched and rolled onto a bobbin. The fabric is created on the loom at the end. The shapes of musical instruments, animals, and even everyday items are used to influence the designs in kachchhi weaving. 2.4.9 Plastic Weaving Art Every day, a large volume of plastic is wasted as industrial and domestic garbage in India's metro cities. Local waste collectors are hired to gather the plastic, which these craftspeople then purchase. This material is sorted and cleaned based on its quality and colour. This is then cleaned and chopped into long stripes before being spun into an industrial bobbin and then woven into large plastic textiles on standing looms. It's turned into a thick, dense weft patterned material that's linked and wrapped with nylon. Individual processes necessitate a separate and long area. The end product is used to make mats, bags, and cushions, among other things. This type of art helps the environment by repurposing waste plastic. 2.4.10Embroidery - Gujrat's traditional embroidery is well-known. It is one of the few crafts in which women participate. To show their own expression, several communities have their own stitching and motifs. Since ancient times, this art has been passed down from generation to generation. The artisan's residence in the village is the first concept that must be considered when planning the programme. The link between the rural artisan and the urban customer can be established by developing a retail outlet that meets both of their needs. The second point of contention is the demand for retail outlet space. The programme calls for a mixed-use development of residential and commercial activity, which will give the project an informal fee. (Jinal Shastri, 2018)
Figure 2 -The three models of typologies of housing, by craftsperson
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CHAPTER-III 3.CASE STUDIES 3.1Secondary case study 3.1.1Sanskriti Kendra,Anandgram,Delhi Location- Anandgram,Delhi
Sanskriti kendra is a representation of Sanskriti's involvement in art, craft, literature, the performing arts, and social work. These activities are different elements of a single living culture rooted in Indian soil but global in outlook, despite their differences on the surface. Figure 3- Sanskriti Kendra ,Delhi
It is a cultural centre where sculptors, poets, musicians, and village craftsmen exercise their talents in serene circumstances that captivate the mind with images of peaceful pastoral countryside with man-made interventions. 3.1.1.1Site Plan
Figure 4--Site Plan of Sanskriti Kendra
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3.1.1.2 Distribution of Spaces
The public venues such as museums and offices, the governing body enters first.
Following that are seating areas with some privacy provided by plantings.
Workspaces: To avoid any form of connection, studios and dorms, which are relatively private locations, are located away from public spaces.
Services are located at the site's far end, away from public traffic, and along the service road.
Figure 5 - Built spaces in Sanskriti Kendra,Delhi
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Figure 6- Typologies of Housing Studio in Sanskriti Kendra,Delhi
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Figure 7--Plan of the typologies of exhibition spaces in Sanskriti Kendra,Delhi
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Figure 8 - Views of different typologies of exhibition spaces in Sanskriti Kendra,Delhi
3.1.1.3 Inferences:
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The development of the site is organic in character.
With activity zoning defining a fundamental movement pattern to manage the location of buildings and other structures according to purpose. This explains the lack of a complex that can be expressed.
The buildings have a semi-rustic aspect and are scaled down in proportion; they are sited in such a way that there is plenty of walking space between them, but not so far apart that there is a sensation of frigid solitude. (Siroliya, 2018)
3.1.2.Andretta Artists’ Village,Palampur,Himachal Pradesh Project Brief
Location- Palampur
Andretta is a Himalayan village in India, located 13 kilometres from the Kangra Valley tea estates near Palampur in Himachal Pradesh's Kangra district. A tranquil settlement and artists' colony Figure 9-Andretta Village,Palampur nestle on a slight incline under the Dhauladhar range's august snow-capped summits. The atmosphere is eerie. Simply capturing the visitor's atmosphere in such a way that the imprints left on the mind are permanent. Reminiscences are energising anytime they come to mind; when one is off the country, one is not off its maidenly loveliness. Andretta Pottery House The Andretta Pottery Studio and Craft Society is a non-profit organisation founded in 1985. Andretta Studio was founded as a result of the late Sardar Gurucharan Singh's passion for ceramics. Actually, this love blossomed by chance! When he travelled to Delhi Potteries to assist his father's buddy in his brick-making business. He was so enthralled by the pottery making that he decided to pursue it. He went on to study ceramics in Tokyo after that. He then went back to India. In 1927, he established the All India Fine Arts and Crafts Society (AIFACS). After that, he was unstoppable in his efforts to propagate the love for pottery. For a long time, he was the director of the Government Pottery Institute in Ambala. Following that, he established the Delhi Blue Art Pottery. The Delhi Blue Pottery Trust is now the name of the organisation. Many public structures in India employed the high-quality magnetic tiles made here. Gurucharan Singh received the Sahitya Kala Parishad's finest artist award in 1974. In 1991, he was awarded the Padmashree, one of India's highest honours. Pottery in India, published in 1979, was also written by him.
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3.1.2.1Timeline of Andretta Village
Figure 8-Views of different typologies of exhibition spaces in Sanskriti Kendra,Delhi
Figure 10- Timeline of Andretta Village,Palampur
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Figure 11- Photograph of Norah Richards
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3.1.2.2 Area Statement of various components of Andretta Village
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Figure 12-Area Statement
3.1.2.3 Norah Richard’s House
Figure 13– Staircase of Norah Richards House
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Figure 14-Plans of Norah Richards House
Figure 15-Section of Norah Richards House
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3.1.2.4Andretta Pottery House
Figure 16- Site Plan of Andretta Pottery House
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(Lohia, 2021)
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3.2Primary Case Study 3.2.1National Crafts Museum And Hastkala Academy, Delhi Project Brief Architect – Charles Correa Client -Trade fair authority of India. Built up Area – 6800 sq m Location – Near Purana Quila on the BhaironRoad. Just opposite Pragati Maidan Date of Completion – 1990. Footfall : 4000 visitors annually Diverse items from various places of India are on show in the Crafts Museum. Showcase India's unique handcraft culture. The perfect example of showcasing the local and national uniqueness of crafts through building, space, materials, and other features. Figure 17- National Crafts Museum and Hastkala Academy,Delhi
Figure 18-Entrance open area of National Crafts Museum and Hastkala Academy,Delhi
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Figure 19-Entrance of National Crafts Museum and Hastkala Academy,Delhi
3.2.1.1Area Statement
Figure 20-Area Statement of National Crafts Museum and Hastkala Academy,Delhi
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3.2.1.2 Planning
Figure 21-Plans of National Crafts Museum and Hastkala Academy,Delhi
3.2.1.3 Distribution of Open Spaces Correa was inspired by the great Buddhist and Hindu temples of the past, such as those in Bali (Besaki), Java (Borobudur), and southern India (Srirangam), all of which are built around a ceremonial walkway open to the sky. The crafts museum is built around a central walkway that leads to a series of venues along the pedestrian spine. 3.2.1.4 Section
G a l l 3 .
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Figure 22- Section of National Crafts Museum and Hastkala Academy,Delhi
3.2.1.5Galleries
Figure 23- Different galleries National Crafts Museum and Hastkala Academy,Delhi
(THE_PROTOTYPE, 2020)
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3.2.1.6 Analysis
Figure 24- Parameters for comparison of spaces of National Crafts Museum and Hastkala Academy,Delhi
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Figure 25- Parameters for comparison of spaces of National Crafts Museum and Hastkala Academy,Delhi
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Figure 26- Parameters for comparison of spaces of National Crafts Museum and Hastkala Academy,Delhi
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3.2.1.7 Images from the primary case study
Figure 27- Interaction with the Artists
Figure 28- Different Museums in the National Crafts Museum and Hastkala Academy
Figure 29-Open Space - Courtyard surrounded by 3 major museums
Figure 30-Cafe at the entrance attracts visitors and adds to revenue generation
Figure 31 Dormitory for the artists to reside and work
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CHAPTER-1V 4.COMPARATIVE ANALYSIS Comparative Analysis
Name of the Case Study
Distribution of Spaces
Hierarchy of Spaces
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National Crafts Museum and Hastkala Academy,Delhi
Sanskriti Kendra,Anandgram, Delhi
Administration Area Cafeteria Museums Library Amphitheatre Dormitories Hastkala Academy Village Court Temple Court Shops Toilet Services
Administration Area Artists' Studio Dormitories Museums Exhibition Areas and gallery spaces Seminar Halls Multi - Purpose hall Ceramic Centre Amphitheatre/Manch Courtyard,Baithak Shops Toilet Services
Public spaces Administration office,Cafe,Museums,Librar y,Shops are planned near the entry. Courtyards alongwith shops are planned next having a little bit of privacy. Private spaces -Dormitories and artists' toilet are planned away from the public spaces to provide privacy. Office of the Managing Director was placed in the interior. Services are placed away from public movement.
Public spaces - Museums & offices-the admin comes first with entry. Seating spaces come next, having a little bit of privacy by plantations. Workspaces-Studios and dormitories, a very personal space are away from the public spaces to avoid any kind of interaction. Services - Placed at far end of the site away from public movement and along the service road.
Andretta Artist Village,Palampur,H.P. Norah Richards House House Guest room for students Shobha Singh Art gallery Souvenir Shop Painting Store Art gallery &Museum Gazebo Andretta Pottery House Teracotta Museum Display Room Staff Area General Storage Kiln Studio Space Public spaces - Norah Richard's House at present serves as the focal point ,thus, it is placed near the Main entry. Shobha Singh Art gallery and Andretta Pottery house serve as the semi public zone with mix of privacy in studios and interaction in shops,museums. Private Spaces -The garden cottages are planned away from the public spaces to especially for guests who need more privacy.
The crafts museum is organised around a central pathway, revealing a sequence of spaces along the pedestrian spine.
Open Space Hierarchy
The Open spaces have been mainly divided acc. to the type of display areas.
Residential Component
Dormitories have been planned as the residence of the artists.
Sanskriti Kendra provides 3 types of accommodation. 4 Studios - Type I 4 Studios - Type II 4 Dormitories - Type III
Retail
Shops are planned near the entry and alongwith display areas for greater vision to the shops,thus, increasing the sale of different items by various artists. The café at the entrance of the village helps to generate revenue for the village.
Information is not available regarding retail component in this settlement
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Norah Richard's House has a component of Guest Rooms for students. The Garden Cottages are the modern mud built private cottages for guests with their own Patio.
The tourist centre includes a craft shop mainly selling Himachali products.Cafeteria also adds to revenue generation.
Educational
Hastkala Academy is created as a place where people can come,register and learn different crafts like weaving,painting,etc. from the artists.
Library / Research Centre Sanskriti Kendra has a highly specialized reference library housing around 2000 books on art, culture, museums, Indian traditions of textiles, handicrafts and Indian terracottas, etc. Visitors, researchers, artists and students are welcome to use the material. A part of the library can also be used as a meeting room for small groups and NGOs.
Circulation
Movement and circulation pattern is clear Services are provided along the periphery.
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The village complex include centres worth exploring like Norah's Centre of Arts, Andretta Pottery & Craft Society which offers pottery making classes to students who are serious about the art.
Cultural Significance
Correa was inspired by the great Buddhist and Hindu temples of the past, such as those in Bali (Besaki), Java (Borobudur), and southern India (Srirangam), all of which are built around a ceremonial walkway open to the sky. The crafts museum is built around a central walkway that leads to a series of venues along the pedestrian spine.
The Sanskriti Kendra (the word kendra means ‘centre’ in Sanskrit) is the Foundation’s Cultural Centrelocatedin an idyllic natural environment with sprawling lawns, towering trees, flowering shrubs, lotus-ponds, homes to birds and butterflies (Nature at Sanskriti). Traditional architectural elements are gently imbibed into modern buildings.. Sanskriti Kendra Complex Houses 3 Distinct Museums showcasing Delhi's Cultural Heritage · Museum Of Everyday Art · Museum Of Indian Terracotta · Museum Of Indian Textiles.
Material Used
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Wood, Glass and Stone has been used to complete the interiors. Flooring used is marble and wood. Different wall colour and rendering is done to avoid monotony. Aluminum is also used in many sections such as Bronze and Coin Gallery. Building is made using high strength R.C.C. and red sandstone. Temporary structures are provided around the building.
Visual cues from rural architecture.Terracott a tiled roofs,cement with mud like look.
The most significant cultural magnets of the settleme ShobhaSingh Art gallery and Museum Andretta Pottery & Craft Society The Woodland estate.
CHAPTER-V 5.CONCLUSION Parameters
Recommendations
The basic components required while planning an Artist Village are:-
Distribution of Spaces
Hierarchy of Spaces
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1.Administration Area (approx.50 sq.m.) 2.Artists' Studio (Workspace + Housing component) 3.Dormitories (To accommodate guests/artists) 4.Museums (Display and conservation of artefacts/arts/paintings etc.) Placed near shops but in semi-public manner.(approx.200sq.m) 5.Exhibition Areas and gallery spaces (Display of exhibits) (approx.200sq.m) 6.Library/Training centre (Engaging people to learn) 7.Multi - Purpose hall (Conducting seminars/display) 8.Amphitheatre/Manch (Conducting performances) 9.Courtyard,Baithak -Designed between the studios and public spaces to enhance interaction. 10.Shops/Cafes (Revenue generator) 11.Toilet 12.Services
1.Admin should be located near the main entry for clarity of any doubt and smooth functioning.The site should be planned in such a way that it compliments the continuous circulation by activating the street-face of the village model. 2.The core idea is to bring a street character to the village, by following the hierarchy of public gathering to individual privacy. 3.Retail is an essential element, which gives life to the pedestrian circulation, the idea is to have retail space in both street front areas of the model. 4.Workspaces-Studios and dormitories should be placed away from the public spaces to avoid any kind of interaction. 5.Services should be planned at far end of the site away from public movement and along the service road.
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Open Space Hierarchy
Hierarchy of open spaces to be planned. Open spaces like courtyard can be planned around the housing component thus creating interactive space for artists. Semi -open spaces like Manch can be used as performance area or seating areas. These spaces should act as a revealing a sequence of spaces along the pedestrian spine.
Residential Component
Artists' Studio (Workspace + Housing component) Dormitories can also be planned to accommodate guests/artists.
Retail
Retail component like Shops/Cafes can be planned near the entry and alongwith display areas for greater vision to the shops,thus, increasing the sale of different items by various artists.
Educational
Library/Research centre or Hastkala Academy kind of initiatives should be included in the module where people can come,register and learn different crafts like weaving,painting,etc. from the artists.
Circulation
Cultural Significance
Material Suggested
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The circulation such that the different open ,semi-open and closed spaces should be connected with single central pedestrian spine. Nodes can be created which can host live performances by various artists and serve as the village's social hubs.
The design of the space should reflect the cultural identity of the context. Traditional architectural elements can beimbibed into modern buildings. Like different vernacular elements like Varanasi Ghats,Havelis of Rajasthan,Gujarat,etc. can be transferred into design creating interesting spaces. Museums add to the display and conservation of artefacts/arts/paintings thus, preserving cultural identity of the place.
Materials should be used by taking cues from rural architecture but it should be practical and long lasting. Cement giving earth finishig can be used. Bricks for masonry can be taken as an option. Interiors can be done with the help of Wood, Glass and Stone.
Figure 32- Conceptual and spatial organisation
Figure 33 - Left hand side – Conceptual model of housing model #1 , middle #3 and right hand side housing model #2
Retail shops are on two opposite sides of housing models #1 and #3, but only one side of housing model #2. The pedestrian movement pattern is determined by the spatial layout of each home form. After a certain number of home model repetitions, nodes were included to break up the boring circulation pattern. These nodes are the village's social hubs, primarily hosting live performances by local musicians or classical dancers. The pedestrians are directed by the nodes and angular paths.
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An artist village is a mixed-use development that combines residential, commercial, social, and educational spaces into one location. As a result, it may do numerous tasks from a single platform. Artist colonies thus serve as a creative hub for local artists, students, and business owners, allowing them to critically re-examine established assumptions, values, and notions of artmaking while also encouraging artists to experiment with radical new ways and ideologies in artmaking that are in step with societal changes. It also aids in providing a better living for artists, as well as promoting tourism and community connection. This research paper aimed to plan a thorough design for an artist community while also focusing on enhancing the social aspects of those who are preserving India's legacy in the modern world. The research presented in this document, as well as the architectural application, aim to give a template for designers and raise awareness of philanthropy in India's craft sector. On a lesser scale, the commencement of planning to reinvigorate a city with the significance of legacy results in a movement towards the protection and revitalisation of Indian art and craft.
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6.BIBLIOGRAPHY Development of Andretta Artist Village, Palampur, Himachal Pradesh, India. (2018, May 24). Retrieved February 21, 2022, from Issuu: https://issuu.com/siroliya/docs/thesis_report_2018 THE_PROTOTYPE. (2020, September 26). Retrieved from THE_PROTOTYPE-Understanding the space. Gaitri Kumari, A. R. (2017). Revival of Pyatker Painting through Craft Village: . Jinal Shastri, A. P. (2018). An Artisan Village, Surat, India: Safeguarding the Art & Craft . An Artisan Village, Surat, India: Safeguarding the Art & Craft . Lohia, R. (2021). Case Study - Andretta Artists' Village. Siroliya, Y. (2018). Development of Andretta Artist Village, Palampur.
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