Revitalizing Khadi Centre, Ahmedabad, Gujarat by kartik panchal

A REPORT ON THE DESIGN OF

REVITALIZING KHADI CENTER, AHMEDABAD A Thesis Submitted by

Kartik Panchal (VAD2016BDS1F004)

In partial fulfilment for the degree of

BACHELOR IN INTERIOR DESIGN ITM VOCATIONAL UNIVERSITY

Guided by

Ms. Tejal Boricha

Design Development Academy (DDA) (Sola, Ahmedabad, Gujarat.)

July, 2020

If we have the Khadi spirit in us, then we should surround ourselves with Simplicity in every walk of life. -M.K. Gandhi

COMPLETION CERTIFICATE

This is to certify that the thesis Entitled “Revitalizing Khadi Centre – Ahmedabad” is a bonafide record of work done by Mr. Kartik Panchal, (VAD2016BDS1F004), under my supervision. The thesis is submitted to the department of Interior Design, Design Development Academy (DDA), Ahmedabad, Gujarat in partial Fulfilment of the Requirements for the Degree of Bachelor of Interior Design.

Thesis Guide, Ms. Tejal Boricha. (Interior Designer)

Design Development Academy (DDA), Ahmedabad, Gujarat.

This is to certify that the thesis has been Examined on _________________ and found satisfactory, for the degree of Bachelor of Interior Design.

Revitalizing Khadi Centre- Ahmedabad

ACKNOWLEDGEMENTS This opportunity I had with DDA (Design Development Academy) was a great chance for learning and professional development. I am also grateful for having a chance to meet so many wonderful people and professionals who led me though the period of this thesis project. Bearing in mind previous I am using this opportunity to express my deepest gratitude and special thanks to Mr. Navin Ghorecha (Managing Director at DDA) and Mr. Sanjay Patel (Academic Director at DDA) who in spite of being extraordinarily busy with his duties, took time out to hear, guide and keep me on the correct path and allowing me to carry out my project at their esteemed organization and extending during the thesis Project. I express my deepest thanks to Ms. Tejal Boricha (Thesis Guide), for taking part in useful decision & giving necessary advices and guidance and arranged all facilities to make my thesis better. I choose this moment to acknowledge her contribution gratefully. It is my radiant sentiment to place on record my best regards, deepest sense of gratitude to Ms. Ruchita Gajjar , Ms. Shreena Patel, Mr. Divy Gohil and Mr. Hardik H Panchal for their careful and precious guidance which were valuable for my study both theoretically and practically. Many thanks also goes to Ms. Brinda Parekh, Ms. Hetal Mehta and the other batch mates and some architect friends, thank you for being my support when needed. Especially for all the conversations and talks about on field studies. I am thankful to “ Imam Manzil Khadi Weaving and Selling Unit” , “Khadi Lounge India, Mumbai” , “Pallav Dye House” to helped me for the case studies, I’d like to thank their workers and owner to cooperate with me for collecting me the information for the case studies. I perceive as this opportunity as a big milestone in my career development. I will strive to use gained skills and knowledge in the best possible way, and I will continue to work on their improvement, in order to attain desired career objectives. Hope to continue cooperation with all of you in the future.

Sincerely, Mr. Kartik Panchal

Revitalizing Khadi Centre- Ahmedabad

MOTIVATION Harijan Community is a small community in Ahmedabad near by Gandhi Ashram. Gandhi Ashram is known for The Great Mahatma Gandhi and Mahatma Gandhi is known for Khadi. Ten years back, a walk though those streets near by Gandhi Ashram would transport you to a traditional weavers of Ahmedabad. Beautiful Indian style houses, children playing on the streets, and the constant noise of weaving from the weavers street. You can spot tourist buses with a large group of foreigners who has come to get a first hand taste Khadi and a large clusters of sparrows pecking on the street. It’s not same anymore. Globalization combined with the declining condition of the industry has resulted in the residents of the community looking for alternate occupations. Even though the lifestyle of the residents hasn’t changed much. The architecture and weaving activities are fast disappearing. Presently, majority of the community either deals with different business or deals with the Retail of the khadi products under the brand name of KHADI INDIA with products sourced from weavers from around the near by districts. My initial intention on thinking this project was to look at the opportunities of revival of the community from an Urban scale. But on interaction with the residents, their disinterests in returning to their traditional occupation was clear. Hence, I had to look for other alternative solutions. Viewing the issue from a much large scale. I realized the decline of the Cotton Khadi Industry is due to many different issues like lack of collective administration and research. This project is an attempt to bring back the lost importance to the amazing artisans of the Cotton Khadi Industry.

“ Khadi is not merely a ‘VASTRA’ but a ‘VICHAR’. The younger generation too is widely attracted to Khadi. Let us further this spirit and ensure wellbeing of the weaker sections of society. ” - PM Narendra Modi

Revitalizing Khadi Centre- Ahmedabad

ABSTRACT The Cotton Khadi Industry is the largest Industry in Gujarat employing up to more than 1 Lakhs households. Once a thriving and respected occupation, it now battles with globalization and new age notions about such industries. There are many organizations trying to save this sinking ship through multiple policies and programs. One such organization is the KVIC (Khadi & Village Industries Commission), Central Government of India who has proposed for an facilitate research in the field. IIHT (Indian Institute of Handloom Technology) is a central government initiative to educate about the fundamentals of weavings and facilitate research in the field. In Gujarat, the main campus of Khadi Gramodhyog Prayog Samiti in Ahmedabad which is more Functional. The directorate of Cotton Khadi Weaving has put forward and idea to build a new annex campus along with weavers help centre. This thesis is and extended brief of the same. The main reasons for the decline of the Industry are the lack of infrastructure, organizations, upgradation and low wages. All the present weaving facilities are cramped, stuffy and ill maintained. Also, the absence of a common point for the stakeholders of the industry such as weavers, designers, marketing agents, retailers and students have resulted in the fragmentation of there activities. After detailed study of other cases of industry revival, it is inferred that the industry will be greatly benefited from the intervention of designers, researchers and weavers. In order to catch up with the fast-moving world, it is necessary to upgrade the traditional methods of weaving and break the monotony of the designs produced. The aim of this project is to design a Khadi Centre that will bring together these operations in seamless manner. The different spaces necessary for creating an integrated program are – Production Unit including space for weavers, storage, and package, an annex of Indian Institute of Handloom Design, an Administration Unit, Designer studios, Retail Outlet and Temporary Exhibition Space. This project is expected to breathe new life to the Cotton Khadi Industry which is in much needed revival. Gandhi Ashram, the home of Cotton Khadi Industry in Ahmedabad, serves as the perfect location for a project of this stature. Other similar project, which includes weaving facilities and heritage settlements, both National and International, has been selected to understand the processes involved, the spaces necessary for production, the quality of the spaces and flow of activities. The data is analyzed to understand some key lessons that is used in the design process.

The master plan is done based on the different privacy levels that the campus will need. The Retail Outlet (Name : हस्तबुनी वेत्ति) being the most public is kept near the entrance of the site. The semi-public space such as the Administration Unit, Designer studio and Dye House are towards the center of the site, while the Production Unit for the Weavers and Spinners is at the far end of the site. The campus building designs are based on the same principles of the Traditional Indian Style Architecture. The production spaces are designed such that it mimics the effect of row houses from the street. The outcome of the thesis is a space that can be used by all the stakeholders of the industry throughout the year and to host annual exhibitions thus adding a new dimension to this dying small scale occupation.

Revitalizing Khadi Centre- Ahmedabad

CONTENTS COMPLETION CERTIFICATE

ACKNOWLEDGEMENTS

MOTIVATION

ABSTRACT

CONTENTS

IMPORTANT ABBREVIATIONS

CHAPTER 1: INTRODUCTION

1.1 Aim of the Project

1.2 Objectives of the project

1.3 Methodology

CHAPTER 2: BACKGROUND STUDY

2.1 What is weaving ?

2.2 Types of Weaving

2.3 History of Khadi

2.3.1 In the Vedic age

2.3.2 In Ancient and Medieval Periods

2.3.3 Effects to Industrial Revolution

2.4 Khadi in independent India

2.4.1 Gandhian Khadi

2.4.2 Swadeshi Movement

2.4.3 Reorientation of Khadi Work

2.4.4 Reasons for survival

2.5 Evolution of Fashion Industry In India

2.5.1 Ancient Civilization

2.5.2 Impact of British Raj

2.5.3 The 1920s

2.5.4 The 1930s

2.5.5 The 1980s to 1990s

2.5.6 The 21st Century

2.5.7 The Era of Brands

2.5.8 Growing Trend of Fusion

Revitalizing Khadi Centre- Ahmedabad

2.6 Weaving Process

2.6.1 Cotton Cultivation

2.6.2 Pre- spinning process

(1) Ginning

(2) Opening and Cleaning

(3) Carding

(4) Draw Frame process

(5) Combing

(6) Roving

2.6.3 Spinning process

(1) Drafting

(2) Twisting

(3) Winding : Ring, Traveller, Spindle

2.6.4 Pre-weaving process

(1) Sorting and Washing

(2) Warping

(3) Sizing

(4) Loom Dressing

(5) Drawing-in

(6) Reeding-in

(7) Tying

2.6.5 Weaving process

(1) Design Weaving

(2) Cleaning

2.6.6 Post-Weaving process

(1) Scouring and Bleaching

(2) Dyeing and Printing

(3) Calendaring

2.7 Marketing

2.7.1 Marketing network

2.7.2 Volume of Retail Sales

2.7.3 Reasons for Stagnation

2.7.4 Difference between Sales and Production value of khadi

2.7.5 Readymade and value added items

Revitalizing Khadi Centre- Ahmedabad

2.7.6 Government Supplies

2.7.7 Exports

2.8 Policy support

2.8.1 Policy support by Central Government

2.8.2 Budgetary Allocations and bank finance

2.8.3 Product Reservation

2.8.4 Amending KVIC Act

2.8.5 High power Committee on KVI

2.8.6 Supply of Hand-spun yarn to Handlooms

2.8.7 Policy support by State Governments

2.8.8 Example of Gujarat

2.9 The Prospects

2.9.1 Widest Network of Tiny Sector

2.9.2 Emphasis on Growth Rate

2.9.3 SWOT analysis of Cotton Khadi Industry

(1) Points of Strength

(2) Weaknesses

(3) Opportunities

(4) Threats

2.9.4 Need for Reconstructing

2.9.5 The Question of the Traditional Spinners

2.9.6 Conclusion

CHAPTER 3: PROJECT SYNOPSIS

3.1 Aim

3.2 Objectives and Goals

3.3 Design Methodology

3.4 Design Principles

3.5 Scope

CHAPTER 4: CASE STUDY

4.1 Understanding of Production Unit

4.1.1 Imam Manzil Khadi Weaving and Selling Centre, Ahmedabad 4.2 Understanding of Retail Outlet 4.2.1 Khadi India Lounge, Mumbai Revitalizing Khadi Centre- Ahmedabad

66 69 69 9

4.3 Understanding of Dye House

4.3.1 Pallav Dye House, Ahmedabad

CHAPTER 5: PROJECT BRIEF

5.1 Program Flow

5.2 Area statement

5.3 Conclusion

CHAPTER 6: SITE ANALYSIS

6.1 Location (Ahmedabad)

6.1.1 Ownership

6.1.2 Site Accessibility

6.1.3 Site Surrounding

6.2 Site Regulations

6.3 Climate

6.4 SWOT Analysis

6.5 Site Drawings

CHAPTER 7: DESIGN

7.1 Conceptual Zoning

7.2 Design Development

7.3 Proposed Design Drawings

7.4 Design Detailed drawings

7.5 3D Renders

CHAPTER 8: CONCLUSION

154

CHAPTER 9: REFERENCES

155

Revitalizing Khadi Centre- Ahmedabad

IMPORTANT ABBREVIATIONS - 1 AT

Approved Tenders.

ABSSS

Akhil Bharat Sarva Seva Sangh.

AIKVIB

All India Khadi And Village Industries Board.

AISA

All India Spinning Association.

ATIRA

Ahmedabad Textile Industry Research Association.

AD/S

Assistant Director/S.

ADO/S

Assistant Developments Officer/S.

AIVIA

All India Village Industries Association.

App.

Approximately.

BTRA

Bombay Textile Industry Research Association.

CCC

Central Certification Committee.

Capital Expenditure.

CKh

Cotton Khadi.

Capital Utilization.

Cr/Crs.

Crore/ Crores.

CTSTI

Congress On Traditional Science And Technologies

CCI

Cotton Corporation Of India.

CSP/s

Central Silver Plants.

Centimeter.

CEO

Chief Executive Officer.

DIKC

Director, Khadi Co-ordination.

Deputy Director.

DIC

District Industries Centre.

Dy.

Deputy.

Development Officer.

DRDA

District Rural Development Agency.

EcR

Economic Research.

FY Plan

Five Year Plan.

ft.

Foot / Feet.

GOI

Government Of India.

HPC

High Power Committee On Khadi And Village Industries. Revitalizing Khadi Centre- Ahmedabad

IMPORTANT ABBREVIATIONS - 2 HBTWSA

Hill, border, tribal, weaker sections areas.

Head officer.

IDBI

Industrial development bank of India

ICCC

Indian Central Cotton Committee.

Khadi Co-ordination.

Kilometer

kilogram

KVI

Khadi And Village Industries.

KVIB / KVIBs

Khadi And Village Industries Board/S (State).

KAVIRC

Khadi And Village Industries Research Committee.

KVIC

Khadi And Village Industries Commission.

KEC

Khadi Evaluation Committee.

lb/s.

Pond/s.

Metric.

Metre/s.

Mkt.

Marketing.

Managing committee.

MDTC

Multi Disciplinary Training Centre.

NABARD

National Agriculture And Rural Development Bank.

No.

Number.

NMC

New Model Charkha.

Per month.

p/ pp.

Page/ pages.

PRI/s

Panchayat raj institutions.

Qty.

Quantity.

RBI

Reserve bank of India.

Re/Rs.

Rupee/ rupees.

R&D

Research and development.

RPM

Rounds Per Minute.

Sq.

Square.

SFC

Standing finance committee. Revitalizing Khadi Centre- Ahmedabad

IMPORTANT ABBREVIATIONS - 3 SIDBI

Small Industries Development Bank Of India.

Spl

Spindle.

Serial.

Metric count of yarn.

SC/ST

Scheduled Casts / Scheduled Tribes.

S&T

Science & technology.

Sup/s

Supervisor/s.

TRYSEM

Training Of Rural Youth For Self-employment.

UT/s

Union territories.

Village Industries.

wef

With effect from.

Revitalizing Khadi Centre- Ahmedabad

CHAPTER 1 INTRODUCTION The weaving Industry is one of the largest industries in India. 1.1 Aim of the project The aim of the project is to study the issues faced by Imam Manzil Khadi Weaving Centre in Ahmedabad and prepare a project proposal that will uplift the face of the industry. 1.2 Objectives of the Project

The three broad objectives that this study intends to meet include: Identify : To study the industry and identify the issues that can be addressed through the scopes of Architecture and Interior Design.

Formulate : To Formulate a project brief with a solution for the identified issues. Design : To design a space that stays within the spirit of the occupation but uplifts the face of the Centre. 1.3 Methodology The Methodology adopted is divided into eight stages. The initial stages are aimed at understanding the industry to formulate a solution while the later stages concentrate on the design process and outcome. See the (Chart. 1.1)

Revitalizing Khadi Centre- Ahmedabad

REVITALIZING KHADI CENTRE

STAGE 1 : PROJECT INTRODUCTION Problem identification Project objectives STAGE 2 : BACKGROUND STUDY Understanding the weaving centre Identifying reasons of decline Case studies for revival STAGE 3 : PROJECT SYNOPSIS Aim and design objectives Scope and limitations Principal activities and users STAGE 4 : DESIGN CASE STUDY Case studies for weaving unit Case studies for retail unit

STAGE 5 : DESIGN BRIEF Programme Flow Preparation of area statement STAGE 6 : SITE STUDY

Site identification Site analysis STAGE 7 : DESIGN DEVELOPMENT Site zoning Conceptual ideas Site development Conceptual massing STAGE 8 : DETAILED DESIGN Master plan Detailed design drawings 3d Renders Chart. 1.1 Methodology stages Revitalizing Khadi Centre- Ahmedabad

CHAPTER 2 BACKGROUND STUDY The chapter is a detailed understanding of the weaving centre and its shortcomings. Various books, articles and papers are referred to achieve this. 2.1 What is Weaving ?

Weaving is a method of textile production in which two distinct sets of yarns or threads are interlaced at right angles to form a fabric or cloth. The longitudinal threads are called the warp and the lateral threads are the weft or filling. (Weft is an old English word meaning "that which is woven"; compare leave and left. The method in which these threads are inter-woven affects the characteristics of the cloth. Cloth is usually woven on a loom, a device that holds the warp threads in place while filling threads are woven through them. A fabric band which meets this definition of cloth can also be made using other methods, including tablet weaving, back-strap, or other techniques without looms. The way the warp and filling threads interlace with each other is called the weave. The majority of woven products are created with one of three basic weaves: plain weave, satin weave, or twill. Woven cloth can be plain (in one color or a simple pattern), or can be woven in decorative or artistic design.

Fig. 2.1 warp and weft

Fig. 2.2 Weaving of cloth

2.1.1 What is Warp : The warp is the set of yarns or other elements stretched in place on a loom before the weft is introduced during the weaving process. It is regarded as the longitudinal set in a finished fabric with two or more sets of elements. The warp must be strong to be held under high tension during the weaving process, unlike the weft which carries almost no tension. This requires the yarn used for warp ends, or individual warp threads, to be made of spun and plied fibre. 2.1.2 What is Weft :

Because the weft does not have to be stretched on a loom the way the warp is, it can generally be less strong. It is usually made of spun fibre, originally wool, flax and cotton, today often of synthetic fiber such as nylon or rayon. The weft is threaded through the warp using a "shuttle", air jets or "rapier grippers". Hand looms were the original weaver's tool, with the shuttle being threaded through alternately raised warps by hand.

Revitalizing Khadi Centre- Ahmedabad

2.1.3 History of Weaving Humans know about weaving since Paleolithic era. Flax weavings are found in Fayum, Egypt, dating from around 5000 BC. First popular fiber in ancient Egypt was flax, which was replaced by wool around 2000 BC. By the beginning of counting the time weaving was known in all the great civilizations. Early looms need one or two persons to work on them. By 700 AD, horizontal and vertical looms could be found in Asia, Africa and Europe. At that time also appeared pit-treadle loom with pedals for operating heddles. That kind of loom first appeared in Syria, Iran and Islamic parts of East Africa. Faithful were required by Islam to be covered from neck to ankle which increased the demand for cloth. By 1177, loom was improved in Moorish Spain with rising higher above the ground on a stronger frame. Now the weaverâ&#x20AC;&#x2122;s hands were free to pass the shuttle, while operating the heddles was done by the feet. This type of loom became the standard European loom. In Medieval Europe, weaving was done at home and sold at fairs. The craft spread and the guilds were established. Wars, famine and plague shifted manufacturing of fabrics from home to purpose-built centralized buildings. Colonial America relied on Great Britain for manufactured goods so they began to weave cloth from locally produced fibers. Cotton and wool was mostly used but because of the laborintensive process to separate the seeds from the cotton fiber, wool was used more. That changed with the invention of the cotton gin, a machine that quickly and easily separates cotton fibers from their seeds. Flax and hemp were also used as a material for fabrics.

Fig. 2.3 Flax weaving

Fig. 2.4 Cotton Ginning Machine

2.5 Jacquard Loom

Industrial revolution switched weaving from hand to machine. John Kay invented the flying shuttle in 1733 and enabled weaving of wider fabric as well as made it faster. The first factories for weaving were built in 1785. Jacquard loom was invented in about 1803. It could be programmed with punch cards which enabled faster weaving of more complicated patterns. White fabrics were printed mechanically with natural dyes at first with synthetic dyes coming in the second half of the 19th century.

Fig. 2.6 Raw Cotton

Fig. 2.7 Splitting Fibres and Seeds

Revitalizing Khadi Centre- Ahmedabad

2.8 Ambar Charkha

2.2 Types of Weaving The way the warp and filling threads interlace with each other is called the weave. The majority of woven products are created with one of three basic weaves: plain weave, satin weave, or twill. Woven cloth can be plain (in one colour or a simple pattern), or can be woven in decorative or artistic design. 1. Plain weave : It is the simplest weave and therefore inexpensive to produce. Many fabrics that you commonly wear like mulmul dupattas, organdy and chiffon sarees are all plain weave. Each and every weft yarn goes alternately under and over the warp yarns across the width of the fabric. If the yarns are close together, the plain weave has a high thread count and the fabric will be firm and will wear well. Plain weave is of two types: Rib weave : Rib or line effect is created by using thin yarns with thick yarns or single yarns with doubled yarns in any one direction of the fabric. Basket weave : two or more yarns are interlaced as a unit with corresponding number of warp yarns t ogive a basket like effect. Mattee fabric commonly used for cross stitch embroidery is an example of such a weave. 2. Twill weave : This basic weave has a clear diagonal line on the face of the fabric. The denim or jean fabric you wear is twill weave. It is a very strong and durable weave. It is therefore commonly used in menâ&#x20AC;&#x2122;s suit and coat fabrics. Twill weave fabrics show soil less quickly than plain weave. 3. Satin weave : This basic weave has a beautiful shiny surface because of long floats on the surface of the fabric. In the satin weave warp yarns float over several weft yarns before interlacing with a weft yarn and so on. However, the long floats snag easily therefore satin weave is not as strong as plain or twill weave. Besides the basic weave you must have seen the fancy, decorative design weaves like the booti design woven in the fabric. Corduroy has raised parallel vertical lines. A towel has loops covering its both sides. All these fabrics are made using special looms and weaving techniques. They are obviously expensive fabrics.

Fig. 2.9 Plain weave

Fig. 2.10 Twill weave

Revitalizing Khadi Centre- Ahmedabad

2.11 Satin weave

2.3 History of Khadi in India Hand-spinning and hand-weaving were amongst the earliest creative activities of the man. Many scholars believe that the man invented the science and art of interlacing or weaving with grass or leaves, prior 10 his developing the art of spinning or intertwining the fibres extracted from the barks or plants, or wool. From the very beginning, man has i felt the basic need of covering his body to protect it from the fury of cold, heat and water, for he had neither the feathers of birds nor the animal's coat of hair or fur. Soon after the hunting age, when he must have used the animal's hides and skins as his coverings and on his entering into the pastoral age, the idea of preparing rope or thread with the plant fibres or wool of the sheep and goats, by joining the fibres through twisting, must have struck the thinking and creative mind of the man. Firstly, he must have used his thumb and fingers, or palms, or palm and thigh for giving twists to the fibres and joining and elongating them and later must have achieved this purpose by rotating a small thin and sufficiently straight piece of wood with one hand and holding the mass of fibres in the other. Soon he must have thought of giving some steadiness and stability to the natural thin wooden rod in motion by putting small disc of clay at its base, and making the base heavy. And thus must have born the ‘Takli’ or spindle in its crudest form. the first spinning tool several thousand years ago. The need to have stronger and more uniform thread or yarn and also increasing the speed i of producing it must have motivated the human mind to improve the shape and design of the spindle to suit the requirements of spinning different types of fibres. It is indeed surprising that despite vast technological developments in the field of textile industry, "Takli' is still in use in various parts of the world, including India. i mainly because of its handiness and simplicity. Not satisfied with the low productivity of ‘Takli’, human mind was in search of a better instrument for spinning. After the invention of wheel this task must have become easier, and the application of wheel power for rotating the spindle for spinning faster must have been quite a logical step further. There is no record as to who invented the spinning wheel and when. However, it is believed by many that it was invented on the Indian soil, and from here it-travelled to Middle East, and ultimately to Europe, where spinning was done on ‘Takli’ only till the beginning of 15th century A.D. Similarly, India is believed to be the original home of cotton, where the cultivation of cotton is guessed to have been started about 8000 years i ago, when the human race entered in the agricultural era. From here it is believed to have reached Arabia and Egypt, and in the Middle Age southern Europe including Italy, Greece and Spain, etc. It may sound interesting that as late as in 1350 A.D. the English tourist Sir John Mendville, after his return from India wrote that cotton was an amazing plant, on the branches of which tiny lambs were born. It was widely believed in Europe for long that cotton was tree-borne wool. (In German language cotton is called ‘baumwolle’.) The technology and art of weaving are believed to have been developed in all the lands at an early stage of human civilizations for weaving cloth from vegetable fibres and wool. According to a report published in Indian Express of 14.7.1993, a fragment of semifossilized cloth recovered from Cayonu, a site near the upper Tigris in Turkey, has been dated back to 7000 B.C. by the Director of Stitching Textile Research Center of Netherland. But the art of cotton yarn weaving with amazing varieties of cloth reached its zenith more than five thousand years ago in India only and remained at the top here. It is no wonder therefore that India continued to be the biggest producing and trading country of the cotton fabrics in the whole world till the beginning of 18th century. 2.3.1 In the Vedic Age Hand-spinning and hand-weaving seem to have been well developed in India even in the prehistoric age. In ‘Vedas’, which are regarded as the oldest books in the world, there is quite detailed description of the processes of producing cloth, including spinning, weaving, dyeing etc. various implements used and their parts, as well as numerous varieties of cloth and their prevalent uses. There is description of fabrics made from all the four types of natural fibres, such as hemp, wool, silk and cotton. In Manusmriti too, the earliest known code of social and economic laws of India, a provision was included for punishing the cotton cloth weaver, who exceeded the prescribed limit of sizing material while preparing warp tor weaving. In Valmiki's Revitalizing Khadi Centre- Ahmedabad

‘Ramayana’ and Vyasa's ‘Mahabharata’ there is repeated mention of the cotton fabrics with fanciful colors and artistic and intricate weaving patterns decorated with golden lace. "These accounts firmly establish the existence of the advanced stage of weaving in India several thousand years ago. 2.3.2 In Ancient and Medieval Periods Discoveries of spindles, spindle-whorls and clay figurines clothed in fabrics from the ruins of Mohenjo-Daro are a clear evidence of the common existence of spinning and weaving of cotton and wool during i the days of Indus valley civilization round about 2500 B.C. These activities continued to thrive even after this great civilization perished. and the foreigners were highly impressed by the wondrous skill of the Indian artisans spinning and weaving cotton, as manifested by the high quality of the cotton fabrics. Ratilal Mehta notes that “during the days of Mauryan Empire, just preceding the Christian era, Indian cotton and silk cloth had already crossed the frontiers and became popular in the western world. Greek writings of those days abound in references to Sindon (‘Sindhu’) and Gangetika (‘Ganges’) fabrics. Megasthenes testifies to the Indian’s love of dress. According to him, Indians wore dresses worked in gold and adorned with precious stones, and also flowered robes made of fine muslin. Alexander the Great took back from India some of the printed cottons as well as many of the finely woven silks, which he considered comparable to those of master-weavers of China”. There was a great demand for Indian muslin amongst the Roman nobility ladies, 'who, adorned in its several folds, roamed in the streets and became such a danger to the city's moral values that the Senate put i an embargo upon its import from India. Roman historian Pleenu complained that Roman money, to the tune of 10 crores of Italian coins, was flowing out of Roman Empire to import cotton fabrics from India.’ Dacca was the shiniest star in the mystified milky way of the then Indian cotton textile industry, which was in fact encompassing the whole of country from north to south and east to west. Throughout the country there were hundreds of textile centres with their own distinctive features. The printed chintzes and calicoes of Calicut, the muslin and ‘Doria’ sarees of Benares, ‘Chanderi sarees of ‘Kotah’, ‘Bandhanies’ of Jaipur. ‘Kalamkaris’ of Andhra Pradesh, to cite a few examples, brought tons of precious white and yellow metals to India from abroad in exchange of fairy Indian textiles, which were many a time sold by the carat, like precious stones. And all this was achieved by hand-spun and handwoven cotton fabrics (i.e. khadi, though the formal use of this word started much later after the advent of Mahatma Gandhi on the Indian scene). Indian fabrics attained further refinedness with marvelous weaving techniques to produce fascinating designs, as is depicted in the brilliant Ajanta caves paintings. The famous Chinese traveller Huen Tsang, who came to India in the 7uh century, has also testified this. The European travellers like Marco Polo, who visited India by the end of 13uh century, also spoke very highly of fine Indian cotton fabrics, which looked like ‘tissues of the spider's web’. Indian textiles reached the peak of their glory during the Moghul period. The story of Emperor Aurangzeb i admonishing his daughter for her immodesty, as her body was visible despite her wearing sevenfold muslin from Dacca, is quite famous.

2.3.3 Effects of Industrial Revolution It is mentioned in the book Naked Truth published in 1696 that the use of Indian muslin had become quite popular in England by then. As a result of agitation by the English traders, the use of 'calicos' (cotton fabrics) from India was banned in England in the year 1700, but without i much success. An other legislation passed in 1720 for the same purpose, met with the similar fate. Consequent upon intense and continuous public pressure, the use of Indian cotton fabrics, was allowed by amending the law in 1736. The inventions of steam engine, spinning jenny, mule machine and power loom with fly-shuttle brought in their wake a revolution in the cotton textile industry and these developments coupled with the rise of British power in India changed the ensure scenario of cotton hand-spinning and hand-weaving in India. In 1771, the first cotton textile mill of England was established to be followed by dozens of similar Revitalizing Khadi Centre- Ahmedabad

establishments, for which cotton was imported from India. The story of the transformation of India from the biggest producer and exporter of cotton textiles (hand-spun and hand-woven) to the producer and supplier of cotton as raw material to the English cotton mills is long and sad. The emergence of Britishers as the rulers of India seems to have played more crucial role than the contribution of new powerful technological forces even in the success of British textile industry. H. H. Wilson opined that without political oppression, even the steam looms of Europe could not compete with the deft fingers of Indian artisans. He observed, "It is also a melancholy instance of the wrong done to India by the country on which she has become dependent." It was stated in evidence before the House of Commons Committee on East India Company in 1813 that “the cotton and silk goods of India i up to the period could be sold for a profit in the British market at a price from 50 to 60 per cent lower than those manufactured in England. It consequently became necessary to protect the latter by duties of 70 to 80 per cent on their (Indian fabrics) value or by their positive prohibition. Had this been not the case, had not such prohibitive duties and decrees existed, the mills of Paisley and Manchester would have been stopped at the outset and could scarcely have been set in motion again even by the power of steam.... Had India been independent, she would have realiated, would have imposed prohibitive duties upon British goods and would thus have preserved her own productive industry from annihilation. This act of self-defense was not permitted; she was at the mercy of a stronger power. British goods were forced upon her without paying any duty, and the foreign manufacturers i employed the arm of political injustice to keep down and ultimately strangle a competitor with whom he could not have contended on equal terms.” With the termination of the monopoly of East India Company, India was exposed to the whole tribe of British merchants and traders, who pounced upon India's economy like falcons. It is no wonder that i after a few years Lord Bentinck, the then Governor of Bengal, had to admit that "Misery hardly finds a parallel in the history of commerce. The bones of cotton weavers are littering the plains of India.” As a corollary of this great tragedy, million of women cotton spinners i throughout India were rendered unemployed, deprived of the only means i to earn their livelihood and free to die of starvation.

2.4 Khadi in Independent India With the dawn of independence on 15th August, 1947, there was a sea-change in the khadi scenario as well. On installation of the Congress governments at Centre and in all the provinces, the status of khadi was all of a sudden elevated from ‘livery of freedom’ to the ‘rulers’ costume' and there was mushroom growth in the number of khadi wearers overnight, mainly for political reasons. There was some apprehension in the bureaucratic quarters that khadi wearing might be made compulsory for the government servants, but thanks to the liberalism of Nehru, only class IV government servants were required to wear khadi liveries, after a few years of freedom. Quite many of the new rulers were intimately associated with the AISA in the past and they had some natural sympathy for the khadi work. The nationalist government considered it to be its sacred duty to support and encourage the khadi movement, which had played a vital role in the freedom struggle. However, while the new governments recognized the utility of khadi in providing supplementary or whole time occupation in the villages and alleviating poverty, they did not have much faith in its philosophy of non-violence and decentralization and did not adopt the khadi Programme in the way Gandhiji would have liked them to do. In fact, quite a few persons in public life began to express serious i doubts about the relevance of the khadi Programme after winning Swaraj . There was some sort of public debate, though short-lived, about i the need to continue this Programme further. Naturally, Gandhiji felt highly disappointed and dejected at the implied rejection of the charkha as the emblem of non-violence. He felt that the Congress had accepted charkha rather unwillingly without accepting its basic values and tolerated it simply for his sake. With profound sadness he wrote on the eve of independence, “Think of the bonfire of foreign cloth we had during our first national struggle. Smt. Sarojini Naidu and Pt. Motilal Nehru threw away Revitalizing Khadi Centre- Ahmedabad

their fineries in it. Pandit Motilal Nehru later wrote from jail that he had found true happiness in the simplicity and purity of khadi. It is sad that spirit does not exist today. The charkha is in the centre of our tricolor flag. It is the symbol of unity and the non-violent strength of the millions. The yarn spun by the charkha I consider to be a cementing force, which can bind those, whom the three colors of the flag represent. That is why, I have said that the whole fabric of Swaraj hangs on the thread of the hand-spun yarn and have called the charkha our mightiest weapon. Where is that wheel today ?” His despair and anguish was heart-rending, when he penned the following just 3 months before his assassination: “Neither in Kathiawar nor in other parts of India, had people real faith in non-violence or khadi. It is true that I deceived myself into the belief that people were being wedded to nonviolence with khadi as its symbol... I have repeatedly said that I have neither part nor say in many things that are going on in the country today....The plain matter of fact is that I am not the current coin, that, I had fancied, I once was. Mine is the voice in the wilderness... As for khadi, it has a kind of place. If we tear it from its roots, which is 'Ahimsa' (non-violence), it no longer occupies the proud place of being the symbol par excellence of 'Ahimsa', Those, who being in political field support khadi, do so because it has attained that vogue. Today three cheers belong not to khadi, but to mill-cloth, for we labour under the delusion that but for the manufactures from our mills, millions would have to go naked”. 2.4.1 Gandhian Khadi Mohandas Karamchand Gandhi, better known as Mahatma Gandhi, is not only the Father of Nation, but also the father of modern ‘Khadi’. Therefore his thoughts become the main source to understand properly the genesis and the background of khadi. Inevitably, therefore, he would have to be quoted profusely in this chapter for authoritative exposition and clarity of his thoughts regarding khadi. He discovered ‘charkha’ (spinning wheel) in London in 1908 during discussions with fellow Indians regarding the conditions in India. “I saw as in a flash that without the spinning wheel there was no ‘Swaraj’ (self-rule). I knew at once that everyone had to spin. But I did not then know the distinction between the loom and the wheel, and in Hind Swaraj used the word loom to mean the wheel".' He had a clear vision of his Programme of reviving the ancient industry of hand-spinning and making charkha the focal point of economic regeneration of pauperized villages, as well as political awakening amongst the Indian masses, when he finally came to India in 1915. Boycott of foreign goods, specially cloth and Swadeshi movement was going on and he claimed that his khadi Programme gave a concrete and positive meaning to Swadeshi. "In my opinion, it is khadi alone that has made such boycott a practical proposition" he said. In 1919 he formally launched the khadi Programme in the country, but i clearly differentiating between the charkha of medieval times and that of his vision, in so far as the former was symbol of exploitation and helplessness of spinners, while the latter was a symbol of revolution in thought and action, as well as an embodiment of nonviolence. The Indian National Congress decided in its Nagpur session held in 1920 to encourage khadi. The first khadi production centre was established in Kathiawad, Gujarat. In 1921, khadi found a formal place in the Congress Programme and charkha its proud place on the national flag. However, the Congress formed an independent autonomous specialized body called All India Spinners Association (AISA) or Charkha Sangh. In 1925 for implementing khadi Programme vigorously throughout the country. Gandhi firmly believed that charkha was his best gift to the nation, contributing to its all-sided development— economic, political, social and moral. “I may deserve the curse of posterity for many mistakes i of omission and commission, but I am confident of earning its blessings tor suggesting a revival of the charkha. I stake my all on it. For, every i revolution of the wheel spins peace, goodwill and love.” 2.4.2 Swadeshi Movement The unchecked deterioration of Indian economy and fast spreading misery amongst Indian masses, specially the artisans, attracted the attention of Indian intelligentsia and patriotic leaders. In 1876, Dadabhai Naoroji published his famous book The Poverty of India exposing the deprivations of Indian people. Bholanath Chandra, Bipin Chandra Pal, Mahadev Govind Revitalizing Khadi Centre- Ahmedabad

Ranade, Bal Gangadhar Tilak, G. V. Joshi. Surendranath Banerjee and many others joined hands to unveil the fatal economic policy of the British government, which was devastating and ruining India. They all held that India's acute poverty was the direct result of the destruction of cottage industries by British regime. It was not surprising that the Indian National Congress at its 7th session in 1891 passed a resolution drawing attention to the dreadful fact that "full i fifty millions of the population, a number increasing every year, are dragging out a miserable existence on the verge of starvation and that in every decade, several millions actually perish by starvation'. As a logical corollary, the nationalist leaders urged the people to use only Indian goods to the exclusion of the imported ones and gave a clarion call for Swadeshi' (use of things made in India). “Rajnarain Bose-a Saintly Bengali nationalist— had the unique distinction of being among the very first, who exhorted the people to use indigenous cloth, khadi. “G.V. Joshi of Pune known as ‘Sarvajanik Kaka’ (called 'uncle' by all), and one of the celebrated economists of his time used to spin yarn daily for his own 'dhoti' (long piece of cloth worn by gents), shin or turban. He also started emporia at several places to popularize indigenously manufactured goods; and at the august Delhi Darbar of 1877, in the midst of pageantry and flamboyance, he represented the Sarvajanik Sabha dressed in pure self-spun khadi.” The Swadeshi movement was gathering momentum slowly, enlisting the support of Indian National Congress and other smaller organizations, as well as popular nationalist newspapers such as Amrita Bazar Patrika. It reached its climax as a result of partition of Bengal in 1905, lashing vehemently through boycott i of imported goods, specially the English cloth. However, it then made no distinction between hand-spun and hand-woven cloth (khadi) and Indian mill-made cloth. But after the final arrival of Mahatma Gandhi in India in 1915, the movement underwent a complete metamorphosis.

2.4.3 Reorientation of Khadi work A conference of the Trustees of AISA was held on September 1,2 and 3, 1944 at Sevagram to deliberate about Gandhi's assessment of khadi work done by the Charkha Sangh, what he had expected and conceived and what his new plan was for the future. Nothing could be better to understand properly the philosophical basis of khadi of Gandhiji’s conception than to give some important excerpts from his three speeches delivered in the conference. He said. “The most important discovery, I made was that the foundation of the AISA was weak, so that the Association could be easily wiped out of existence. It had not taken root in the life of the people. i The government could destroy it by imprisoning its leaders.. That is to say, my conception that the movement for the revival of the spinning wheel was indestructible, whatever the circumstances, had been dashed to the ground... We say that we are devoted to non-violence. If so, we must reveal in our lives the force of non-violence. Every member of the Charkha Sangh should be living witness of non-violence... Let us i admit we have failed to make non-violence a part of our being. Otherwise we would find the charkhas established in every village. I confess that I have failed... All of us should be convinced that the charkha is the symbol of non-violent economic self-sufficiency... They (villagers) will not go elsewhere to seek work. Every village will become the nerve centre of independent India... The problems of Hindu-Muslim differences, untouchability, confects, misunderstandings and rivalries will all melt away. This is the real function of the Sangh. We have 1o live and die for it... The village is the centre for the charkha, and the Charkha Sangh can realize its highest ambition only when its work is decentralized in the villages. Keeping this in view this meeting of AISA should resolve that the following changes be implemented in the present methods of its work: a) The largest number of workers, whose one passion is charkha and whom the AISA approves, should go to the villages. b) The number of present sales depots and production centres o Should be curtailed c) Training institutions should be developed and teaching courses enlarged. Revitalizing Khadi Centre- Ahmedabad

d) The Sangh should permit any province or district which wants to be independent and selfsufficient to become so. Non-violence is not something of the other world. If it is, I have no use of it. I am of the earth and if non-violence is something really worthwhile, I want to realize it here on this earth while still I am alive. And how else can it be realized except in a society which has compassion and other similar virtues as its characteristics... I have been to the Vice regal Lodge. I also saw Mussolini. In the houses of both I found arms hanging on the walls. I was given a salute with arms, a symbol of arms. Just as arms symbolize violence, the charkha symbolizes i nonviolence, in the sense that we can most directly realize non-violence through it. The sword in Mussolini hall seemed to say Touch me and I will cut you. I gave a vivid picture of violence. It seemed to ask you i to touch it and realize its power. So also we must show the power of the charkha, so that a mere look at it may speak to us about non violence... The charkha was there during Muslim rule also. Dacca was famous for its muslin. The charkha then was a symbol of poverty and not of non-violence. The kings took forced labour from women and depressed classes. The same was later repeated by the East India Company. Kautilya mentions in his Arthashastra the existence of such forced labour. For ages the charkha was thus a symbol of violence and the use of force and compulsion. The spinner got but a handful of grain or two small coins, while ladies of the court went about luxuriously clad in the finest of muslins, the product of exploited Labour. As against this I have presented the charkha to you as a symbol of non-violence. The task of making the charkha, which for centuries had been a symbol of poverty, helplessness, injustice and forced labour, the symbol of new mighty non-violent strength, of the new social order and of the new economy has fallen on our shoulders. We have to change the history. i And I want to do it through you... So, if non-violence is to be pursued as an ideal. the charkha must be acknowledged as its true form and emblem and kept ever before view. Whenever I think of non-violence, the picture of the charkha comes before me. We cannot visualize nonviolence in the abstract. But if it were found that I was myself suffering from an illusion and that my belief in the charkha was mere idol-worship, either you i may burn me to ashes with the wood of the charkha, or I myself would set fire to the charkha with my own handâ&#x20AC;?. After prolonged discussion, AlSA decided to reorganize its khadi work on the lines of selfsufficiency for individuals as well as villages i in a phased manner. In this context the famous message of Gandhiji originally given in Hindi (rendered in English also) is enlightening. As a first step in the direction of individual self-sufficiency AISA made it compulsory for the khadi buyers to make part-payment for khadi they bought in the form of self-spun yarn worth one Anna for khadi worth one rupee. However, as a laree majority of khadi wearers were not spinning themselves, this condition gave rise to only technical observance of the rule through malpractices. It was simply a case of al good intention taking an ugly form. Naturally Gandhiji was deeply pained by this unexpected turn. Soon after India winning independence, Gandhiji passed away On January 30, 1948, and khadi world was left to 1tsell to chart its future course. In view of immense practical difficulties, which came in the way of total reorientation of khadi work and the questionable practices which sprang in the process of implementing the new plan, AlSA reverted back to the old system of producing and selling khadi and the onward march of commercial khadi was resumed. Thus ended a short but significant chapter in the history of khadi. 2.4.4 Reasons for Survival

It is amazing that despite the onslaughts of powered, mechanized and organized textile mills, not to mention suppression and oppression by the British rulers, hand-spinning and handweaving of cotton fabrics i survived and continued to play a significant role in all walks of India's i life, though in quite subdued form. Naturally, one would feel an urge to find out the reasons for their survival. Apparently hand-spun and hand-woven cotton fabric industry was Revitalizing Khadi Centre- Ahmedabad

fulfilling one of our basic needs, i.e. clothing. In the process it provided the only means of livelihood to millions of artisans, specially spinners and weavers throughout the length and breadth of the country, as testified in the surveys conducted by senior officials of East India Company itself, Dr. Buchanan and Montgomery Martin. Despite increasing difficulties, these artisans had no choice but to persist in their vocations, even when their earnings were miserably low. Habits, tastes and traditions of the people developed i over the ages also kept alive the demand for some of their products, such as fine Bengali or Chanderi saris, muslin of very high counts, coarse ‘Dosuti’ (two yarn together) bed sheets, ‘khes’ (coarse covering sheet), plain towels, ‘Durries’, etc., and they did not mind even paying a bi more for such article for the sake of their greater functional utility. Moreover, despite heavy mechanization, the mills either could not produce quite a few varieties of the fabrics preferred by the Indian consumers, or found it uneconomical to produce thein. Hence, quite al few varieties of handspun and hand-woven varieties of cotton fabrics continued to be in demand, though in a reduced volume. The traditional art of hand-spinning was passed on from generation to generation and assimilated in the day to day life-pattern of the people at large, specially in northern India. As a matter of daily routine, women from all strata of society, rich and poor, high or low, took pride in hand-i spinning. They frequently gathered with their charkhas in groups, which could be described as some sort of informal social clubs, at a common place, public or private, in their respective locality or Mohalla, every afternoon and indulged in spinning amidst the humming sound of wheels mixed with their chatting. This was quite a common scene in villages of Punjab, Haryana, some parts of Rajasthan and Western Uttar Pradesh till the middle of twentieth century. So much so that the charkha was one of the common items of dowry given to the daughters of the village folks in these parts signifying its importance in family life. Gandhiji wrote, “The Punjab has made the solution still clearer to me. i God be thanked that the beautiful women of the Punjab have not yet i lost the cunning of their fingers. High or low, they still know the art of spinning. They have not yet burnt their spinning wheels, as many Gujarati women have done. It was to me a perfect delight to find them throwing balls of yarn into my lap. They admit they have time at their disposal for spinning. They admit that the Khaddar woven from their hand-spun yarn is superior to the machine spun yarns”. It is no surprise that hand-spinning permeated into our cultural and religious heritage as well. Amongst Hindus, very coarse hand spun yarn, coloured red or yellow called ‘Kalawa’ is tied around right hand wrist even at present on all the auspicious occasions, specially in northern India. Similarly, some conservative Brahmin families still follow the tradition of spinning the yarn required for making the ‘Yagnopavit’ (Sacred thread) on ‘Takli’, in south as well as north. Although, the hand-spinning with cotton was dwindling day by day till the beginning of the present century, it continued its sway with wool and silk to considerable extent. A few textiles mills produced woolen fabrics also, yet in several parts of the country, such as J & K, Himachal Pradesh, mountainous regions of Uttar Pradesh, West Bengal, Western Rajasthan, Western Karnataka and Gujarat, etc. wool spinning with charkhas is still being practiced in homes by the house-wives, and with Takli' in the pastures by the shepherds, mainly to meet the local needs of different types. In the field of silk, Eri-cocoons produced in Assam have necessarily to be spun with ‘Takli’ only. Similar is the case of cut cocoons of mulberry, tussar (coarse yellowish silk), and their waste in Bengal, Bihar, & M.P. etc. The prevalence of these traditions kept up the art of hand-spinning, and the revival of hand-spinning with cotton was not a very difficult task in various regions of India. Of course, the handloom weavers ad become quite accustomed to weave with mill cotton yarn, which was more even and strong, and they were rather reluctant to revert to the hand-spun cotton yarn. But paucity of work persuaded them to weave khadi and earn a regular and reasonable income. It is worth mentioning that in certain pockets, e.g. Bundelkhand, hand-spinning was a family occupation along with hand weaving, in order to ensure steady supply of yarn of good quality for the looms owned by the family. Revitalizing Khadi Centre- Ahmedabad

The boycott of foreign cloth and â&#x20AC;&#x2DC;Swadeshiâ&#x20AC;&#x2122; movement undoubtedly proved to be a great boon for the revival of cotton khadi industry. Addition of the patriotic fervor to this universal economic activity and support of nationalistic forces served as an elixir to khadi movement. i Consequently, the dying industry once more came to life with considerable vigor. Emotional appeal of khadi compensated to considerable extent, its qualitative shortcomings and it even commanded i premium in the form of some respectability in the circles of elite and enlightened people. The fact that hand-spinning occupied a place of pride in the Indian economy is clear from the popular acceptance of hand-spun cotton yarn as the 'storage of value' and even 'medium of exchange'. It was readily accepted as such in day to day life till even thirties in many parts of India. Richard B. Gregg wrote in his book Economics of Khaddar in 1931. "These (village industries products) do not and cannot command the ready and permanent market, that yarn always does. Even today in parts of Bengal and Madras. the old tradition of yarn markets continues." Under such circumstances it is no wonder that cotton khadi industry survived and continued to be a part of people's life despite setbacks. In India, Khadi refers to handwoven and hand spun cloth. Weavers prefer the yarn produced by Mills because it is more robust and of consistent quality. Swadeshi movement of boycotting English products during the first two decades of the twentieth Century was popularized by Mahatma Gandhi and Indian mill owners, backed Nationalist politicians, who called for a boycott of foreign cloth. Gandhi argued that the mill owners would deny handloom weavers an opportunity to buy yarn because they would prefer to create a monopoly for their own cloth. However, handspun yarn was of poor quality and too costly. Thus Mahatma Gandhi started spinning himself and encouraging others to do so. He made it obligatory for all members of the Indian National Congress to spin cotton themselves and to pay their dues in yarn. He further made the chakri (spinning wheel) the symbol of the Nationalist movement. Initially the Indian flag was supposed to have a chakri, not the Ashoka Chakra at its centre. Mahatma Gandhi collected large sums of money to create a grass-roots organization to encourage handloom weaving. This was called 'khaddar' or 'Khadi' movement. The British Raj was selling very high cost cloths to the Indians. The Indian mill owners wanted to monopolies the Indian market themselves. Ever since the American Civil War had caused a shortage of American cotton, Britain would buy cotton from India at cheap prices and use the cotton to manufacture cloth. The khadi movement by Gandhi aimed at boycotting foreign cloth. Mahatma Gandhi began promoting the spinning of khadi for rural self-employment and self-reliance (instead of using cloth manufactured industrially in Britain) in the 1920s in India, thus making khadi an integral part and an icon of the Swadeshi movement.

The freedom struggle revolved around the use of khadi fabrics and the dumping of foreignmade clothes. When some people complained about the costliness of khadi to Mahatma Gandhi, he started wearing only dhoti though he used wool shawls when it got cold. Some were able to make a reasonable living by using high quality mill yarn and catering to the luxury market. Mahatma Gandhi tried to put an end to this practice. He even threatened to give up khadi altogether if he didn't get his way. However, since the weavers would have starved if they listened to Gandhi, nothing came of this threat. In 2017, a total of 460,000 people were employed in industries making khadi products. Production and sales rose by 31.6% and 33% in 2017 over the 2016 figures after the multi-spindle charkas were introduced to enhance the productivity by replacing the single-spindle charkas. In 2019 it was reported that overall khadi sales in India have risen by 28% in the 5 period preceding 2018-2019. The revenues from Khadi in the last financial year have been 3215 crores and the KVIC has set a target of 5000 crore by 2020. Prime Minister Narendra Modi, asserted that khadi cloth is a movement to help the poor. He further highlighted that the Khadi and Village Industries Commission is a statutory organization engaged in promoting and developing khadi and village industries. He lauded that Gujrat and Rajasthan are well known for khadi poly, while Haryana, Himachal Pradesh and Jammu and Kashmir are known for the woolen khadi. Revitalizing Khadi Centre- Ahmedabad

2.5 Evolution of Fashion Industry in India Indian fashion scenario is known for its cultural heritage, elegance, and colorfulness. It brings out the subtlety and beauty which has sustained through innumerable decades. For not only is it comfortable, sophisticated and aesthetically beautiful but it has also evolved over time. Making a sweeping surge into today’s global scenario, the fashion industry in India is an amalgamation of dynamic conventions. From ethnic to western, salwar kameez to high-street fashion; fashion industry in India has definitely gone through a milieu of transformations. Needless to say, the fashion industry in India has been advantaged by thousands of years of rich tradition behind it and the knowledge as the vogue of sewn garments have existed in India ever since ancient history.

The textile industry in India is among the largest segment of India’s capital goods sector. As per the report published by Indian Brand Equity Foundation (IBEF), India is the second largest exporter of textiles in the world. Furthermore, favorable demographics and rising income levels are believed to be the key growth drivers of the Indian textile and apparel sector in the coming years. The fashion industry in India covers a wide range of clothing from ornate clothes designed for wedding ceremonies to casual wear. The Indian traditional techniques of embroidery like Crewel, Chikhan, and Zardosi have paved their way into the international forefront of fashion runway portraying Indo-western clothing in a fusion of the best of East and West. Apart from these, India also represents a unique blend of sarees woven in silk and cotton like Kanjivaram, Mysore, Pochampalli, Jamdani, Blucher, Pithani, Benarasi, Bandhini, Sambhalpuri etc. In the 5th century BC, Herodotus, a Greek historian elucidated the productiveness of the quality of cotton clothes in India. The Fashion scenario in India has an interesting history to ponder upon, let’s look at the transformation of Indian fashion industry through the ages. 2.5.1 Ancient Civilization

Dating back to the Mohenjo Daro civilization, the earliest preliminary version was found in the statue of Mother Goddess wearing a piece of cloth around her waist. Her torso was covered with jewels. Apart from this era, the ancient Vedic literature states the existence of Phataka made from leaves and barks. The 11th Century B.C Rig Veda states the existence of Paridhan (dyed) and Pesas (embroidered) garments and traces the development of refined fabricating techniques of apparels during the Vedic age. By the 2nd century AD, the muslin clothes produced in the southern part of India were merchandised to the Roman Emperors. The evolution of stitched and tailored garment in India is traced even before the beginning of the 10th Century AD which was further proposed around the 15th century by the Muslim empires of India. (Fig. 2.12) 2.5.2 Impact of British Raj

The advent of British Raj in India encouraged the British industrial cloth in India. With this, the development of Khadi, a hand woven material was boosted in India in order to lessen the dependency of Indians on the British Industrial goods. (Fig. 2.13) 2.5.3 The 1920s 1920s is also known as the ‘Roaring Twenties’ in the fashion parlances. This decade is also termed as the ‘Charleston Era’ in the Fashion world. In this era, women discarded restricted fashion and switched over to comfortable clothes likes skirts and trousers. As part of this trend, Eton cropped hairstyle came into vogue. Cholis in India started appearing like the shimmering glitz and flash of Charleston dresses. These dresses were long sleeved and were made using lace, satin, cotton or silk. Sarees with long sleeve and mid-sleeve blouse also became quite popular around this time. (Fig. 2.14 ) Revitalizing Khadi Centre- Ahmedabad

Fig. 2.12 Ancient Civilization

2.5.4 The 1930s

Fig. 2.13 Impact of British Raj

2.14 The 1920s

The Wall Street Crash also known as Black Tuesday was the most devastating stock market crash in the history of the United States. The Post Wall Street Crash is the era of the 1930s. This era marked the emergence of the Bonnie and Clyde (Bonnie Elizabeth Parker and Clyde Chestnut Barrow, American Criminals) look in the fashion world. This particular look signified a daring and flamboyant attitude. This look became quite popular in the US, India and across the world where Hemlines descended to mid-calves and long collars, two-piece suits, and pinched waists dominated the fashion scene. (Fig. 2.15) 2.5.5 The 1980s to 1990s This era was characterized by expansion of Fashion schools in India which was tagged by an outbreak alteration to Fashion in Indian clothing. It also marked the entrance of women in the workforce at a huge pace. The 80s brought the advent of Disco with an introduction to some shimmery and glittery costumes, denim and leather biker jackets, and chiffon sarees in varied colors with a fusion of Indian and western clothing styles. The 1980s also marked the active participation of women in the Indian Fashion Industry and altering Indian attitudes towards multiculturalism. The 90s marked the arrival of full-sleeve salwar kameez, floral dresses, long skirts, denim, shades, and dungarees. The decades following the 90s are touted to be the era when Indians adopted more westernized concept in the fashion making bold and stylish choices. (Fig. 2.16) 2.5.6 The 21st century The beginning of the 21st century brought about a stable and clear picture of the Indian Fashion Industry. As women became independent, pants, short skirts, and bold costumes and fashion became more cosmopolitan than region specific. This transformation is majorly seen in the style of wearing blouses and sarees these days. Halter-neck, back-button blouses, high-neck blouses, Katori style and puffed sleeve blouses have become the first preference of women rather than the traditional style of blouses. Sarees are draped mostly in Gujarati style and it would be right to say that Indian fashion scene is greatly influenced by its film industry time and again. (Fig. 2.17)

Fig. 2.15 The 1930s

Fig. 2.16 The 1980-1990s Revitalizing Khadi Centre- Ahmedabad

2.17 The 21st Century 28

2.5.7 The Era of Brands The market for branded clothes is emerging in India. An ever-increasing number of people are getting inclined towards branded garments as they provide quality affirmation. Liberty shirts were the main organization to offer shirts under its brand name in India amid 1950â&#x20AC;&#x2122;s. Since then, numerous national and global brands have built up themselves in Indian fashion industry. Allen Solly, Van Heusen, Louis Philipe, Charagh Din, Raymonds, Arrow, and so on are some driving national brands today. The branded attire showcases a growth as a result of growing demand for denim. Many global brands entered the denim business in India as Levi Lee, Seven Jeans, Pepe Jeans, and so forth. Branded attires mark a significant contribution to the evolution of Indian fashion industry. (Fig. 2.18)

2.5.8 Growing Trend of Fusion The advent of fusion wear has revolutionized the Indian fashion scenario in many ways. The blend of contemporary, vintage and indo-western has become tremendously popular in last couple of years. Fusion wear celebrates the beauty of both the world and the Indian fashion industry. It has evolved to such an extent that top-notch fashion brands contain the same element in their collection. The fusion wear is gaining enormous popularity with the introduction of the long maxi with collars, hanky hems, cold shoulder maxi, crop-tops, heavy duty capes, and tunics. While, kurtas, lehengas, indo-western tops and spaghetti kurtas are turning lots of head. The fashion trend in India has been influenced by the foreign designers and brands who also introduced the concept of corporate dressing. The corporate style survives to date with an added element of modernity ensuing the fusion wear. (Fig. 2.19)

Fig. 2.18 The Era of Brands

Fig. 2.19 Growing Trend of Fusion

India is a land of multiculturalism and the massive diversity is reflected in the variation of traditional garments and the dressing styles that differ from one state to another, which is rare to spot elsewhere in the world. It has traveled from one subculture to another since ages and the traces of Indians being stylish can be discovered right from the times of Harappa and Mohenjo Daro. With the advent of globalization, numerous changes have taken place in the Indian fashion industry. According to a report by Economic Times, the Indian Fashion Industry marks a growth of USD 100 billion and at a CAGR of 8-10 percent offline, the online fashion segment is expected to grow by 15-20 percent over the next five years. The market for the fashion industry in India, especially for women, is quite lucrative in terms of scope and variety. Today, while the rapid growth of information technology popularized the corporate look, the revival of the ethno cultural look has become quite dominant leading to the popularization of the traditional forms of art and crafts. Of late, the International fashion brands have begun to focus on the immense potential of this sector offering heaps of opportunities to the in-house fashion designers. Indian fashion industry has expanded to such an extent over time that it has now come at par with the international fashion industry and has become one of the most popular revenues generating industries of India. Revitalizing Khadi Centre- Ahmedabad

2.6 Khadi Weaving Process 2.6.1 Cotton Cultivation Cotton fibres grow in pods enclosed within the boll, as hairs on seed of the cotton plant. Initially these fibres are thin tubular structures, which first grow up to their respective lengths and their walls become thicker from within by consecutive layers of cellulose deposition on the inner walls. There is a film of wax around these fibres. Different cottons have varying measure of wall thickening and greater wall thickening tends to result in a deeper shade. The cotton fibres are highly hygroscopic with one-third of cotton cellulose being available for holding water. This property makes cotton best suited to cover the human skin as it readily absorbs the human sweat.

Ready availability of cotton at most of the places through local cultivation was considered as the basic requirements by Gandhiji for making the industry widely dispersed, specially from the point of view of self-sufficiency at individual as well as village level. In fact, this was being practiced in the olden times, when growing perennial cotton plants like ‘Dev Kapas’ in the kitchen- gardens of courtyards was quite common in the villages. However, due to commercialization of cotton cultivation and pest- prone nature of the perennial varieties of cotton, the practice was discontinued, despite the fact that hand-spinning with freshly ginned cotton yielded more than yarn and of a better quality. Never the less, suitable varieties of cotton could be grown almost in all parts of India, if necessary efforts are made in this direction. It would obviate the need to transport cotton over long distances to meet the requirements of the hand-spinning units all over the country. Khadi Evaluation Committee observed that “according to the Indian Central Cotton Committee (ICCC), in almost all the states the soil and climate are suitable for the growth of different varieties of raw cotton. The Programme drawn up by the ICCC are generally directed to suit the requirements of cotton textile mills and particularly no thought has been given either by KVIC or ICCC to the needs of Khadi”. At late as in 1981, a cotton ‘chaddar’ in Nagaland made from the locally grown cotton and it fully corroborates the opinion of ICCC. Presently, the cotton cultivation is mainly concentrated in 9 states of India. These states are: Andhra Pradesh, Haryana, Gujarat, Karnataka, Madhya Pradesh, Maharashtra, Punjab, Rajasthan and Tamil Nadu. Sr.n o.

State

1989-90

1990-91

1991-92

1992-93

1993-94

1994-95

1995-96

Andhra Pradesh

9.31

11.02

12.98

11.94

13.40

15.10

29.50

Gujarat

17.56

13.23

11.81

19.88

16.23

22.69

32.25

Haryana

11.83

11.50

13.50

14.06

11.24

13.73

11.60

Karnataka

9.23

6.54

7.95

9.75

7.70

9.46

10.30

Madhya Pradesh

4.12

3.81

2.46

3.61

4.06

3.54

15.00

Maharashtra

22.11

18.80

11.55

18.08

26.25

26.61

28.15

Punjab

24.54

19.09

23.57

23.14

15.15

17.79

15.05

Rajasthan

9.86

9.18

8.45

10.16

8.39

8.75

13.75

Tamil Nadu

5.12

3.93

4.37

4.72

4.21

5.91

4.75

Others

0.54

0.49

1.92

0.49

0.47

0.51

1.15

114.22

97.59

98.56

115.83

107.10

121.09

161.50

Total

Table.2.1 Cotton Cultivation states of India (Year- 1990-1996) Revitalizing Khadi Centre- Ahmedabad

Cotton growing states in India

Map.2.1 Cotton Growing states of India

Revitalizing Khadi Centre- Ahmedabad

Varieties and classification However India is producing a large number of cotton varieties and grades, facilitating production of yarn of wide ranging counts. The four attributes, which go to decide the grade of the cotton are: (1) fibre length, (2) fibre fineness, (3) fibre strength and (4) fibre maturity. In an average quality cotton at least 80% of the fibres should be fully mature. The presence of immature fibres in excess not only affects the strength of yarn adversely, but also creates problems during dyeing and printing. Broadly speaking, different varieties of cotton can be grouped in the following five categories on the basis of their staple length: Group

Staple length

Short staple

Below 20 mm

Medium staple

20.5 to 25.5 mm

Medium long staple

26.0 to 27.5 mm

Long staple

28.0 to 33.5 mm

Extra long staple

34.0 mm and above

Table.2.2 Different Staple Lengths of Cotton

India has apparently developed a large number of hybrid varieties of cotton, having varying staple length, fineness of fibre and whiteness, which are suitable for spinning yarn of coarse, medium, fine and superfine categories. By and large, with the increase in length of staples, fineness of fibres around cotton seed also increases and more the length and fineness of cotton, higher the count of yarn that can be spun with it. India at present is producing enough cotton not only for domestic consumption, but also for some exports. However, for producing yarn of more than 150 count (metric) under muslin production in khadi sector, shortage of long and extra long staple cotton is being experienced. In case of high count muslin spinning, the major constraint appears to be the non-availability of suitable variety of cotton in adequate quantity. In this regard Khadi& Village industries Review Committee (KAVIRC) observed thus: â&#x20AC;&#x153;The sea-island cotton, the most favored variety has almost disappeared. The next best, the Suvin, is in short supply and commands a high price. With the commissioning of a pre-spinning processing unit at Trichur (Kerala), it may be possible to use other varieties of cotton like DCH 32, and the raw material problem may be solved satisfactorilyâ&#x20AC;?. To overcome the shortage of long staple cotton in the country, the same is imported from Egypt, USA and Pakistan.

Fig. 2.20 Length of Cotton Fibre

Revitalizing Khadi Centre- Ahmedabad

There are five stages of production in cotton khadi industry : (A) Pre-spinning, (B) spinning, (C) pre-weaving (D) Weaving and (E) Post-weaving. Different processes are involved in almost every stage of production. The industry has been divided, mostly for historical and administrative reasons, into two parts: (1) ordinary cotton khadi and (2) muslin. The former can further be subdivided, on the basis of the level of technology employed into two distinct segments, (1) traditional cotton khadi, (2) New model charkha cotton khadi.

Ginning of cotton

• Blending (if desired) • Carding • Drawing • Combing (if required) • Roving

Spinning of yarn

• Sorting • Warping • Sizing • Drawing • Pirn winding

Weaving of cloth

• Cleaning the woven piece • Scouring & bleaching • Dyeing and printing • Starching & calendaring • Marking & packing

Chart.2.1 Stages of Weaving Process

2.6.2 Pre-spinning process (1) Ginning The first process which the seed cotton undergoes is ginning, which separates cotton fibres from the seeds without damaging the fibres to the extent possible. This can be done manually with small, hand-driven ‘otnis’ (ginning equipment) in homes or in large ginning factories having power driven roll-gins. Sometimes, the seed cotton is given some sort of pre-ginning treatment by subjecting it to a process of very mild heating and cleaning, when trash and dust is partially eliminated. Recently, in a few ginning factories the practice of giving some sort of post-ginning treatment has also been started, which involves slight opening of ginned cotton with simple opener type machines to remove some impurities and giving it a ‘bloom’, which helps the cotton is highly compressed into compact bundles called ‘bales’ of prescribed dimensions and weight for easy transport within outside the country. Spraying during baling is a common practice with the idea if having better compression. But expressive humidity inside the bale for long time causes deterioration of cotton fibres reducing its strength and imparting a yellowish tinge to them. Revitalizing Khadi Centre- Ahmedabad

Hand ginning used to be done on a wooden slanting plank with the help of thin metal rod. But this method is not vogue now due to very low output. Old ‘Otni’ having wooden rollers is also not in much use at present. In the case of muslin production of course, ginning is done on hand-driven improved small roller-ginning device called ‘Otni’ only. In order to avoid any damage to the cotton fibre, generally loose seed cotton is brought in big gunny bags with considerable care to the muslin production centres to facilitate hand ginning and the same is thoroughly cleaned before ginning.

Fig. 2.21 Cotton Ginning

Fig. 2.22 Clean Carded Cotton

(2) Opening and Cleaning When pressed bales of cotton reach the production centre, they have to be opened for further processing. In the traditional khadi centres, the bale is broken manually to take out heavy slabs of cotton. They are then put on a study iron-mesh frame and beaten with a stick with a view to opening and loosening the cotton. In the process most of the impurities and foreign materials fall down through the iron-mesh to a considerable extent. In some centres, the loosened cotton is fed to power driven openers with spiked drums for further opening and cleaning, before subjecting it to carding. In the muslin centres, freshly hand-ginned and cleaned cotton is gently whipped with a thin stick not only to open it thoroughly, but also achieve fibre to fibre separation. This helps to protect the length and strength of the fibres to the maximum possible extent. Blow room In the Central Silver Plants (CSPs), which have recently been established by KVIC to feed NMC units, opening of bales, loosening the pressed cotton and removing of impurities at several cleaning points is done in the full-fledged blow room with the help of a number of powerdriven machines. The main objectives of the blow room are : (a) To open the cotton from pressed matted condition to the loose pre-baling state. (b) To remove impurities and clean the cotton.

(c) To mix thoroughly two or more varieties of cotton, making the blend as economical as possible and also technically suitable for spinning the yarn of desired count. (d) To prepare the cotton into convenient form and pack it for further processes. The conventional blow room line consists of the following 4 machines:

‘hopper bale breaker’, which breaks the heavy slabs of pressed cotton into smaller pieces and helps heavy impurities to fall through grinder section.

ii.

‘hopper feeder, which further opens cleans the partially opened lumps of cotton with the help of lattice having spikes closer and finer than the hopper bale breaker an evener roller and leather flap beater. The aim of beating is to shake out the impurities and force them Revitalizing Khadi Centre- Ahmedabad

Out of cotton mass. This is achieved with help of several types of opener and beaters, like Porcupine opener, Krischner beater and Crighton opener using different methods and having varying degree of comparative advantages from the point of view of opening and cleaning the cotton. iii. Scutcher, which provides final point of opening and cleaning the cotton in the blow room line by line by beating and whipping it. This machine is fitted with the lap-former and the finally cleaned material is delivered in an uniform sheet form, which is wound into a roll on lap-spindle. This roll, called ‘Lap’, is taken out or doffed after fixed length of lap is delivered. iv. Permanent magnets are also located at convenient and effective places in the blow room line to arrest metallic particles which get mixed up with the cotton mass. (3) Carding Carding is the heart of the entire spinning process and good carding is a must for good performance during spinning. The main objectives of carding are : (a) Final cleaning of cotton by removing the remaining impurities, (b) removal of naps and neps also the short fibres, (c) fibre to fibre separation through opening tiny lumps, locks or tufts and (d) preparing well cleaned and opened cotton in a compact round form and lay it into containers for subsequent processes. Carding invariably causes damage to the fibres and wastage there of, which varies from 3 to 10% because of intensive tearing action on a mass of fibres, through at a very slow speed. Till Carly fifties, khadi institutions used to get their cotton carded by the traditional carders, who used their carding-bow fitted with a gut string and wooden vibrator to separate the cotton fibres through vibrating movements of the string. During thirties AISA had also introduced ‘Dhanush Dhunki’ (carding bow) with bamboo splint and ‘Madhyam Dhunki’ or medium length bow, shorter than that of normal carding bow of the traditional carder, for the benefit of novices and self-sufficiency spinners. However, in early fifties a new mechanical device called ‘Dhunai Modhia’ was developed in which carding was done by saw-teeth metallic roller. The size of this roller or drum was increased to 2 to 3 ft. in length and 1 ft. to 1.5 ft. in diameter to produce commercial version of ‘Dhunai Modhia’, called ‘Dhunai Machine’ (carding machine) with varying carding capacity. These power-driven carding machines are still use in many small and medium sized khadi production centres. While these ‘Dhunai Modhias’ or ‘Dhunai Machines’, fed with the cotton loosened and cleaned on iron-mesh frames, do perform the functions of cleaning and opening the cotton, but they do not perform these functions very efficiently. The cotton carded on them is considered good enough for traditional hand-spinning, through is contains considerable amount of impurities and naps causing frequent breakage of yarn. With the introduction of ring spinning on Ambar charkha and later NMC more attention had to be given to cleaning and opening the cotton and preparing for uniform rovings. A set of machines (mostly power driven) was developed for the pre-spinning processes to feed Rajkot model NMC unit consisting of 25 Charkhas. It consisted of (1) beater (opener), (2) draw frame with drum for lap making, (3) Carding machine, (4) draw frame, (5) roving frames (four number) with three roller drafting system and 4 spindles each. For Coimbatore model, lap forming machine is not included in the pre-processing panel for 6 spindles NMC test. Its roving machine is also based on flyer system. The quality of rovings produced by this set was acceptable for NMC but left much to be desired, as the cotton cleaning and opening was possible only at two stages, i.e. in beater carding machine. Moreover, it was found very difficult to feed 25 NMCs adequately with this pre-spinning set. However, these problems have been mostly taken care of with the acceptable blow room technology and high production cards, etc. by the khadi institutions, though the above- mentioned sets are still being used in a few institutions. Now pre-spinning sets are being supplied only on demand, which has become Revitalizing Khadi Centre- Ahmedabad

quite rare. Mechanical carding is generally avoided for spinning very high count of muslin yarn in order to avoid any damage to the long cotton fibres, which forms the foundation of spinning above 150ˢ (M). (4) Draw-Frame Process

Cotton is received from the card in cylindrical rope or silver form in which individualized free fibres lie crisscross with their one or both ends bent into the form of hooks. These haphazard fibres require to be straightened and parallelized to make them amenable to proper spinning. This kind of fibre arrangement is described as ‘Fibre orientation’. The following objectives are achieved by passing the card silvers through the draw-frames twice or thrice: 1) Straightening the fibres in card-silvers. 2) Making the fibres parallel to each other and to the silver axis. 3) Making the silvers more uniform or even. But it should be noted that excessive parallelization makes the silvers unduly soft, leading to excessive breakages during their withdrawal from the cans. (5) Combing Combing is essential for spinning the high quality, finer, stronger and cleaner yarn of 150ˢ (M) and higher count. It is done for the following process: i.

To remove short fibres and upgrade the carded cotton.

ii.

To remove naps and other impurities present even after carding the cotton.

iii. To further straighten and parallelize the fibres. iv. To improve the appearance of fibres at the drawing stage makes satisfactory combing easier and more effective. Greater the pre-comb draft, better is the fibre parallelization and lesser is the load on the combers’ cylinder as well as its top comb needles. The degree of pre-comb draft also affects the extraction of comber-waste. For the production of traditional khadi muslin in Andhra, combing of seed cotton used to be done with fish jaw bones, which has a fine comb like appearance. The process is highly laborious and output very low, but the result is excellent. It has almost been given up, except at pundur, where high quality Andhra muslin is produced. (6) Roving Roving is the final process in the pre-spinning stage. Its main object is to reduce the volume of the silver to a diameter, which will be suitable to spin the yarns of the desired count through proper drafting system, without adversely affecting the uniformly. This process is also called ‘attenuation’ and as it results in thinning and consequently weakening the silver, minimum twist is also imparted to the roving, as it comes out of the front roller nip after attenuation so that the roving can maintain its continues stand form. In a conventional mill system there are 3 speed frames : (1) slabber, (2) inter and (3) rover. For producing superfine yarns, one more speed frame called ‘jack roving’ is also added. After imparting the desired twist, the roving is wound on to the bobbins, ready for spinning. Drafting or reduction of strand size is the main function of the speed-frames, which is done by successive pairs of drafting rollers. The strand size of roving or its diameter or count is decided and achieved in a relation to the count of yarn, which is planned to be spun with the roving in question. Advanced ‘High draft’ speed frames have also been developed, which require high quality silvers. For NMC spinning, roving may also be done on hand-driven 4 or 8 spindle devices called ‘Belni’ or roving frame. As roving involves slight twisting of the silver, a controversy raged in the khadi Revitalizing Khadi Centre- Ahmedabad

field, ever since the adoption of power for the blow room processes including carding and drawing, as to whether roving with power should be allowed. The conservative section contended that imparting of minimum twists during roving with power would amount to some sort of spinning only, which will not only be violative of the law defining khadi, but also of the true spirit of hand-spinning. At long last however, the Central Certification Committee of KVIC permitted the use of power ‘up to the stage of roving’ by adopting fly-frames and inter-frames, subject to the condition that the machines are run under the control of certified institutions, State KVI federations, State KVI Board or Commission. “The KAVIRC was informed that the Certification Committee in its 62nd meeting held on 15th and 16th July 1986 also permitted the use of simplex machine for preparation of rovings”. The simplex machine combines the functions of slubber, inter and rover into one machine and is capable of supplying rovings of uniform quality from the point of view of twist and diameter with tight winding on to the bobbins, which facilities easy packing, handling and transport. Many NMC units are now spinning from the simplex rovings only. Despite the above decision of the certification committee, the author feels that the roving preparation on hand-driven Belnis should continue for the sake of significant employment generation in the ratio of 4 for every 25 NMCs. It should also be borne in mind that by doing so, hand spinning on NMC will continue to have all the advantages of the best type of silvers from the modern silver plants without reducing the employment potential of NMC units or the wages of the spinners or effecting the quality of yarn adversely. 2.6.3 Spinning process The process of spinning can be described as (a) drawing out the roving to the desired degree of fineness, (b) Imparting twists to the emerging strands of fibres and forming in into continues and compact yarn and (c) Winding up the spun yarn in a convenient form. The first operation can be done through drafting either with the help of force applied by forefinger of thumb during spinning on traditional charkha or with pairs of drafting rollers in NMC. The second operation is done through continues revolutions of the spinning spindle and also movements of the traveller around the ring in the ring spinning plate of NMC. The winding of the spun yarn can be done directly on the spindle in the traditional charkha or the bobbin fixed around the spindles in ring-spinning frame. (1) Drafting One of the two basic operations in the spinning is drafting, which results in reduction of the thickness of rovings, or attenuation of the fibres by a predetermined degree. Two or more pairs of rollers in NMC placed at the calculated distance, depending upon the staple length of the cotton used and revolving at differing surface-speeds achieve the task of drafting. Surface speed of delivery rollers divided by the surface speed of intake rollers of NMC gives the ‘Draft’. There are various systems of drafting, available with the textile machinery manufacturers and the silver plants as well as manufacturers of NMC have to choose one of these systems, according to their requirements. But in any case, the rollers have to be set at such a distance that the drafting takes place smoothly and evenly. The provision of aprons ensures spinning of better yarn and more conveniently too. The apron also helps to control the floating fibres of the cotton strand to produce stronger and more even yarn. (2) Twisting Twisting is another important operation in spinning, which has to be ensured in the optimum measure to impart the required strength to the strand of fibres and keep it in a cohesive form, twist has to be regulated, depending upon the count of yarn to be spun which in its turn depends on the length of fibres. It is important to note that only optimum twisting increases the strength of the yarn and over twisting will result in reduction of its strength. The overtwisted yarn becomes unbalanced and starts snarling. It creates problem during weaving because of its increased hardness and wiry character. Coarser the yarn, that is more the fibres Revitalizing Khadi Centre- Ahmedabad

per cross section, lesser is the required twist. The formula for deciding the number of necessary twists per centimeter of yarn is as follows: No. of Twists per Cm = Twist Factor x Count of Yarn Metric counts of yarn

Twist factor per Centimeter

15 to 30

1.1

31 to 60

1.2

61 to 90

1.4

91 to 120

1.6 Table.2.3 Cotton Fibres Twist Counts

There are two directions of the twist. Right hand twist, which is also called Z-way twist, is formed when the spindle revolves in clockwise direction, while the Left hand twist, which is also described as reverse twist or S-way, is obtained when spindle revolves in anti-clockwise direction. The Z-way twist is predominant in the textile industry. However, since 1965, khadi industry adopted the reverse twist for producing hand-spun yarn with a view to avoiding the mixing of mill yarn with right twist in khadi production.

Fig. 2.23 Spinning on Traditional wheel

Fig. 2.24 Takli

Fig. 2.25 Raw Yarn

(3) Winding, Ring, traveller and Spindle Rings of different sizes and shapes are manufactured with special hard steel to suit different purposes. The rings are given number on the basis of ring flange, that is, the width of the top rim portion of any ring. Antiwedge high speed rings have been devised to provide greater contact surface to the traveller for ensuring counter-action to the latterâ&#x20AC;&#x2122;s canting or tilting tendency. traveller is a C or D shaped wire clip made from good quality tempered steel. Which is inserted on the flange and being loosely fitted on the ring flange, it races on its circular path by the yarn pull to introduce twists into the strand of fibres coming out of the nip of the front rollers, helping to wind the yarn on the bobbin. The thickness, tensile strength and even quality of steel used to make variety of travellers , widely differ and an American company claims that it manufacturers 28,000 types of travellers . It is utmost importance that the traveller of appropriate number, depending upon its weight, shape and material is used for spinning the yarn of a particular count. The number of traveller will also depend on the diameter of the ring, revolutions of the spindle and diameter of the bobbin. Elliptical travellers with oval shape have been developed to meet the demand for high-speed, which admirably suit the shape of anti-wedge rings. The idea is to make the travellers run much faster without getting overheated due to higher speed. But they are not suitable for coarser counts. The spindle too of appropriate number has to be selected for satisfactory spinning. The number of twists, which are to be imparted to the yarn, will depend on the diameter of pulley of the spindle, as well as of the speed wheel in NMC, which revolves the spindle with the help of cotton twine. It should also be ensured that the spindles are perfectly straight to avoid frequent breakage of the yarn and other problems. The selection of a proper spindle is Revitalizing Khadi Centre- Ahmedabad

important in traditional spinning also. The 6,8,10 or 12 spindle NMC have apron the three roller drafting system and ‘Top Arm’ weighting arrangement. The rovings from the bobbins arranged on the creel stand at the rear of the charkha are fed to the drafting system through condensers and the 6,8,10 or 12 ends delivered from the front rollers are twisted by the revolving spindles and then wound on the bobbins fixed on these spindles with the help of ring and travellers. The charkha can spin yarn of 20ˢ to 60ˢ metric and through minor changes and adjustments, it can be converted from one particular count range say 30ˢ-35ˢ to another of 50ˢ60ˢ. Six or eight spindle NMC is driven by hand, while 10 or 12 spindle NMC is pedal driven. The muslin charkhas have construction similar to NMC with the difference that they are presently having wooden frames and use more of wooden wheels driven by cotton twines. There are seven spindles in muslin charkha, one of which used for preparing roving and other six for producing yarn of 100ˢ to 150ˢ metric. Muslin charkha with only 5 spindles are bring used for producing yarn of still higher counts, one of the spindles bring used for preparing rovings. In NMC as well as muslin charkhas, the yarn on the bobbins is unwound on the winder ‘Paretas’ simultaneously with spinning in the form of hanks of 1000 metres each, with sections 200 rounds of one metre each tied up separately. Common yarn defects Some of the common defects of yarn which should be avoided are as follows: 1) Loose waste and impurities such as dry leaf particles, naps, etc. clinging to the yarn. 2) Count variation due to bad drafting, drawing, jerks to driving wheel or variation in speed.

3) Under-twisting or ‘Soft’ spinning of yarn due to loosening of spindle twines, for various reasons. 4) Bad piecing of yarn. 5) Over-twisting. 6) Unintended slubs due to defects in the gear. 2.6.4 Pre-Weaving process (1) Sorting and washing In quality conscious cotton khadi centres the hanks of yarn are carefully sorted out according to the count range and quality of yarn to facilitate weaving of khadi of the desired quality i.e. sari, shirting, coating, etc. Further, for making warp comparatively stronger, cleaner, more uniform and even yarn is selected to avoid possible trouble at the weaving stages. The sections of hanks selected for warp are loosened and then soaked overnight in water mixed with 1 to 2% washing soda to remove wax film around the cotton fibres in order to increase the capacity of the yarn to absorb the sizing material. After squeezing the water out, the hanks are dried in hanging position. However, if immediate sizing of hanks for the purpose of long warp is planned, the yarn may be washed thoroughly by boiling it for about half an hour in the water mixed with 1 to 2% washing soda and 2% T.R. oil. Quantity of water is 6 to 8 times of the weight of yarn. After the yarn has cooled down, it should be washed well with clean water and then dried. Hank sizing can also be done without washing the yarn. But in that case it requires more sizing material and also more time, which should preferably by avoided. (2) Warping Yarns, which are dressed on a loom are collectively known as the warp. Each individual strand of yarn is a warp end. The individual ends of warp are usually arranged in a parallel order, but not necessarily, in a horizontal position. The length of the ends depend on the length of cloth proposed to be woven. The number of ends depends on the count of yarn and the width of the cloth to be woven. The traditional warping, which is predominantly practiced in case of cotton Revitalizing Khadi Centre- Ahmedabad

Khadi, is done on the warping frame, called ‘Tansal’ in Hindi, with pegs. Many weavers fix these pegs on their home-walls only, instead of frame, at appropriate distance. However, only short warps up to 15 metres approximately can be prepared on ‘Tansal’ or walls. Yet another method of warping is by running the small frame on wheels with about 40 revolving bobbins, alongside the long split bamboo sticks fixed on the open ground. Before warp-dressing is started, the yarn selected for warping is wound on the big bobbins from the hanks with the help of a device having one driving wheel connected by a twine to the pulley of one long spindle on which the bobbin can be fitted. The most important operation is warping is lease formation or crossing of warp-threads, which forms the basis of up and down motions of warp threads during weaving. At the end of warping a cord is looped and tied around the leases to mark and retain them. Several ties with bands, at both the ends of warp and at the midways between the sides of warping frame on each group of warp threads, are made to secure the warp. But both are warping methods mentioned above are quite time-consuming and laborious. Long Warp When cloth of one type only is to be woven in large quantity, preparation of short warps a number of times entails a lot of time and botherations, in addition to considerable wastage of yarn. KVIC has been making efforts to popularize long warp in the khadi field to overcome these difficulties. Sectional warping has been adopted basically from the textile mill system. Of course, it has been prevalent for quite some time in some parts of India, e.g. Rajasthan to weave khadi as well as handloom cloth. Under this system, a given portion of the total warp width, called a section, is wound on the warping drum, followed by an other and yet another till the entire warp width is reached. Warp up to even 250 metres can be prepared on sectional warping drum, with the help of ‘V’ type creel bobbin stand with bobbins numbering up to 400, from which 400 ends can be wound simultaneously on the warping drum. The number of rounds, which are warping drum with predetermined circumstance would be required to take, will depend on the length of warp. Equal length of each section of the warp will have to be ensured and the lease of each section of the warp will have to be secured with a cord looped around the cross. The reeds taken for preparing the warp on the drum should be of 2 to 4 number higher than the number of reed to be used for weaving and the number of healds in the shaft will depend on the number of yarn ends in a section. Long warp has the following advantages: 1) It saves time. 2) It reduces the wastage of warp involved in each piece of woven cloth by weaving one long piece of khadi instead of a number of short pieces of khadi. 3) Insertion of coloured ends in the warp for weaving design khadi, such as ‘Doria’ or check khadi, easier in warping on the drum. 4) Long warping on the drum can be done inside a shed, avoiding interruptions in the process of warping due to bad weather. For long warp the sizing of yarn hanks must be done before warping, while sizing of the warp of short length is done after warping. After the warping on the drum is over, the warp is transferred on the warper beam of galvanized pipe of 2” diameter, which has flanges on both sides. These flanges can be adjusted on the pipe according to the width of warp. Proper and tight beaming is necessary to facilitate satisfactory weaving. (3) Sizing Two major factors, which may result in breaking of ends during weaving are abrasion and tension imposed on the yarn in the process. Abrasion can either be inter-yarn or between yarn and different parts of loom. Abrasion may be caused by fibre lay of the yarn, flight of the shuttle, over-coating of the size on yarn and movements of the reeds, etc. Tension on the Revitalizing Khadi Centre- Ahmedabad

Other hand results form beating by the slay and the loom speed, etc. Sizing of warp yarn helps all protruding fibres to stick to the body of yarn. In the process, the yarn also gains considerably in strength compared to the unseized yarn. However, due to more twists in yarn, poor size mixture, lesser penetration of size in the yarn, improper speed of sizing, or inadequate squeezing of the size material, the gain in strength might not be adequate. Thus sizing helps the warp to withstand the abrasion and tension more effectively during weaving, if it imparts smooth and uniform film of size on the yarn without much less of its elastically. The common sizing materials are : (i) maize powder, (ii) wheat flour, (iii) rice starch, (iv) Tapioca, (v) Gum powder, etc. In practice, the following formula for preparing the sizing solution for sizing washed hanks has been found to be satisfactory : 1

Water

4 to 5 times

Of the yarn weight

Maize powder

4 to 6%

-do-

Tamarind seed powder

4 to 6%

-do-

Gum powder

-do-

Coconut oil

1 to 2%

-do-

Table.2.4 Material Ratio for Sizing

The sizing components should first be mixed in the cold water thoroughly and filtered through cloth of medium count. The mixture should then properly boiled to reach desired consistency and coconut oil mixed with the mix there after for imparting smoothness. The yarn should then be immersed in the solution and allowed to remain therein for about 10 to 15 minutes on dim fire in lukewarm size mixture. Continues stirring of the yarn with a stick is necessary during this time for better sizing. The pot should then be taken down to cool off and the hanks may be squeezed after about and hour. The hanks in group of 2 or 3 are then beaten lightly in order to ensure penetration of the sizing material into yarn and separate the strands fully. The hanks may be hanged around a thick bamboo in light sunshine or an open shed for a few hours for drying. But it is necessary to go on shaking the hanks from time to time so that the strands of yarn do not stick to each other. The dried hanks are unwound and the sized yarn is transferred on the bobbins to be used for long warp with the help of the weaving device. The sizing solution prepared as described is also applied to the warp prepared on pegs, slowly on the rollers, in order to allow its proper penetration while the warp is transferred from one roller to an other twice or thrice. This method also does not result in sticking of yarn strands. When sized warp is properly dried, it is transferred to the warp beam. In some parts of the country, khadi weavers spread the sized warp on the long pegs fixed on the ground and briskly brush it with a big brush till it is almost dry. This process, called brush sizing, is resorted to make the sized yarn round, which is easier to weave. (4) Loom dressing The term â&#x20AC;&#x2DC;Loom dressingâ&#x20AC;&#x2122; includes a number of operations, consisting of different sequences in actual practice. Loom dressing may refer only to placing the beamed warp into the loom, to be followed by hanging pre-drawn-in shafts and placing the already drawn-in reeds into the slay. Generally, a different sequence is followed in the khadi field, where already prepared warper beam is placed into the loom and drawing in the healds and reeding in the dents, specially the later operation, are done on the loom only. An additional operation of transferring the lease from the front side of reeds facing the seat of loom to its other side on the rear also becomes necessary, if reeding-in of ends is done before beaming the warp. After this drawing-in operation is undertaken on the loom and in the end beaming of the warp is also done on the loom only. Revitalizing Khadi Centre- Ahmedabad

(5) Drawing-in The healds (heddler) shafts as well as the reeds must be carefully selected suiting the count of the yarn, which is to be woven. Moreover, the healds and reeds both must be compatible to each other with regard to the yarn count. The number of healds shafts (frame) will depend on the structure of the cloth to be woven. Healds can be either of ordinary cotton thread of vanished thread or steel wire. The steel wire used for making the healds is either flat or round and can also be of different materials and gauges to suit the count and raw material of the yarn. Each heald has an eye, through which the warp ends have to pass. The number of healds inserted (or used in case of varnished healds) in each shaft depends on the number of ends, which have to pass through the eye of these healds. The upward movement of each shaft results in raising the ends, which pass through the shaft’s healds. Thus the heald-shafts play a crucial role in forming the shed of the warp, through which the shuttle passes and puts the weft yarn across the warp. The eyes of the healds are of difficult shapes, such as circular, oval shape, etc. and the weaver can choose as per his requirement. The ends of the warp are drawn-in through the eyes of the healds with the help of an appropriate hook. (6) Reeding-in

The reed gets its name from the fact that its earliest construction was from actual reed. At present most reeds are made of steel. In a front view, a reed is long comb like object, about 12 to 15 cm high, consisting of a series of vertical flat narrow strips held next to each other with spaces (called dent) between them for passing the yarn ends. However, sometime more than one end can be drawn into one dent and dent/s can also be skipped altogether, depending upon the combination of warp ends to suit the weaving pattern and structure. The dents per inch or centimeter differ in view of the diameter or count of the yarn, which is to be drawn in the reed and on the basis only the reeds are given numbers. The reed of a suitable number must be used for weaving the yarn of a given count. The height of the reed must be sufficient to accommodate the open shed, when the sley is in the rear position and length should approximately be the length of the sley, even when the warp-width is narrower than the sley. The reeding-in operation or drawing-in the ends through the dents is done with the help of a suitable hook. Automatic denters can perform this operation with considerable speed and ease. (7) Tying Treadles are tied to lamns (levers) harness frames are tied to the shedding motion and warp is tied to the cloth beam apron. For this purpose cordage of various kinds and knots of different types are used. At the points of extreme friction, varnished cords give more efficient performance for longer period. 2.6.5 Weaving process The process of weaving mainly consists of continues interesting of weft, also called filling, with the warp in some for of over and under crossing with a view to converting yarn into cloth. This process is completed on an implement called ‘Loom’. Broadly speaking, looms can be classified into 3 categories: (1) loin looms, (2) pit looms and (3) frame looms. In the field of cotton khadi, last two categories of looms are mostly being used. Through every loom must have some basic parts, such as healds-shafts, reeds fitted in a beating-in device called sley, temple and cloth roller etc., varieties of looms, pit as well as frame, have been developed in various part of India, having their individual features to suit the requirements of special types of weaving typical for that region. For each intersection of weft across the width of the warp, certain warp ends must be up and others down and there is a constant alteration in warp position, representing the rising and sinking of the warp ends for each pick. This is one of the main functions of the loom, apart from keeping the warp under tension to facilitate quick picks. Uniform tension of the warp is Revitalizing Khadi Centre- Ahmedabad

maintained with the help of rope around the warp beam and use of weight/ counter over the beam in such a manner that warp is released by the weaver only when additional warp is to be advanced after the woven cloth is rolled over the cloth roller. This twin operation is efficiently performed by a set of 5 gears take-up motion, and let-off motion attachments. As the warp is woven and rolled by take-up motion additional unwoven warp is correspondingly let off from the warp beam to maintain same tension between the two points of warps. It also ensures that the woven cloth is wound on the cloth roller at the same rate as it comes off the take-up roller. The picks are imparted with the help of a shuttle, which may be either a throw shuttle of fly shuttle. The weft yarn is wound on the small bobbins or pirns from the hanks spread over a vertical stand with the help of a winding wheel. While the long thin bobbins with yarn wound over them are used as the throw shuttles, the pirns filled with the weft yarn are inserted into the fly shuttle. The build of the yarn on pirns should be so structured that the delivering of the yarn from the Pirn is smooth and quick. The throw shuttle is thrown from one side of the loom to the other to interact with the warp and the operation is very time consuming. However, this method is still popular in cotton khadi field to weave ‘Durries’ of large dimensions with very coarse yarn. But to weave cotton khadi of all other varieties, boat-shaped fly shuttle is used to increased productivity. The movements of the fly shuttle are controlled by the weaver with the help of a simple mechanism operated through a cord system. The winding of pirns necessary for a day’s weaving is either done by the weaver himself in one or two lots or it is, attended to by another person assisting him as and when necessary. As a piece of cloth is woven, the width of warp narrows as a result of weft insertion and consequently the warp ends at the edge, also called selvage, of the cloth enter into reed at the angle instead of straight. This position increases the chance of the chafing and breaking of ends as the sley moves in beating up operations. To avoid this contingency a tool called temple is used to hold the woven khadi out to reed- width during weaving. The temple consists of a set of two narrow wooden strips (‘patties’) with pointed nails or pins outer end of each strip which are pressed into the edge of the cloth to keep it in a stretched condition. It is manually operated and moved forward as the weaving advances. However, in the improved looms this traditional type of temple has been replaced by metallic automatic temple which, with the help of a set of two pin-rollers, helps in automatic winding of the cloth over the cloth roller, as it is woven. The temple helps immensely in keeping the selvage or the edge of woven cloth straight and clean, which is of considerable importance in further post-loom processes and marketing.

(1) Design weaving Various types of designs, such as self-design, strips of checks, border patterns and the wholebody patterns can be produced during weaving with a variety of devices of mechanisms. A multi-pedal loom with up to 8 or 10 pedals and corresponding number of heald-shafts, can produce cotton khadi different types of self designs. A revolving multi shuttle-box with 2 or 3 shuttles having yarn of different colours is instrumental in producing check designs. With the help of a dobby and its accessories, border patterns can be woven in saris or shawls or bedsheets, while with a jacquard and its accessories, pattern can be woven on the entire area of cloth. For using dobby or jacquard, firstly cards have to be punched by an expert as per the selected design-crafts, rising and sinking of the ends in weaving with dobby or jacquard takes place as per punched cards with the help of lingos, hung from dobby or jacquard with the varnished strings. (2) Cleaning After the cloth piece has ben woven, it is taken out of loom by unwinding the cloth roller. The cloth may have a number of visible defects such as protruding yarn, defective knots, snarled yarn, defective looped weft at the edge of cloth, cobweb weaving spots because of breaking of Revitalizing Khadi Centre- Ahmedabad

ends, or defective shedding motions etc. Most of these defects can be removed or minimized by cleaning the cloth piece using scissors or blade. This process should be carefully attended to by the weaver to improve the appearance of the grey khadi piece without damaging the cloth before it is sent for wet processing. 2.6.6 Post-weaving process A very small portion of woven khadi is sold in the grey form and it generally has to be subjected to a number of wet processes to make it acceptable to the consumers. Major wet processes are as follows. (1) Scouring and Bleaching

Previously this work was performed by hereditary washer man or ‘Dhobis’ in the traditional way applying alkaline soil called ‘Reh’ to the cotton khadi and steaming it in his ‘Bhatti’ before washing it. However, this process had serious limitations regarding quality of cleaning and bleaching the grey khadi and it has been mostly replaced by washing with chemicals and detergents in processing houses to suit the preferences of the buyers and to obtain snowwhite appearance of khadi. For effective scouring, cotton khadi is subjected to continues and uniform boiling for six hours with caustic lye of specified strength to avoid damage to the cotton fibres, inside the vomiting type of kier, many time under pressure. For whiteness, the cloth is treated with bleaching powder. Later, it is thoroughly and vigorously washed with clean soft water and light blue and/ or optical whitener mixed in the final wash to give is a brighter appearance. (2) Dyeing and Printing As sale of dyed and printed cotton khadi is expanding, the importance of these processes is also increasing. In the past, natural dyes alone were used and the khadi world continued this tradition for sometime. But with the advent of cheap synthetic dyes, mostly in ready to use form, the use of natural dyes has been drastically reduced. Of late, however there has been revival of natural dyes to some extent due to their distinctive look and fastness, specially for printing traditional and regional designs such as Barmeri or Sanganeri designs of Rajasthan, Kutchy designs of Gujarat or Kalamkari prints of Andhra etc. There are 3 categories of natural dyes : (1) vegetable, (2) insectivorous and (3) mineral. Nature abounds in colours, specially the vegetation with rich varieties of flowers, fruits, leaves, stembarks and roots. Mankind depended upon them heavily in the past to dye the fabrics. When their natural supply started diminishing due to growing demand for them, cultivation of many plants, e.g. Indigo and madder, etc. started. Vegetable dyes were also derived from ‘Catechu’ wood, logwood, turmeric roots, ‘Kusum’ and ‘Palash’ flowers etc. either by boiling the dye giving raw materials in water preparing decoration or paste or drying them and powdering them for future use. They are also used in combination with some other chemicals, following different processes to produce a variety of colours and shades. The insectivorous dye is extracted by dissolving the powdered colonies of lac secreting insects in the hot water. The sources of mineral dyes are various types of earths or soils in which particles of different types of minerals are mixed in large quantity, enough to generate different types of colours. Main shades among the mineral dyes are: (1) chrome yellow, (2) chrome orange, (3) manganese brown, (4) chrome green, (5) iron buff, (6) khaki and (7) Prussian blue. The operations involved in dyeing with natural dyes are quite laborious and time consuming in addition to being expensive due to intensive use of labour. The synthetic dyes made their advent in latter part of nineteenth century and by now there are about a dozen categories of these dyes based on their base materials, shades and characteristics, etc. Different processes have to be adopted for using different categories of dyes and various chemicals have to be used along with each of them, after or before dyeing with them in order to get the desired result. Some of synthetic dye categories can be used for Revitalizing Khadi Centre- Ahmedabad

all types of fibres, cotton, wool, silk or manmade, white others are suitable for a particular type of fibre only. Their fastness with respect to light, washing with water, washing with soap, temperature of water, abrasion, sweating, bleaching, cross-dyeing etc. on different materials which are dyed, varies vastly. In short, the fascinating science of dyes is now quite complex and vast. In addition, the cost of various dyes and of the processes which have to be followed for using them, differ widely, which is of prime importance is the light of todayâ&#x20AC;&#x2122;s stiff competition. All the above factors have to be weighted judiciously before the selection of a particular categories of dyes used for cotton khadi are : (1) direct dyes (salt dyes), (2) reactive dyes, (3) Sulphur dyes, (4) mordant dyes, (5) vat dyes, (6) naphthol dyes and (7) mineral dyes. They are manufactured by a number of concerns, including multinational companies like Ciba, ICI, etc. and are freely and readily available throughout India through their agents and dealers.

An improved dyeing equipment called jigger is used for uniform treatment of cotton khadi in the dye solution and ensuring an even shade. It enables the khadi to effectively pass through the dye solution, hot or cold, desired number of times till the fabric acquires the desired colour-shade. Cotton can also be dyed with the aim of accomplishing peculiar coloring effects on the yarn. For this purpose cotton is kept in a small iron mesh cage immersed in the dye solution for some time. The dyed cotton is fully dried in sunshine before it is carded. Similarly, the yarn can also be dyed for weaving design-khadi. For this purpose, some categories of dyes such as Hydron dyes better suited. Cabinet type equipment with two compartments separated by holed iron sheet has been designed for yarn dyeing. It has water-tight doors and the yarn is hanged on the rods inside it in a upstretched position. Dye solution is pumped into the cabinet for dyeing in a uniform shade. For cotton khadi printing also, different consistency. The two most prevalent methods of printing are: (1) block printing and (2) screen printing. In block printing, the desired design must first be engraved on the blocks of sufficiently hard wood. Different blocks are prepared for printing parts of the designs in different colours, one after the other. The main advantages of the block printing are its capability of producing different designs and colour combinations at short notice and handling comparatively small lots of cloth. Block printing has its peculiar aesthetic and traditional appeal. But its cost is increasing specially due to prohibitive cost of wood and engraving. In screen printing, the designs are prepared on nylon, cotton or silk mesh of required gauge, tightly fitted on a wooden frame, through any one of the four styles/ processes namely, (1) direct style, (2) resist style, (3) shellac/wax paper- knife process and (4) photographic process. The cloth is spread over a long screen printing table in a stretched position and the design is printed over it by forcing the percolation of colour paste through the perforation in the exposed portion of screen frame. Clear and sharp printing can be ensured through this method, and speed of printing is quite fast. Screen printing is economical only when large quantity of cotton khadi is to be printed only in one design though the colour combinations may be changed. After dyeing or printing, many a time after-treatment or diazotizing and developing with different chemicals becomes necessary to ensure the desired shade and/or increase the fastness of colours. Mostly, washing and starching of the cloth is also required. (3) Calendaring Calendaring is the last process, which the cotton khadi undergoes. It renders sheen and smoothness to the cloth. Under this process khadi is subjected to pressure which removes creases, presses down the protruding yarn ends or knots, etc. and restores its dimensions widthwise and lengthwise. Considerable quantity of cotton khadi is calendared manually by two persons, who continuously hammed slightly moist khadi piece, folded in the desired size. This is done using thick heavy wooden rollers, on a big piece of smoothened log, flat at the bottom rounded on the top side. Care is taken that the fabric is not damaged or unduly crushed in this process. The use of power driven mechanical calendars with a pair of heavy Revitalizing Khadi Centre- Ahmedabad

Rollers is increasing fast, as the buyers prefer many varieties of cotton khadi in wellcalendared form. Large quantities of khadi are essential for employing the power driven roller calendars.Cotton khadi is folded in the desired form and size after it is calendared. At the top of the piece, necessary information regarding the length, width, texture, count of yarn used, retail price, name of the producing institution and year or production are required to be printed in a washable colour as per certification rules. This can also be done by pasting a piece of paper with these details, label. On the top of khadi pieces. Finally, the khadi pieces may be packed polythene bags for safe transport to the sales depots. 2.7 Marketing The role of marketing is becoming increasingly pivotal with the prospects of globalization of our national economy and increased emphasis on commercialization of our traditional industries. Khadi, specially cotton khadi, cannot escape from these far-reaching developments and thorough rethinking is urgently required regarding all aspects of its marketing in order to make the presence of cotton khadi felt in the textile market in ever-increasing degrees. In the context of marketing, while cotton khadi has some weakness, which have to be improved upon, it has many areas of strength too which have to be taken advantage of. This is the task of modern marketing, which is much wider in scope than the traditional function of selling. 2.7.1 Marketing Network KVI Sector, with 15,468 sales outlets during 1996-97, could legitimately boast of having one of the most wide-spread and unique marketing network in India. While the former are necessarily in the rural areas, large majority of the later category is in the urban areas. Most of them deal exclusively or mainly in khadi, specially cotton khadi. Though practically no state remains untouched by the khadi marketing network, yet thousands of new khadi Bhandars can still be opened gainfully in big villages and small and big towns. (Table.2.5) 2.7.2 Volume of Retail sales It can be seen that the retail sales of cotton khadi have gone up from Rs. 199.65 crores in 1989-90 to Rs. 411.76 crores in 1997-98, registering an average annual growth of 13.28% during 8 years. However, to a considerable extent the increase in the value of sales may have been owing to rise in prices of cotton khadi necessitated by steep rise in prices of raw materials, wages and other items of expenditure. In terms of quantity, however, the cotton khadi sales must have followed the production pattern, for it the long run, quantity of sales cannot exceed the quantity of production. Thus, it can reasonably be inferred that the average quantitative sales might have been almost the same during last 15 years. However, there has been considerable increase in the production and sales of ‘Durries’ during last two decades, which cannot be and are not included in the production meter age of cotton khadi. Nevertheless, there cannot be disagreement about the inference, that there has been near stagnation in the sales-quantity of cotton khadi for quite some time. Cotton khadi sales have more or less followed the pattern of sale of total khadi during last 15 years. However, during 1996-97 cotton khadi sales-growth registered a decline as compared to sales-growth in total khadi. (Table: 6) 2.7.3 Reasons for Stagnation The following are the main reasons for stagnancy in quantitative retail sales of cotton khadi: 1) The blended hand-spun and hand-woven fabric called ‘Polyvastra’ has replaced cotton khadi to a considerable extent owing to advantages of dimensional stability, easy maintenance and longer life of the former, which suit the requirements of the modern fast life. It may be mentioned that during 1997-98, about 1 crore sq. metres of Polyvastra worth Rs. 48.32 crores was produced, while its sales amounted to Rs. 53.77 crores. This development has been taking Revitalizing Khadi Centre- Ahmedabad

Sr. No

Name of State

As on 31.3.1992

Additions 1992-93

During 1994-95

Total 1996-97

Andhra Pradesh

851

921

Assam

206

215

Bihar

1309

1343

Goa

Gujarat

977

978

Haryana

824

878

Himachal Pradesh

124

136

Jammu Kashmir

201

Karnataka

1138

1154

Kerala

886

896

Madhya Pradesh

364

413

Maharashtra

351

422

Manipur

Meghalaya

Nagaland

Orissa

229

240

Punjab

569

582

Rajasthan

1151

1180

Sikkim

Tamilnadu

1197

1284

Tripura

Uttar Pradesh

3261

128

3392

West Bengal

885

919

UNION TERRITORIES 1

Chandigarh

Delhi

14,794

598

15,441

Total

Table.2.5 State vise Sales Outlets

Revitalizing Khadi Centre- Ahmedabad

Year

Cotton khadi

Total khadi

2 as % of 3

Growth % in cotton khadi

Growth % in total khadi

1965-66

14.41

19.67

73.56

1973-74

25.75

45.95

56.04

78.70

133.60

1977-78

45.58

66.52

68.52

7.00

44.77

1984-85

107.30

159.51

67.27

135.41

139.79

1989-90

199.65

291.25

68.55

86.07

82.59

1990-91

201.62

296.18

68.07

0.97

1.69

1991-92

249.44

368.96

67.61

23.72

24.57

1992-93

252.25

387.13

65.16

1.17

4.92

1993-94

261.85

409.24

63.98

3.81

5.71

1994-95

309.13

490.86

62.98

18.06

19.94

1995-96

359.13

567.37

63.28

16.14

15.59

1996-97

353.19

581.11

60.78

-1.63

2.42

1997-98

411.76

741.26

55.55

16.58

27.56

Table.2.6 Retail Sales of Cotton Khadi and Total Khadi

place in accordance with the national trend of production and sale of fabrics made from manmade fibres. According to the “Handbook of Statistics” published by Indian Cotton Mills Federation in 1996, “while, the national per capita consumption of cotton cloth had gone up from 14.49 metres in 1989-90 to 15.86 metres in 1995-96, the same had gone up for blended cloth from 7.59 metres in 1989-90 to 12.50 metres per capita in 1995-96.” 2) There are no conscious efforts to apply the modern scientific methods of marketing khadi in general and cotton khadi I particular, and to develop organizational set-up to look after various aspects of marketing in a professional manner. There is not much scope in the present set-up for professionalism at top level and middle tier management either in areas of production of marketing in the institutions as well as KVIC/ KVIBs. 3) By and large no deliberate and planned efforts are made to make the production market oriented. The general approach is ‘to sell’ whatever happens to be produced by the cotton khadi institutions. Precious little is being done to conduct necessary market studies. 4) Not much is being done in the area of product development, as well as ‘sales promotion’ in new areas and amongst newly emerging groups of customers. 5) Cotton khadi sale have become too much dependent on ‘special rebate’ by way of marketing tool. The institutions and their staff as well as the customers have become very much used to the sales/ purchases mostly during the period of ‘special rebate’. No special efforts are made to increase sales during the slack season. 6) There has been considerable deterioration in the standard of services by the sales staff to the customers, causing a lot of dissatisfaction regarding the former’s indifferent, casual and sometime even irresponsible behavior. Unhelpful and unwelcome attitude of most of the Revitalizing Khadi Centre- Ahmedabad

khadi salesmen discourages rather than persuades, customers to buy khadi. This may be due to a variety of reasons, such as poor training of staff, inadequate emoluments to them and lack of proper motivation and the necessary incentives to the staff. The absence of imagination, sympathy and tact on the part of management could also affect the attitude of the sales staff adversely.

2.7.4 Difference Between Sales and Production Value of Khadi Khadi is supposed to be sold at prices fixed by the producing institution in accordance with khadi cost-chart in force at the time of production. The cotton khadi and muslin producing institutions allow 125 or 15% wholesale commission respectively on the sale value and the selling institution is expected to meet all its expenditure out of this wholesale commission. However, the institution purchasing cotton khadi from outside its own state may add further 5% margin on purchase prices only once on the first transection of wholesale, mainly to meet extra transportation charges. Further, sales depots, Bhavans and Bhandars in all state capitals, A and B1 cities are permitted to add 3% additional margin on the purchase prices. The institutions can also add to the purchase price the expenditure incurred on value addition activities such as dyeing, printing, embroidery and stitching, etc. the selling price of khadi in stock can also be revised upward when the khadi cost-chart is similarly revised. However, major portion of cotton khadi is sold within the producing state only and at sales depots in small or medium sized towns or villages. Smaller portion is sold in state capitals and A and B1 cities and in other states. Similarly, quite a small portion of cotton khadi is subjected to value addition processes. All these factors may not result in addition to selling price at more than 5% of the total value of cotton khadi production. The upward revisions of cotton khadi cost-chart may generally be 5% to 10% in any one year, the effect of which will be only on the residual stock. It may be observed that the difference between the two values ranges between 20% and 33% or even more. Of course, if the closing stock of cotton khadi at the end of previous year is sold in the subsequent year, the value of sales would go up. But this too may not be a common phenomenon every year and it should not make much difference year after year. The big question is whether considerable differences between value of sales and production in various years can be adequately accounted for by all the extra margins allowed in certain conditions, extra cost incurred on value addition processes and upward revisions of cotton khadi cost-charts. This riddle can probably be solved by a thorough study of the matter. It maybe worthwhile to do so at the earliest. Year

Sales value

(1)

Production value (2)

(3)

Difference between (3) and (2) (4)

Difference (4) as % of production value (2) (5)

1989-90

149.60

199.65

50.05

33.46%

1990-91

165.67

201.62

45.95

27.74%

1991-92

192.01

249.44

57.43

29.91%

1992-93

204.17

252.25

48.08

23.54%

1993-94

208.95

261.85

52.90

25.32%

1994-95

227.18

309.13

81.95

36.07%

1995-96

298.96

359.03

60.13

20.11%

1996-97

348.24

353.19

4.95

1.42%

1997-98

354.09

411.76

57.67

16.29%

Table.2.7 Comparison of Value of Production and Sales of Cotton Khadi.(Rs. In crores) Revitalizing Khadi Centre- Ahmedabad

2.7.5 Readymade and Value added Items The demand for readymade garments has been increasing fast the world over and India is one of the biggest exporters of readymade to the western and middle eastern countries. So far as the common man is concerned, the main reason of this trend is the steep rise in stitching charges for the custom made garments and the time and botherations involved in getting the clothes tailored to order. The growing preference for readymade is getting increasingly reflected in cotton khadi sales as well, particularly in the Bhavans. It is estimated that the garments accounted for 42% of khadi sales in Delhi Bhavan, and 22% in Chennai Bhavan during 1986-87, the trend must have gathered further momentum during last 10 years or so. One sure way to reduce the price differential between cotton khadi and mill or even handloom cloth is to popularize khadi readymade to the maximum possible extent, for considerable economy can be effected in getting khadi garments stitched by good local tailors under the strict supervision and guidance of expert designers, cutters and supervisors. Utmost care will also have to be taken to ensure that good quality khadi is used for making readymade and the stitching is of good standard and pleasing to eyes. It necessary, short training of the local tailors may be arranged by the khadi institutions to improve their skill. Similarly, it may be possible to attract more consumers with value additions to the original products, though various regional printing designs and embroidery patterns. The mirror-work of Kutch, Punjabi embroidery, Kashmiri ‘Kashidakari’ and Lucknow ‘chicken-work’, etc. are becoming the craze of the day. Similarly, hand-painting of garments is also catching up fast. The packaging of the cotton khadi readymade will also have to be paid particular attention to make the final product attractive. Recently in 1995-96 an innovative marketing programme, ‘Koobsurat Khadi’, to sell attractive value added garments and ladies suits etc. was launched at Mumbai, Bangalore, Chennai, Chandigarh, Ludhiana and Patiala. During 1997-98 ‘Koobsurat Khadi’ worth Rs. 42.25 lakhs was sold. Such efforts need to be multiplied in modern times to tap fashion conscious elite class. 2.7.6 Government supplies The central and state governments, as well as the local bodies and public sector undertakings are the biggest customers of textiles. KVIC renders an important service by maintaining liaison with DGS& D and other purchasing authorities of GOI with a view to procuring orders for KVI products, farming out the same to the approved producers and supervising their timely execution as per the terms of agreement. Most of the khadi institutions supplying approved tender (AT) khadi are located in Andhra and Karnataka. During fifties and sixties, the supplies to DGS & D and other purchasing authorities of GOI against approved tenders formed a sizable part of sales of cotton khadi, specially for the uniforms of class IV employees in the offices, Postal Department and Railways etc. However, there AT supplies were reduced to Rs. 2 to 4 crores per year during late eighties and early nineties. During 1991-92 to 1995-96 cotton khadi worth only Rs. 15.73 crores was supplied under AT scheme. However, during 1996-97 and 1997-98 the cotton khadi AT supplies rose to about Rs. 10 crores and Rs. 13.34 crores respectively. But at this level also AT supplies have only been 2.8% and 3.2% respectively of the total retail of the cotton khadi, indicating the apathy of GOI towards khadi. The reservation given for 33 items of cotton khadi for government requirements and price preference up to 15% for khadi seems to be of little help in increasing the quantum of AT supplies. 2.7.7 Exports The exports of cotton khadi are insignificant as yet, though silk khadi is being exported, mostly through the private exporters. The main role of KVIC regarding exports is that of a registering authority and it accords recognition to the exporters to enable them to claim benefits and privileges in vogue. However, with exclusive look and feel of khadi catching the eyes of high priests of fashion and young generation’s increased preference for roughness and toughness in the western. World as well as japan, there seems to be fair scope for the export of cotton khadi readymade and dress materials. Some demand for khadi furnishing materials and Revitalizing Khadi Centre- Ahmedabad

‘Durries’ is also being generated in foreign countries. Already, Saghan Vikas Samiti, Bassi is producing export quality ‘Durries’ of fascinating colours and designs worth about a million or rupees, and exporting them through a private exporter. However, KVIC should identify the institutions capable for producing export quality of cotton khadi in significant quantity and concentrate on product standardization, quality control, prompt deliveries and effective supervision, etc. before any serious effort is made to export cotton khadi products. 2.8 Policy Support 2.8.1 Policy Support by Central Government The role of the policy support by the government is crucial in view of its tremendous powers to influence the course of our national economy and its constituents, including the cotton khadi industry. All the Industry Policy Statements and Plan Documents, particularly the Textile Policy Statements and the reports of various working groups on KVIs and evaluation committees with reference to successive FYPlans, have recognized the important role which KVI sector, specially cotton khadi, is capable of playing is generating large-scale employment at low capital cost and alleviating poverty in the rural areas. They also invariably emphasized the need for positive as well as protective measures by the government to ensure its speedy growth. However, the policy support extended from time to time has been far from adequate, vis-a-vis the expectations from KVI sector in general, and cotton khadi in particular. In addition, the government policies and actions have at times worked in rather discouraging and unhelpful manner so far as khadi is concerned. 2.8.2 Budgetary Allocations and Bank Finance

Despite the urgent need for radically reducing unemployment and underemployment in the rural areas in accordance with the major objectives of planning and high employments potential of KVI sector, the share of KVI sector out of the total Public sector outlay has been steadily going down, as indicated in table. It has sharply declined form 1.8% in the second plan, to 0.2% in the 8th FYPlan. “The emphasis on the growth of KVI sector has steadily grown. Although this emphasis is not reflected in the figures of outlays on KVI as percentage of the total public sector outlays, yet there is increasing recognition of the role which this sector has to play in the promotion or rural employment. Further, “The flow of funds to the sector has not been commensurate with the total requirement. As a result, the activities have suffered. Due to the resources crunch it was not possible to adequately increase the budgetary support to the sector from the government. However, what was required was increased flow of bank credit to the sector, which, unfortunately, also has been extremely poor, in spite of the Interest Subsidy Eligibility Certificate Scheme of the Commission. Although the government have taken up the matter with NABARD, etc. to find out the ways to enhance the bank credit to the sector, nothing concrete has materialized so far.” The funds released by the ministry of industry under Khadi Loans were constant at Rs.35 Crores from 1990-91 to 1995-96, but they were reduced to Rs.20.00 and Rs. 20.98 Crores during 1996-97 and 1997-98 respectively. Under khadi grants though funds released were increased form Rs.47.30 Crores in 1990-91, to Rs.71.30 Crores during 1994-95 and Rs.60.30 Crores during 1995-96, they were not adequate either for increased requirements under khadi rebate or interest subsidy, etc. In fact, every year there should be at least 10% increase in loan amount to raise quantitative production of khadi adequately. This increase should be addition to due enhancement of previous year’s provision for working capital to neutralize the rise in the value of khadi’s quantitative production at previous year’s level due to inflation, which has become a normal feature. This can be done either by increasing the budgetary allocation for khadi loans or by arranging increased bank finance. Moreover, plan allocation under khadi grants and the non-plan provision for khadi rebate, as well as KVIC establishment must also to be increased sufficiently year after year to increase number of staff for effective supervision, monitoring and audit of the khadi institutions’ expanding programme. “It is necessary to step up the plan outlay to KVI sector in Eighth plan at least to the level of 1.8 percent of the Public Sector outlay, i.e. the level achieved Revitalizing Khadi Centre- Ahmedabad

Plan

Total public sector outlay in plan

Plan allocation for KVIs

Funds actually released by GOI

3 as % of 2

4 as % of 3

1st FYPlan (1950-56)

1960

15.00

11.58

0.8

2nd FYPlan (1956-61)

4672

83.78

78.71

1.8

3rd FYPlan (1961-66)

8577

92.40

86.90

1.1

Annual plans 1966-67, 1967-68 and 1968-1969

6757

53.05

0.8

100

4th FYPlan (1969-74)

16160

111.00

97.73

0.7

5th FYPlan (1974-78)

37250

180.00

118.26

0.5

Annual plans 1978-79 & 1978-79

24192

154.20

0.6

100

6th FYPlan (1980-85)

97500

480.00

521.72

0.5

109

7th FYPlan (1985-90)

180000

540.00

611.21

0.3

113

Annual plan 1990-91

N.A.

196.00

186.00

Annual plan 1991-92

N.A.

193.00

100

8th FYPlan (1992-97)

434100

900.00

1207.85

0.2

134

9th FYPlan (1997-2002)

859000

2000.00(provisional)

Table.2.8 Public Sector Outlays and Plan Provisions for KVIs Sector

in second plan. Though there is an improvement of late in the availability of institutional finance to KVI sector, there is a need for government intervention to prevail upon RBI and nationalized banks to further accelerate the pace of its availability”.

There were complaints that some banks had been charging interest from the khadi institutions at a rate higher than what was applicable to the ‘priority sector’. To remove any possible doubt in the mind of the lending institution, GOI must confirm RBI’s instruction to include KVIs in the ‘priority sector’. It should further declare unequivocally that this position will remain unchanged in the foreseeable future and KVI sector will remain entitled to the concessional finance, as well as it will be exempted from any credit squeeze and selective credit control regulations. It would be even better if RBI fixes a sub-ceiling for KVI sub-sector under the priority sector, as recommended by the KAVIRC. 2.8.3 Product Reservation The concept of ‘Common Production Programme’, conceived in the first FYPlan and further developed in the subsequent plans, visualizes reservation of certain spheres pf production exclusively for cottage of village industries, as one of its essential elements. However, there has been no product reservation for khadi, despite several proposals from KVIC in this regard in accordance with the recommendation of working group on KVIs (1978) for a phased reservation. It is high time that the concept of ‘Common Production Programme’ is applied to cotton khadi also like handloom industry. To begin with production of yarn up to 8s (M) maybe reserved for cotton khadi after undertaking an in-depth study of the matter, and it could be Revitalizing Khadi Centre- Ahmedabad

progressively extended up to 10s, as its capacity increases in this segment. Reservation of production of cotton yarn up to 20 metric count for the khadi sector, as recommended by HPC, does not seem to be feasible in foreseeable future. Similarly, to begin with production of â&#x20AC;&#x2DC;Khesâ&#x20AC;&#x2122;, towels and duster cloth, etc. with yarn up to 8s and muslin of 150s or more should be reserved for cotton khadi sector.

2.8.4 Amending KVIC Act Experience has shown that the appointment of part-time members in KVIC with more or less only advisory functions and concentration of all powers and responsibilities only in the chairman, as per amendments in KVIC Act in 1988 has not served the best interests of KVI sector, including cotton khadi. KVI programme should be considered above party politics and only such persons, who have specialized knowledge and experience in KVI field, should be appointed as the chairman and whole time members of the commission as per section (4.2a) of the KVIC Act of 1987. This will restore the old practice of making one of the members of KVIC as whole time member in charge of khadi, taking care of all the aspects of khadi programme. The provision of this Section should be followed in letter and spirit. The practice of constituting All India Khadi and Village Industries Board, with eminent economists, technologists, social workers and KVI experts as member should be revived in order to obtain its expert advice and guidance for speedy and effective growth of KVI sector. The definition of khadi should also be amended to include the use of manmade fibres in appropriate measure for production of khadi. It would naturally obviate the need of treating Polyvastra as a village industry.

Necessary legislative measures must be taken to protect the name of Khadi and its use only by institutions/ agencies certified by KVIC, as recommended by HPC. 2.8.5 High Power Committee on Khadi and Village Industries The GOI constituted a High Power Committee (HPC) under the chairmanship of the then prime minister of India, in June 1933 with wide-ranging terms of reference with a view to resolving certain serious problems hindering the rapid development of KVI sector, considering other important matter related to it and taking remedial measures to accelerate the growth and all round development of this sector identified by HPC are as follows: 1) Inability of KVI sector to compete effectively with the products of large-scale industries. 2) Inadequate allocation of funds and non-availability of long-term funds for capital assets and working capital funds from financial institutions/ banks and also non- honoring by banks of the eligibility certificates issued to the various institutions by KVIC. 3) Delay in release of adequate funds by the commission, particularly rebate claims and reimbursement of interest subsidy to banks. 4) Application of various labor laws to KVI sector, causing hardship to it. The HPC submitted its report in May 1994. it made far reaching recommendations to overcome the problems faced by KVI sector. It also suggested an ambitious programme for speedy growth of this sector during last 3 years of the eighth FYPlan. Unfortunately, the report of HPC has also met the same fate, as reports of many other committees in the past, and action is yet to be taken on most of its recommendations .

2.8.6 Supply of Hand-spun yarn to Handlooms The question of supplying hand-spun khadi yarn to the handloom sector has been under discussion for quite some time. It will be appropriate if this issue is discussed threadbare by GOI to decide whether it considers the proposal to be a feasible proposition. Obviously, central subsidy on handspun yarn sold to the handloom sector on continuous basis would be Revitalizing Khadi Centre- Ahmedabad

Absolutely essential to match the price of hand-spun yarn with the price of mill-yarn of corresponding counts, if this scheme is to be implemented successfully. Further, the khadi sector should automatically be entitled to all such benefits and concessions, which are extended to the handloom sector by the central and state governments and financial institutions.

It is high time that the policy-makers as well as the administrators spell out in clear terms once for all whether in their conception khadi, specially cotton khadi, is to be assigned any significant role in the textile field in the foreseeable future, or it is to be left alone to decide its own future programme. This will enable the khadi world to have a clear perception about the shape of things to come and chalk out its future course of action. 2.8.7 Policy Support by State Governments The governments of all the states and union territories have constituted state KVI boards and are under obligation to provide for their establishment expenditure. Many State Governments are also granting rebate on khadi sales during special rebate period. With two or three honorable exceptions, they seem to believe that the promotion of khadi is the responsibility of The Central Government alone and they are not concerned with either its problems or growth. But in fact, The State Governments should be more concerned about the state of affairs of Khadi and Village Industries, specially cotton khadi, that even The Central Government as Development of KVI sector is an integral part of the Rural development, which is mainly the responsibility of the states. It is quite encouraging to note that in a few districts of some states the collectors, as the head of DRDA, have taken keen interest in developing Cotton khadi industry under Special Employment Programme and their actions have produced encouraging results. 2.8.8 Example of Gujarat The role of Gujarat Government is supporting KVI sector in general and cotton khadi industry in particular, is worthy of appreciation. It has taken a number of policy measures for the development of khadi, as a result of which there has been speedy growth of cotton khadi during last 3 decades. Presently, it is providing the following facilities for khadi programme: 1) 75% grant towards the cost of NMC to be introduced in the tribal areas. 2) Purchase of khadi by the government departments without inviting tenders and giving price and purchase preferences to khadi and VI products.

3) Exemption of khadi from sales tax, purchase tax and octroi. 4) Exemption of khadi units from staggering of supply of electricity. 5) Payment of additional wage of 15 paisa per hank to the spinners and 60 paisa per metre to the weavers. In tribal areas the rates of additional wages are 25 paisa per hank to spinners and 75 paisa per metre to the weavers. 6) Rebate of 15% on retail sales of cotton khadi and 10% on woolen and silk khadi during special rebate periods. The Gujarat government has been making regular plan and non-plan allocations every year for non-recurring capital expenditure as well as recurring expenditure on KVI programme. Till early nineties these allocations provided for capital expenditure on purchase of NMCs, looms and other equipments and vehicles as well as construction of weaving sheds. Presently recurring expenditure provisions are made for payment of additional wages to the spinners and weavers and rebate on khadi sales etc. The details of the budgetary allocations by Government of Gujarat during 8th FYPlan period given in table. Revitalizing Khadi Centre- Ahmedabad

Head

1992-93

1993-94

1994-95

1995-96

1996-97

1. Budget allocations (plan) for KVIs a) Loan b) Grants

1.00 16.00

0.37 14.43

0.37 15.81

0.55 15.79

0.55 16.16

Total plan Allocations

17.00

14.80

16.18

16.34

16.71

0.88

0.95

0.90

0.93

0.99

3.35

2.95

2.47

1.34

1.91

4.26 1.39

4.19 1.21

4.19 1.72

4.86 1.21

5.27 1.97

0.47

0.43

0.20

0.08

Nil

9.47

8.78

8.58

7.49

9.15

2. Budget Allocation (Nonplan) Grants for khadi a) Under general plan b) Under special component plan c) Under Tribal Sub-plan d) Under Zero Unemployment scheme Total

Table.2.9 Budget Allocations for KVIC by Gujarat Government (1992-93 to 1996-97)

Capital expenditure accounted for 26% to 43% of the total grants for khadi during first four years of 8th FYPlan, but it declined to only 9% during 1996-97. it is worth mentioning that the total grants for khadi under various Gujarat State plans comprised 46% to 59% of the total budgetary allocations for KVIs. Khadi supplies to various departments of Gujarat Government amounted to about Rs.1 to Rs. 1.35 crore per year during 8th FYPlan. Thus the state government of Gujarat has been extending unstinted support to khadi and village industries from the very beginning, irrespective of the general complexion of the party in power. This is the outcome of the general approach to treat KVI programme as non-political and purely as a part of constructive work to develop the rural areas. Much can be achieved in KVI sector if other state governments also emulate Gujarat Government in this regard. In fact much greater support can be extended by the state governments to ensure an effective contribution by KVI sector in strengthening the rural economy of the states. Some of the additional measures which can be taken by them are as follows: 1) The state legislatures must discuss regularly the annual reports of the concerned state KVI board, review its work and give guidelines regarding its future functioning. 2) The state governments may state small units of khadi and suitable village industries in schools to provide opportunities to the students for meaningful work-experience, as well as introduce regular training courses in khadi and village industries in the Industrial Training Institutes. 3) Instructions must be issued to the Development Authorities/ Boards and local bodies for allotment of shops and godowns, etc. to KVI institutions on preferential basis.

Revitalizing Khadi Centre- Ahmedabad

2.9 The Prospects 2.9.1 Widest Network of Tiny Sector The khadi and Village Industries Commission (KVIC) with khadi and more than 100 village industries within is pure view and widest network of implementing agencies in the country is easily the most important agency to develop non-farm sector and generate additional employment opportunities in the villages. Eighth FYPlan Document observed, “Employment growth has, therefore, to result primarily from the growth of the economy and restructuring of output composition of growth. There is no doubt that a larger and more efficient use of labor will accelerate the growth itself, but that latter would largely depend on the availability of other resources like capital and internal and external demand. The employment potential of growth can be raised by readjusting the sectoral composition of output in favour of sectors and sub-sectors having higher employment elasticity”. Presently, the capacity of KVIC to create additional jobs has been seriously handicapped. The ‘National Agenda for Governance’ of the present day government makes specific reference to eradication of unemployment through growth by generation of gainful employment as against the present trend of jobless growth. It also lays emphasis on self-employment and providing additional financial, technical and infrastructural support to small-scale industries, khadi and village industries. It is to be seen as to what extent these professions will be put into practice and organizational base of KVIC is made use of for generating employment in rural areas. 2.9.2 Emphasis on Growth Rate There is yet another catchy slogan in the parlance of planning. Now it is the turn of ‘Berozgari Hatao’ to become the in-thing, after the slogans ‘Garibi Hatao’ and ‘Growth with social justice’ have become rather stale. But there is nothing new in the new slogan, for the idea is as old as era of planning in India. It is only old wine in a new bottle. Planning always aims at continues growth of national income and steady improvement in the living standards of the people, which implies increasing opportunities of productive work to all. In this sense, ‘Garibi Hatao’ and ‘Berozgari Hatao’ are to a great extent two sides of the same coin. But while ‘Berozgari Hatao’ is bound to aid the economic growth of the nation and most likely to reduce poverty level, all emphasis on growth alone may not result in increasing employment to the desired extent. And this is exactly what has happened in half a century of planning in India. The present Central Government also seems to be obsessed with organized sector like all the previous governments in its anxiety to step up rate of growth of Indian Economy, not paying much attention to the unorganized tiny sector. It is also equally, if not more, committed to liberalization and globalization trying to lure as much foreign capital as possible, probably without much thought about the prioritization of various programmes. Despite call for ‘Berozgari Hatao’, its main emphasis seems to be on growth rate and there is no indication as yet that the unemployment problem will be in the sharpest focus and all its politics would converge on the central point of generation of productive employment. The Human Development Report (1996) clearly states that define political commitment to full employment is an essential condition for balanced development and employment creation programme would succeed only when it is identified as a central policy objective and it becomes the top policy concern of economic management. This approach has been found to be valid and effective in several countries. It is a billion dollar question whether this will happen during Ninth Plan and late in our country too. No doubt, finding employment for 10.6 crore persons by 2002 A.D. as envisaged in the 8th FYPlan document, to achieve one of the main objectives of our plans is going to be the biggest challenge before the nation. The crunch of financial resources and limitations of most important sectors of our economy, i.e. agriculture, public sector, as well as of the private organized sector, specially the manufacturing sector, in generating sizeable additional employment are going to make the task very difficult. The above document observed “In the long run, however, it must be recognized that agriculture and other land-based activities, even Revitalizing Khadi Centre- Ahmedabad

with a reasonably high rate and possible diversification of growth, will not be able to provide employment to all the rural workers at adequate levels of incomes. Further, technological and organizational changes accompanying agricultural growth are likely to lead to, first, a declining employment potential of further growth and second, conversion of a substantial number of those underemployed in agriculture into openly unemployed category seeking work elsewhere. Even allowing that some of them will be able to find adequately remunerative jobs on migration to urban areas, it is not only desirable, but necessary that the rural economy gets diversified into non-agricultural activities to provide productive employment to the growing rural force and also to reduce the wide economic differences between rural and urban areas”. Regarding the public sector, the Eighth Plan document significantly observed, “In general, one may not expect any significant increase in public sector employment, as there is already a high degree of overmanning- both in the public enterprises and the government departments”. With the regard to the role of the industrial sector in generating additional employment, the Planning Commission concluded, “A decline in employment elasticity of the industrial sector has primarily been caused by the declining employment potential of output growth in the organized sector. Employment Elasticity is estimated to be as low as 0.15 percent for the organized manufacturing sector, but it is between 0.5 to 0.6 for the unorganized sector. If this segment of manufacturing can be made to grow at 10 percent per annum, with the organized sector growing at about 5 percent, the overall employment growth in the manufacturing sector will be about at 4% as against 2% in the recent past. It has, However, been observed that the policy for the promotion of small-scale industry has not been very effective in serving the employment objective. The assumption that small capital, necessarily implies high employment per unit of capital has not always been found to be valid. Thus, while the criterion of capital size may be necessary for other socio-economic objectives, it is felt that employment criterion should be super-imposed on it. It is realized that the existing administrative and service agencies are not well suited to meet the requirements of the decentralized sector, which has substantial growth and employment potential. Therefore, it is desirable that the tiny or the micro-enterprise sector is recognized as a separate segment for evolving and implementing promotional policies”. 2.9.3 SWOT analysis of cotton khadi industry (1) Points of Strength Based on above-mentioned observations it would be quite appropriate to attempt SWOT analysis of the cotton khadi industry, which seems to be eminently suited to make a small but important contribution in accomplishing the gigantic task of finding gainful employment for tens of millions of unemployed in the rural areas. The following points of strength of cotton khadi industry are worth recalling. a) It fulfils one of the three basic human needs namely, for cloth and hence it has vast scope on expansion. In the process it will also help one of India’s most ancient developed and wide-spread unrecognized industries, the hand-weaving industry, to utilize its production capacity to larger extent and thereby enabling 30 lakh weavers to increase their total earnings. b) It is an universal industry, which can easily be started in most parts of our country with modest organizational set-up. c) It provides part-time and full-time gainful employment at the very doorsteps of the spinners and weavers in the rural areas. This aspect is of special importance to women, who need gainful-employment in large number in their homes in the rural areas. Almost all the spinners under cotton khadi, are women. Similarly some of the weavers and most of the weavers assistants also are women. Thus cotton khadi activities discourage exodus of the rural population to urban areas in search of employment, which results in disastrous Revitalizing Khadi Centre- Ahmedabad

deterioration of the environment in towns and cities through growth of slums and sub-human living conditions. In short, it is an environment protecting industry suiting the rural ethos. d) The employment generation capacity of the cotton khadi industry is very high. It will be in a position to provide full-time additional employment to about 4.58 lakhs person part-time employment to 1.17 lakhs persons, if its present production at 9 crores sq. meters is doubled only on basis of improved appropriate technology used in NMC and semiautomatic looms and satisfactory utilization of their productive capacity. e) Under cotton khadi industry on 8 spindles NMC costing about Rs.5500/- would provide work to one spinner directly and one semi-automatic Gramlaxmi loom costing about Rs.10000/- will engage one full-time weaver and a part-time assistant. As against this in the mills, one spinning worker can easily look after 4 frames having 220 spindles each, the estimated cost of which would be about Rs.40 lakhs. Similarly, one weaving worker in a mill can look after 4 fully automatic looms, each costing Rs.5 to 10 lakhs depending upon degree of sophistication. Total fixed capital in the shape of land and buildings as well as equipments per full-time artisan/ workers in the composite NMC unit comes to, as pointed out earlier, meagre Rs. 13000. Moreover, it involves no drain on valuable foreign exchange as all its equipments are manufactured in small workshops within India. f) The fixed capital/ Gross Output ratio in cotton khadi to about 1 to 3.18, while in the factory sector it was only 1 to 1.91 during 1992-93. the value added/ Gross Output Ratio in cotton khadi is 1 to 1.54, while in the mills in general it is only 0.18 to 1. This is mainly due to very high wage and salary component in the total value of cotton khadi.

g) Cotton khadi processes require short and simple training to the new entrants as artisans, who generally have little or no education. The workers also can be trained in suitable short or medium term courses. h) The gestation period of the industry is very short. For example, an NMC unit can be started within 6 months to one year, depending on the local availability of the infrastructure facilities. Particularly the work-place, and the spinners and weavers, specially latter. i) The cotton khadi industry has potentially of becoming a major factor in diversifying the rural economy. It can be developed as an important non-farm activity catering to everincreasing demand for cloth from ever-increasing population. At the same time it is an ideal industry, which can be developed and carried on in harmony with agriculture, which is the mainstay of our rural economy and also as a measure of employment assurance in times of need. j) Panchayat Raj institutions can very well provide a reasonably dependable and wide-spread organizational network at grass roots level, to undertake further expansion of the industry. KVI sector has already been included in the charter of Panchayats. k) It has developed a reliable system of backward and forward linkages, right from the procurement of raw materials to selling of the products. l) Cotton khadi represents an inspiring human endeavor to carry on economic activities on the basis of social service and keen desire to serve the lowest strata of the society. This approach is well reflected in open and transparent costing of khadi, which aims not only at guaranteeing fair wages to the artisans, but also ensures supply of quality products to the consumers at â&#x20AC;&#x2DC;No profit no lossâ&#x20AC;&#x2122; basis. (2) Weaknesses Along with a number of points of strength, the cotton khadi industry has a few weaknesses too, which have to be noted while considering its prospects. The main weaknesses may be summarized as follows : Revitalizing Khadi Centre- Ahmedabad

a) Average income generation for both, the artisans and the workers, is, by and large, low mainly because of their low productivity. Consequently not many persons are attracted to join the industry in any capacity. b) Despite low wages of artisans, specially spinners, and inadequate emoluments of workers the cost of production of cotton khadi is much higher then the mill cloth of comparable quality. Quite often cotton khadi is not competitive in terms of price, as the wage component in cost of khadi continues to be much higher than in the price of mill or handloom cloth. c) In practice there is lack if standardization of cotton khadi products and generally speaking no conscious efforts are being made to improve the quality of the fabric, or enforce prescribed standardization to the extent it is possible. d) Stagnating and weak organizational structure is making further expansion of the industry difficult. Most of the new khadi institutions seem to be coming into existence for reasons other than the keen desire to serve the downtrodden through khadi. e) The certification system, which is the backbone of khadi has become virtually ineffective. f) Rigid and conservative attitude of some khadi elders regarding several issues of importance, such as broadening its raw material base by including man-made fibre is coming in the way of khadi keeping pace with fast changing times, tastes and needs. g) The present system of costing does not allow khadi to generate its own resources even partially, for continuance and growth of khadi programme and it has to depend solely on GOI or banks for all its requirements of funds. h) Cotton khadi programme has not been in a position to reach backward regions/ states in a significant manner and it is mainly concentrated in few regions and states. (3) Opportunities a) With widely acknowledged need for the large-scale expansion of non-farm activities of the type of cotton khadi, there is unlimited scope for its expansion to provide gainful employment in the rural areas to the teeming millions in foreseeable future, specially in poverty- stricken/ backward areas. b) Increased amount of bank finance under ‘Interest Subsidy Scheme’ of KVIC for cotton khadi programme may fill to considerable extent the vacuum caused by inelastic and inadequate budgetary allocations by GOI. c) Interest free loans, mostly for capital expenditure and to a limited extent by way of working capital, specially for small institutions, made available by KVIC provide appreciable relief to cotton khadi industry and enhance its competitive power. d) There is increasing willingness on part of other rural development agencies such as DRDA, CAPART, etc. to cooperate with KVIC in supplementing the resources required for cotton khadi industry, particularly under Special Employment Programmes / Rural Employment Generation Programme. e) There is perceptible increase in the demand for cotton khadi because of its distinct look, feel and eco-friendly qualities.

(4) Threats a) “The basic threat to cotton khadi programme emanates from the sceptics at all levels – political, economic planning, and implementation. Dazzled by high-tech, bigness of the ventures, economies of scale, cost-benefit ratios, etc. the khadi segment faces an environment no entirely conductive”. Consequently, the policy support extended by GOI as Revitalizing Khadi Centre- Ahmedabad

well as most of the state governments to khadi is half-hearted and resources made available by them for the promotion and development of cotton khadi industry have been totally inadequate for quite sometime. b) “Dependence on props such as rebate, fiscal concessions, preferential treatment, etc. to khadi, though justifiable in the short run, might prove counter-productive in the long run”. Various reports by evaluation committees and documents have since long been emphasizing upon the need to minimize or totally eliminate the rebate and subsidies available to khadi. Already khadi institutions have been facing mini-financial crisis owing in inadequacy or non-availability of government funds to clear their rebate and interest subsidy claims, etc. However, the khadi institutions have failed until now to take positive measures to develop the industry’s own inherent strength, instead of being totally at the mercy of the government. c) By and large, lack of market orientation and product development are standing in the way of expansion of cotton khadi industry. d) Gradual dividing of social service motive, which gave general respectability to khadi work and increasing pressure of the vested interests of the selfish elements in the industry may result in loss of creditability of the programme. e) Cheaper mill/ handloom cloth available in the market is a constant threat to expansion of cotton khadi industry. 2.9.4 Need to Restructuring

After careful consideration of the SWOT analysis, an inevitable conclusion is that there are a number of plus points which make the cotton khadi programme highly promising in the national context and it is capable of playing a pivotal role in diversifying and strengthening the rural economy. However, its weakness will have to be removed and threats to it will have to be met squarely by taking concrete measures to restructure the cotton khadi programme is viable and ever growing industry. Some suggestions in the regard may be summarized as follows : (1) Adequate emoluments and amenities may have to be offered to the social-service minded khadi workers, to build a strong and stable human resource base, which is the backbone of the industry. No doubt, the khadi institutions working as charitable institutions, would never be in a position to offer as high emoluments, as offered by other sectors. The respect and social recognition accorded to khadi workers by the society, of course, compensate to some extent the lower emoluments in the khadi institutions. Yet, competent persons can be expected to offer their services for khadi work, when they are in a position to earn enough to meet their reasonable needs of life. (2) Similarly, the work of artisans has to be made reasonably rewarding and respectable. Apart from enabling them to earn more through higher productivity, their social status has to be raised and the importance of their role in the society recognized. The khadi artisans as well as workers also to be organized as a force in their respective areas of influence, which may not be ignored even by various governments and their functionaries. In short, they should find out ways and means to express their collective will to further the cause of khadi, thereby protecting their own economic interests as well. (3) The cotton khadi programme should be recognized and expanded through viable block level institutions, ensuring a face to face relationship not only amongst the workers but also between the workers and artisans. This is absolutely essential for developing new leadership in the field of khadi and also enlisting the local support for the successful implementation of the programme. ‘consolidation’ and ‘Intensive production’ should be the watch words rather than reckless expansion of khadi work. Revitalizing Khadi Centre- Ahmedabad

d) Efforts should be made to run the cotton khadi industry as an autonomous socio-economic service entity of the Panchayat Raj organization under continuous watch by the public representatives. The scope of forming new genuinely social-service minded registered institutions seem to be very limited and cooperative organizations of artisans themselves do not seem to have taken much fancy for the cotton khadi work on ‘No profit, No loss’ basis. Nevertheless, wider organizational network is sine qua non for implementing the khadi programme throughout the country, which can probably be provided by Panchayat Raj Institutions. e) The khadi institutions have to start building their own resources for promotional activities as well as further expansion by changing the basic approach regarding pricing of khadi and the certification rules in an appropriate manner, as the budgetary support by the Central and State Governments for this programme, may continue to be increasingly inadequate. In any case, it may not be prudent for khadi programme to make its existence, let alone the future expansion, totally dependent on the fancy, whims and financial expediency of the government. f) Taking note of the experience during last decade or so, khadi institutions must learn to depend upon institutional finance to the maximum possible extent. They should make their best possible efforts to abide by the rules and discipline of the banks in order to earn the confidence of the financing institutions. g) The management of the khadi institutions should be made broad-based and more democratic having representation of all the sections and organizations, which have a vital stake in the success of khadi programme. It should be more transparent and accountable. h) The cotton khadi institutions must pay maximum possible attention to the quality of their products and reorienting their production to market needs, tastes and trends in order to overcome the disadvantage of higher cost of production owing to higher wage-component. i) The khadi institutions must diversify their activities by starting village industries suited to the needs of their respective areas, in order to improve their cash inflow position and overall economic viability. Diversification will ultimately strengthen the khadi programme too. j) The khadi institutions must do everything in their power to come up to the high expectations of the people as social service institutions worthy of their trust, confidence and support. It is this image alone, apart from the intrinsic worth of their products, which gave them immense credibility and helped them to be held in high public esteem in the past. It alone will place them or higher pedestal vis-à-vis their competitors in the market in future. k) KVIC/ KVIBs and khadi institution must make every possible effort to ensure implementation of the certification rules in letter and spirit.

l) Khadi world has also to strive for making khadi programme a people supported movement, which it was in pre-independence days. Door to door approach form Vinoba Jayanti to Gandhi Jayanti to sell ‘Khadi Hundies’ of yesteryears as well as khadi products will go a long way to create khadi friendly environment. It would also help institutions to raise some short-term finance from the people themselves. 2.9.5 The Question of the Traditional Spinners It may quite relevant to ask as to how 7 lakh traditional spinners contributing approximately 55% of the total quantity of yarn produced are going to fit in the future shape of the cotton khadi industry, which should depend more and more on improved technology. The fact that despite average annual wages per traditional spinner being as low as approximately Rs.225/-, the number of traditional spinners has been almost steady conclusively proves that there is a Revitalizing Khadi Centre- Ahmedabad

felt need even for this antiquated economic activity, as it continues to provide easily accessible opportunity to the womenfolk in the rural areas for earning a little supplementary income. It is a rather surprising fact, which the economists, planners and administrators have to take cognizance of. It may be unfair, even cruel, to deprive the traditional spinners of their opportunity of their auxiliary work, which they are desperate to undertake for earning merely a few hundred rupees during the whole year. However, ways and means will have to be found to make this part-time work more rewarding by introducing a few simple and inexpensive technological improvements in their implements to increase their output and improve product quality. Improved traditional charkhas also should be supplied to them, which they can ply in their homes. The traditional spinners have been mostly producing coarse count yarn, which is required in large quantities by the cotton khadi institutions of Northern India. These spinners are, in most cases, using the ‘Khada charkha (standing charkha)’ as a more efficient instrument is not available to spin the coarse count yarn. Now satisfactory model of coarse count NMC is reported to have been developed by Prayog Samiti, Ahmedabad. The same should be introduced in the field as speedily as possible, with subsidy to the extent of 50% of the cost of new charkha. However, considering the working habits are traditions of these spinners, it should not be expected that the new coarse count NMC will be plied on full-time basis (8 hours per day). In any case, the newly developed coarse count NMC would go a long way to increase the productivity and consequently the earnings of the coarse count spinners, which will be significant achievements by themselves. Simultaneous arrangements may also be made to supply improved traditional Kisan Charkha to those spinners, who are not inclined to ply coarse count NMC. 2.9.6 Conclusion The khadi programme was launched by Mahatma Gandhi in 1919 to provide gainful employment to lakhs of semi-employed and unemployed people in India and to alleviate their poverty. Unfortunately, even after the lapse of three-fourth, this basic objective of khadi is still valid, despite all the progress made in the economic field in post-independence India. Gandhiji’s prophecy that ‘khadi must hold the field for any length of time that we can think of’ has come to be true. Khadi in its present form still seems to be an effective means to provide part-time/ full-time employment to millions of unemployed and underemployed persons in the villages, particularly the women-folk. But the thought of Gandhiji that ‘Charkha’ basically stood for decentralization, and as such it was the symbol of non-violence, does not seem to have been accepted by the people in general, and the government in particular. However, commercial khadi has made great strides and still has vast potential for growth. What is needed is a clear vision and a determination to take into account the message being transmitted by the changing world and its market crores. The market for distinctive and good quality cotton khadi cloth and attractive garments made there from will continue to command a vast market, as they cater to the basic need s of the humanity. Alluring designs and new varieties of cloth will never cease to fascinate human beings and those coming up with newer styles will find their products sold out with no difficulty. A product as unique and distinguished as cotton khadi would always find eager buyers, if it is presented in an appealing and imaginative form. No doubt, cotton khadi, as an industry has a promising future in store and a laudable mission to accomplish. It has only to keep pace with the requirements of the changing times by adapting itself to modern technology, ideas and emerging trends in the field of fabrics.

Revitalizing Khadi Centre- Ahmedabad

CHAPTER 3 PROJECT SYNOPSIS 3.1 Aim The aim is to design a space that will be a culmination of activities for the Weaving Industry to be used as a teaching, production, marketing and tourist destination.

3.2 Objectives and Goals Objectives

Goals

 To study the history, different processes and present condition of the weaving industry in Ahmedabad.

 To understand the trends in the weaving industry and identify the problems that can be addressed through this project.

 To design a formal space for the weavers, artisans related to weaving, to practice, produce, teach and market the products.

 To facilitate the collectivization of the production and other activities in the weaving industry to increase efficiency.

 To design a space that will be the pride of the KVIC and acts as a sorted destination for world class designers and textile enthusiasts.

 To provide a platform for the collaboration of the weavers and designers directly and thus eliminating the need for middle-men.

 To design an annex campus for weavers and designers in Ahmedabad with facilities for teaching and research in weaving industry.

 To aid in the dissemination of information about the new developments in the handloom industry and technical growth.

Table.3.1 Objectives and Goals of the project

3.3 Design Methodology The steps taken to complete the design process is as the following flow chart. (Chart.3.1) 3.4 Design Principles Pride of the place : The space designed should be and iconic campus for the industry and change the way people think of the industry. In turn it would positively affect the face of the industry.

Experience : The experience created by the space should be an inspiring and uplifting space for the designers and weavers and aid in the creation of new products and designs. Integration : The space is supposed to integrate the needs of all its stake holders and users for maximum outcome for the industry. Architecture : The planning and detailing should be in accordance with the spirit of the place and the spatial quality necessary for weavers. 3.5 Scope the growth of the weaving industry has drastically reduced due to lack of infrastructure and organization for the control and production of products. With the proposal of the right infrastructure and program, the disappearing industry can be revived. Revitalizing Khadi Centre- Ahmedabad

Revitalizing Khadi center

Formulation aim and objectives

Case study

Data collection

Production and design unit Imam Manzil Pallav Dye House Exhibition space Khadi India Lounge

Production unit Process spatial quality area requirements Other area Building rules area requirements

Comparative analysis of data collected

Formulation of Programme flow

Preparation of area statement

Site identification and site analysis

Site zoning and conceptual design development

Conceptual massing

Development of master plan

Preparation of detailed design drawings

Final 3d renders Chart.3.1 Design Methodology of the Project

Revitalizing Khadi Centre- Ahmedabad

CHAPTER 4 CASE STUDY This chapter explains the different case studies that was studied to help with the design process. As there is no single space that can be studied for this project, the case studies are divided into three categories â&#x20AC;&#x201C; Production Unit, Exhibition Unit and Designer Unit. 4.1 Understanding Production Unit In order to design spaces for cotton khadi weaving industry, the process and its subsequent space should be thoroughly understood. For this purpose, two different types of cotton khadi production organizations are studied- Imam Manzil Khadi Weaving and selling Centre, Ahmedabad, which is a small-scale industry. 4.1.1 Imam Manzil Khadi Weaving and Selling Centre, Ahmedabad Imam manzil is a permanent Khadi production set-up. It was established in 1915, a popular Khadi weaving Unit in Ahmedabad, near by Sabarmati Ashram. This is a top rated Weaving Unit and selling, which you can watch your cloth to weave and processed directly. Location

Opp. Gandhi ashram, near to Toran Hotel, Ahmedabad, India 380027 Contact Telephone : 9426599870/ 9408445993

Email : dhimantbadhia@gmail.com Business Type Khadi Weaving and process to the garment and selling Run By : Dhimant Natwarlal Badhia Opening Hours 10:00 am- 9:00 pm

Revitalizing Khadi Centre- Ahmedabad

Imam Sahib : Brother similar Friend of Mahatma Gandhi

Imam Sahib Abdul Kadar Bavazeer and Gandhiji was together during Movement of South Africa. In 1915, when Gandhiji returned from south Africa, he also returned with their family to south Africa with Gandhiji, and they used to live with Gandhiji with their family in Sabarmati ashram. They were used to participate in social works. He was infirmity during Dharasana Satyagraha, still they participated in Dharasana Satyagraha. During his elder daughter Fatima’s marriage, Gandhiji’s name was included in the wedding invitation. After death of Imam Sahib, Gandhiji attended the roundtable discussion and returned, Gandhiji written “I have lost my old friend and a colleague. India has lost the true attendant, and Islam has lost a true diamond”. Ramji Badhia : Weaving Teacher of Mahatma Gandhi When Gandhiji established an ashram in Ahmedabad, he settled a handloom, but he faced trouble to run the handloom. Gandhiji was not happy with thickest and narrow in width. During the Swadeshi Movement in Mumbai, Gandhiji memorized the Ramjibhai, whom Gandhiji told that “Go to your homeland and weave for your own”. Gandhiji requested to Ramjibhai to come to the ashram, Ramjibhai came and now weaving started of broad width of fabric. “Ramjibhai was the first weaving teacher of the Gandhiji”. After that, Ramjibhai joined Mahatma Gandhi in Dandi Movement. For this, he was behind the bars for three months. As being a Writer and Educator Jugatram Dave paid tribute to Ramjibhai as “ Gandhiji’s weaving teacher”. Weaving inheritance at 4th generation : Dhimant Badhia Dhimant Badhia feels proud on his grandparent Ramjibhai Badhia, who taught weaving to Gandhiji. On the first anniversary of independence, Dhimant Badhia joined a Dandi March. After that he joined Dandi March in 2001,2003,2005 and 2015 also. In the 2015, he joined Gandhi peace walk held in south Africa. For Elimination of untouchability and social Unity, Dhimant Badhia established ‘Gandhisena’ in 1997. He renovated Monument of Imam Manzil after earthquake in 2001, by his own expense. Also with he is running Imam Manzil Khadi Weaving and Selling Centre, where the visitors of Gandhi Ashram comes and can see directly, how khadi is made. It’s a tourist attraction of vision demonstration of khadi weaving. Revitalizing Khadi Centre- Ahmedabad

Revitalizing Khadi Centre- Ahmedabad

4.2 Understanding the Retail Outlet This design aims at opportunities to disseminate the working of the industry to the public to understand how this can be done, the Khadi India Lounge, Mumbai has been Studied. The main aspects studied were how they channel the crowd during the annual exhibition held.

4.2.1 Khadi India Lounge, Mumbai Khadi India Lounge is a permanent exhibition set up. It was established in the year 2017. A popular fashion shop in Vile Parle West, this is a top-rated spot to try and buy a vivid collection of trendy clothing. It is a preferred haunt of fashion aficionados as well as regular buyers to find clothing for any occasion without upsetting the budget. With a vivid collection of clothing available the shop gives you the freedom to find a style that perfectly expresses your personality. Location Indira Nagar, Vile Parle West, Mumbai, Maharashtra 400047 Contact Telephone :(std code 022) 26714320-22 / 26714325 Web : kviconline.gov.in Business Type Retail Store of Readymade Khadi Products (Run by KVIC) (Products comes by KVIC department) Male and Female Readymade clothes made by Artisans

Opening Hours 10:30 am- 7:30 pm

Revitalizing Khadi Centre- Ahmedabad

Here, Total carpet area is 1060 sq.ft. Where Ground floor Contains 520 sq.ft. and First floor contains 480 sq.ft. Spaces are divided in two floors. There is 8’0” x 8’0” of cut-out in RCC slab, where a traditional chandelier is fixed. Furniture Layout (Ground Floor)

(Furniture Layout First Floor)

When we are entering in to the store, There is a Window Display. There is one display counter at each floor for male and female to show clothes to the customers. Display racks are made with Plywood and MS Box pipe, Wooden figure laminate is used to create all the racks. Staircase is designed from MS sections and Finished with Laminated wood. Revitalizing Khadi Centre- Ahmedabad

Ground Floor

First Floor

Zoning Layout

Ground Floor

First Floor

Circulation Layout

There are 3 zones in this project : (1) Staff area, (2) Trial area and (3) Display area (Male- Female section )

Staff zone : where shopkeeper shows garments to their customer. There is a display counter at each floor. Trial zone : Trial area is at ground floor, where customer can try their clothes. Display zone : On the Ground floor, there is display rack stands at both the sides of trial room, another display racks stands at opposite side of cash counter. Furniture layout has designed to create whole space to be utilized. Display racks are designed as above hanging cloths and below storage. Cash counter has designed two levels, which is much comfortable and safe for shopkeeper/caretaker. Circulation is shown from entrance to Male section on Ground floor, then to female section on the First floor and at last, to the cash counter at Ground floor to exit way. Revitalizing Khadi Centre- Ahmedabad

Building Materials and Construction The project is composite structure, built using brick and RCC columns. The roof of first floor is built from Metal Framework with tin sheet on top to reduce heating inside the building, all the walls are plastered and given white accents to compliment the wood. 600x600mm (2’0”x2’0”) vitrified tiles are used on the Ground floor, while Wooden flooring is done on the First floor. POP false ceiling is done on the Ground floor to cover beams and warm white down lighters are used, while on the First floor they’ve created panels to fix the down lighters. Natural light sources given as display window in front facade, they’ve given small cutouts above lintel level. The entire premises have centralized air conditioning, they’ve two split ACs Downwards and two split ACs Upwards.

Views of Ground Floor (Male section)

Section : A-A

Section : B-B

Revitalizing Khadi Centre- Ahmedabad

Views of First Floor (Female section) Products and stock Male Section : They’ve Kurtas, Blazer, shirts, Pants etc. All the products are cotton khadi or silk khadi. They’ve 70-90 nos. of Kurtas and Blazer at display rack. 100-125 nos. of shirts and 100125 pants folded and stacked in storage below the display rack. Female Section : They’ve 30-50 nos. of Kurtis/tops and 60-65 nos. of sarees at display rack. 80-100 nos. of Kurtis/tops and 80-100 nos. of sarees folded and stacked in storage below the display rack. Positive Inference  The project is a new approach in the field of Khadi Industry. It aims at bringing the artisans directly into business and production and eliminating the middle-men.  This project has build ahead of KVIC Headquarters. KVIC is the main co-Ordinator between the weavers and centres produce khadi all over India.  This outlet has excellent quality of khadi products.

Negative Inference  Ample parking space is not provided.  The sale of khadi products might get down, because this project is near by KVIC, but not near by main road.

 Best Quality khadi products are quite costly, compare to other fashion garments. It can affect sale of the product.  This retail outlet is providing a single trial room at Ground floor. Trial room is not provided at First floor, as especially is divided as female section.

Views of First Floor (Female section) Revitalizing Khadi Centre- Ahmedabad

4.3 Understanding the Dyeing House This design aims at opportunities to disseminate the working of the industry to the public to understand how this can be done, the Pallav Dye House, Ahmedabad has been Studied. The main aspects studied were how do they dye different types of clothes at the same space and same time, and also studied how different activities are done at this space. 4.3.1 Pallav Dye Makers, Ahmedabad Khadi India Lounge is a permanent dyeing set up. An Old dye house in saraspur, Ahmedabad, is the best dye house, where different kind of fabrics are dyed with natural dyes and dried. They have some regular customers (Retailers of fabric/ cloth shop).

Location Tirupati Estate, Potaliya Talav, Saraspura, Ahmedabad, Gujarat 380018 Contact

Telephone : 079 2274 6337 Business Type Dye house of Readymade/ Plain Piece of clothes and Khadi yarns Male and Female garments/ clothes dyed by Artisans Opening Hours 08:00 am- 08:00 pm

Revitalizing Khadi Centre- Ahmedabad

Here, Total carpet area is 1070 sq.ft., where 185 sq.ft. is divided as Assign and Collection area, 20 sq.ft. is divided as chemical and Heating area, 320 sq.ft. is divided as dyeing area and 625 sq.ft. is divided as drying area. Furniture Layout

When we are entering to the store, there is a small area divided to collect cloths or yarn from customer and storage for dyed cloths. After that they comes to dyeing and chemical area, they do the process of pigments and dyeing. They put it in salted dye water (Boiling water) for 5-10 minutes, they squeeze the cloth to get them to drying space. They get clothes of yarn to the open space to dry for 2:00 to 2:30 hours. Revitalizing Khadi Centre- Ahmedabad

Zoning Layout There are 4 zones in this project : (1) Assign/ Collection zone, (2) Chemical and Boiling Zone, (3) Dyeing Zone and (4) Drying Zone Assign and Collection zone : Where Shopkeeper collect clothes and yarns and returns back to the customer. There are two storage racks for dyed and without dyed clothes. There are two counter tables for design dyeing or pattern dyeing. Chemical and Boiling zone : There is a small space to store pigments/ dyes. They have packets of pigments with variety of colors in their storage. With this storage, they have a traditional stove, where they boil water with salt and put aside. Then they mix pigments with the normal water. Now, they are ready to dye the clothes and yarns. Dyeing zone : There is a water tank to get cold water. They mixes boiling water with pigments, then they dip whole clothes into boiling water, within 5-10 minutes they bring clothes outside and drip the excess water, and get in cold water, to remain the color same. Revitalizing Khadi Centre- Ahmedabad

Drying Zone : After completing the process of dyeing, they get clothes to dry to the open space. They hand them to the hangers in sunlight for 2:00 to 2:30 hours.

Building Material and Construction The project is load bearing structure, built using brick and RCC slab (Collection area). The roof in dyeing zone is built from metal framework with cement sheet on top to reduce heating inside the building, all the walls are plastered and given white wash on it.

IPS Flooring has been done in whole premises. There is traditional style windows in dyeing zone for natural light and cross ventilation, there are white fluorescent tube lights in whole space. There is no AC in any space of this Dye house. They have ceiling fans fixed, one in collection zone and two in dyeing zone. They have plywood and white laminate finished storage racks and counter tables. They have traditional stove made with brick and mud. They have water tank and pedestals made from bricks. They have trap in their dyeing space to drain the waste water.

Section : A-A The whole process of dyeing can take time of 0:30 to 0:45 Hours. To boil water and salt they take 7-8 Minutes. After the pigments mixing process takes time of around 5-7 minutes. Then the final dyeing process can take time of 15-20 minutes. During the dyeing process, 4-5 times they do up and down to cloths from water, because none part should be left without dyed. Then they need to get clothes to cold water immediately, they do this process two times with different buckets of water. This process takes time of 10-15 minutes. To get darker shade, they dip clothes for more than regular times. Usually they dip them for 6-8 times. Approximately, they dye 25-30 clothes in a single batch. 1 Batch = 1 Color = 1 Hour.

Revitalizing Khadi Centre- Ahmedabad

Types of Clothes can be Dyed  Cotton fabric  Linen fabric  Silk fabric  Woolen fabric  Denim fabric  Canvas

    

Net fabric Jute fabric Cotton Yarn Silk Yarn Woolen Yarn

Positive Inference  The project has lots of retailers to earn with.  This is one of the oldest project in the city, it is popular at other Dye houses.  This Dye House gives best quality of dyed Clothes, they also sell pigments of dye.  Fashion designers also comes to design dyeing or pattern dyeing.  They also design their own patterns of dyeing. Negative Inference  Parking is not provided, but footpath is getting used for parking.  They do not sale their products directly to customer, due to availability of the Dye house. They need retailers to get sale of their products.  When the designers comes to their place, they need to stop whole work and do the work given by the designers.  They do not have proper boiling at the same time of dyeing, sometimes they need to pour extra boiling water while dyeing.  They do not have proper drying space for clothes. They have parapet wall one side, on where they dries their clothes.  They used to do this work with their bear hands. Sometimes, one colors mixed up with another cloth.

Revitalizing Khadi Centre- Ahmedabad

CHAPTER 5 PROJECT BRIEF 5.1 Programme Flow After studying the process flow of traditional small-scale handloom industry, and also understanding the different programmes that need to be integrated into the space, the following program chart has been prepared.

Revitalizing Khadi Centre- Ahmedabad

5.2 Area Statement Sr.N o.

Main Activities

Sub-Activities

No. of Users

Total Area

Production Unit

Spinning Weaving Defect correction Storage Utility

58 16 2

15000 sq.ft. 76 Person

Design Unit

For 4M+ 4F

Dyeing-Printing Drying Space Tailoring Space Packaging Space Design Studio Staff area Material Library Utility

6 3 8 2 2 5 For 7

5500 sq.ft. 26 person

Administration Unit

HRD Manager Cabin Marketing Manager Cabin Finance Manager Cabin Managing Director Cabin Conference Room Business Lounge Staff area Utility

1 1 1 1 For 10 For 10 6 For 2

3000 sq.ft. 10 person

Retail Showroom

Selling Reception Store room Pantry Utility

10 3 2 For 2

6000 sq.ft. 15 person

Parking

2 Wheelers 4 Wheelers

For 143 For 49

20000 sq.ft. 143+49 = 192

Cafeteria

Kitchen Dinning Hall Utility

For 116 For 3M+ 3M

4000 sq.ft. 116 Person

Total Needed Area : 53500 Sq.ft. (6000 Var) Table.5.1 Area Statement for Khadi Centre

5.3 Conclusion Production unit 15000 sq.ft.

Design unit 5500 sq.ft.

Administration unit 3000 sq.ft.

Retail Showroom 6000 sq.ft.

Revitalizing Khadi Centre- Ahmedabad

Parking lot 20000 sq.ft.

Cafeteria 4000 sq.ft. 81

CHAPTER 6 SITE ANALYSIS This chapter gives a detailed look into the site chosen and its aspects. The analysis is used to arrive at a site zoning. 6.1 Location

The site is located at Ahmedabad- Ground- next to Abhay Ghat, Ashram Road, Ahmedabad, Gujarat- 380027 in India.

6.1.1 Ownership The site belongs the Khadi Gramodhyog Prayog Samiti. The site was being used to build Samadhi of Morarji Desai. Later then they cancelled the expansion of Abhay Ghat. Presently, the site remains unutilized. 6.1.2 Site Accessibility

Sardar Vallabhbhai Patel International Airport 16 km.

AMTS Bus Stand 0.0 km

Revitalizing Khadi Centre- Ahmedabad

Ahmedabad Junction Railway station 7.2 km.

6.1.2 Site Surrounding Surrounding land type The surrounding land use comprises mostly of mixed use and residential use. The areas near the site are Sabarmati Ashram, Abhay Ghat, and Kalamkhush Handmade Paper centre.

General feedback to the project The surrounding region have positive feedbacks for the project as the surroundings will benefit from the presence of such an institution in the area. Public Amenities Nearby There are banks, hospitals and bus stands nearby. 6.2 Site Regulations The site constraints are according to the GCDCR (Gujarat Comprehensive Development Control Regulations). The project belongs to two categories â&#x20AC;&#x201C; Mercantile and industrial. đ??&#x152;đ??&#x161;đ??ąđ??˘đ??Śđ??Žđ??Ś đ??&#x203A;đ??Žđ??˘đ??Ľđ?? â&#x2C6;&#x2019; đ??Žđ??Š đ??&#x161;đ??Ťđ??&#x17E;đ??&#x161; =

đ??&#x201C;đ??¨đ??đ??&#x161;đ??Ľ đ??Ľđ??&#x161;đ??§đ??? đ??&#x161;đ??Ťđ??&#x17E;đ??&#x161; đ?&#x;?

đ?&#x;&#x2014;đ?&#x;?đ?&#x;&#x17D;đ?&#x;&#x17D;đ?&#x;&#x17D; đ??Źđ??Ş.đ??&#x;đ??. đ?&#x;?

= 46000 sq.ft.

6.3 Climate of Ahmedabad

Ahmedabad has a hot, semi-arid climate, with marginally less rain than required for a tropical savanna climate. There are three main seasons: summer, monsoon and winter. Aside from the monsoon season, the climate is extremely dry. The weather is hot from March to June; the average summer maximum is 43 Â°C (109 Â°F), and the average minimum is 24 Â°C (75 Â°F). From November to February, the average maximum temperature is 30 Â°C (86 Â°F), the average minimum is 13 Â°C (55 Â°F), and the climate is extremely dry. Cold northerly winds are responsible for a mild chill in January. The southwest monsoon brings a humid climate from mid-June to mid-September. The average annual rainfall is about 800 millimeter (31 in), but infrequent heavy torrential rains cause local rivers to flood and it is not uncommon for droughts to occur when the monsoon does not extend as far west as usual. The highest temperature in the city was recorded on 18 and 19 May 2016 which was 50 Â°C (122 Â°F). Following a heat wave in May 2010, reaching 46.8 Â°C (116.2 Â°F), which claimed hundreds of lives, the Ahmedabad Municipal Corporation (AMC) in partnership with an international coalition of health and academic groups and with support from the Climate & Development Knowledge Network developed the Ahmedabad Heat Action Plan. Aimed at increasing awareness, sharing information and coordinating responses to reduce the health effects of heat on vulnerable populations, the action plan is the first comprehensive plan in Asia to address the threat of adverse heat on health. It also focuses on community participation, building public awareness of the risks of extreme heat, training medical and community workers to respond to and help prevent heat-related illnesses, and coordinating an interagency emergency response effort when heat waves hit. 6.4 SWOT Analysis

Strength

Weakness

ď&#x201A;§ No present uses of the site ď&#x201A;§ Ownership by Government ď&#x201A;§ Vegetation in corners on the site

ď&#x201A;§ Narrow entry into the site ď&#x201A;§ Land with full of sand

Opportunities ď&#x201A;§ ď&#x201A;§ ď&#x201A;§ ď&#x201A;§

Threats

Can be tourist attraction Nearest to Gandhi ashram Visual demonstration of Khadi Temporary expos/exhibitions can be held

ď&#x201A;§ Movement of vehicles due to road ď&#x201A;§ Water logging in certain parts ď&#x201A;§ Traffic due to AMTS bus stand

Table.6.1 SWOT Analysis of the site Revitalizing Khadi Centre- Ahmedabad

6.5 Site Drawings The Government authorized Empty ground has been covered with 8â&#x20AC;&#x2122;0â&#x20AC;? tall compound wall, with load bearing structure. Flemish bond has been used to make brick wall and painted terracotta color on it.

The total Land area is 92500 Sq.ft. (10280 var), where different activities like Designing of Khadi, Producing of Khadi, Selling of Khadi as permanent outlet and as Temporary Expo/ Exhibitions will be done. To fulfil this all activities, we need to create a beautiful happening space for Admins, co-workers, workers, artisans, retailers and customers also.

Revitalizing Khadi Centre- Ahmedabad

CHAPTER 7 DESIGN The design of a space always starts with an idea. This is then developed through many trial and errors. After trying different permutation and combination of space arrangement, structure and plans, finally I arrived at the most optimum design to achieve the objectives and goals discussed before. This chapter looks at the different ideas used for the design and the final design outcome. 7.1 Conceptual Zoning After understanding of the site and arriving at the basic zoning, there are the conceptual ideas that help create the design.

7.2 Design Development (basic zoning with colors definition)

7.3 Proposed Design Drawings 7.4 Design Detailed Drawings 7.5 3D Renders Revitalizing Khadi Centre- Ahmedabad

N.T. N.T.

N.T.

Drying Rack

N.T.

Service Counter

Drying Rack

N.T.

LVL=3'6"

Wash Area storage

storage

N.T.

storage

water tank

N.T.

storage

N.T.

sewing machine

sewing machine storage

storage

Textile Preparation Desk

N.T.

sewing machine

storage

Drying Rack

storage

Drying Rack

Service Counter

N.T.

sewing machine

Drying Rack

N.T.

Marking & Cutting desk

water tank

LVL=3'6"

sewing machine

LVL=2'0"

Water

N.T.

storage

Tailoring Space 19'7"x28'5" LVL=4'0"

storage

Step Up +6"

Storage

LVL=5'6"

Storage

Material Library 13'6"x12'0"

Step Up +6"

LVL=3'6"

Iron & Packaging desk

storage storage

LVL=0'6"

Readymade Kurtis (35)

Step Up +6"

LVL=3'0"

Readymade Pyjamas (35)

LVL=0'6"

Readymade Dress (15)

Readymade Pyjamas (35)

LVL=3'0"

Readymade Dress (15)

LVL=0'6"

books (150)

LVL=0'6"

Step Up +6"

Water

Step Up +6"

Saree (35)

Step Up +6"

Display Table

Reception/Cash Counter Gamchha/ Napkins / Hankerchief (20+20+20)

Pants/Denims (20) Display Table Readymade Shirt (15)

Readymade Shirt (15)

Dress materials (80)(female)

Dress

mate

rials

Luggage Counter

(80)(f

emal

Step Up +6"

hram s A i andh G o T ircle C O To RT

LVL=0'6"

Seating

Ashr

LVL=0'6"

Storage

Seating

ad o R am

LVL=3'0"

Seating

Miniature of charkha & gandhiji (20+20)

LVL=3'0"

Hankerchief / Napkins (20+20)

Shawls 20)

Seating

LVL=3'0"

Defect & Cleaning Desk

storage

books (150)

N.T.

LVL=3'0"

storage

LVL=4'0" Iron & Packaging desk

LVL=4'0"

Step Up +6"

LVL=5'0"

Male- Female Toilets

Storage

Defect & Cleaning Desk

Storage

Fashion Designer Cabin 21'6"x11'3"

Shirting Materials (80)(male)

Catalogue store + cutting desk

Lahengas/ Pyjamas (20)

Kurtas / Sadras (30)

LVL=3'0"

Security Cabin + Valet Parking

Total Plot Area : 92550 Sq.ft. (10300 var ) Built-up Area : 31865 sq.ft. (3540 var) 4

Area Calculation and Space Zoning

6 Plot Area

Undergraduate Design Thesis Project En.No.: VAD2016BDS1F004 Batch : 2016-20 Design Development Academy

Site Plan (Zoning Layout) Khadi Weaving Centre (Ahmedabad, Gujarat) Thesis Subject : Re-Vitalizing Khadi Centre

Security Cabin Garden Retail Unit Dinning Unit Administration Unit Design Unit Production Unit Parking Lot 2 Wheeler Parking Lot 4 Wheeler Exhibition Space

Built-Up Area

Kartik Dilipbhai Panchal

1 2 3 4 5 6 7 8 9 10

Scale : NTS

Date : July-10-2020

Drawing No.: 01

Page No.: 87

Remarks:

115 Sq.ft. 3200 Sq.ft. 5650 Sq.ft. 3800 Sq.ft. 2850 Sq.ft. 5600 Sq.ft. 13850 Sq.ft. 7050 Sq.ft. 12100 Sq.ft. 27850 Sq.ft.

3D Renders of Architectural Model

Bird View of The Site

Exterior View of Retail Showroom

Revitalizing Khadi Centre- Ahmedabad

3D Renders of Architectural Model

View towards Retail Showroom

Exterior view of Production Unit

Revitalizing Khadi Centre- Ahmedabad

3D Renders of Architectural Model

View from Designer Unit Towards courtyard

Central Attraction of the site. Space for annual exhibition/ expos

Revitalizing Khadi Centre- Ahmedabad

N.T.

books (150)

N.T.

Shawls 20)

Seating

Male- Female Toilets

Seating

books (150)

Seating

Hankerchief / Napkins (20+20)

Miniature of charkha & gandhiji (20+20)

Readymade Dress (15)

Readymade Pyjamas (35)

Readymade Kurtis (35)

Step Up +6"

Water

Step Up +6"

Seating

Front Elevation Slab LVL = 15'0" Slab Bottom LVL = 14'6" Beam Bottom LVL = 13'2"

Saree (35)

Display Table Finished floor LVL = 3'0"

Section : A-A

Step Up +6"

Ground LVL = 0'0"

Slab LVL = 15'0" Slab Bottom LVL = 14'6" Beam Bottom LVL = 13'2" Reception/Cash Counter Pants/Denims (20) Shutter

Shutter

In-built Refrigator

Display Table

Readymade Shirt (15)

Gamchha/ Napkins / Hankerchief (20+20+20) Readymade Shirt (15)

Fixed

Shutter

Cutlery

Cup-saucer

Plates

Dress materials (80)(female) Pull-out

male)

Shutter

Step Up +6"

Fixed

erials

Section : B-B

Luggage Counter

(80)(fe

Finished floor LVL = 3'0"

Dres

s mat

Ground LVL = 0'0"

Shirting Materials (80)(male)

Catalogue store + cutting desk

LVL=3'0" Lahengas/ Pyjamas (20)

Slab LVL = 15'0" Slab Bottom LVL = 14'6" Beam Bottom LVL = 13'2"

LVL=3'0"

Finished floor LVL = 3'0"

Section : C-C

Ground LVL = 0'0"

Slab LVL = 15'0" Slab Bottom LVL = 14'6" Beam Bottom LVL = 13'2"

Finished floor LVL = 3'0"

Section : D-D

Ground LVL = 0'0"

F Slab LVL = 15'0" Slab Bottom LVL = 14'6"

N.T.

books (150)

N.T.

Shawls 20)

Beam Bottom LVL = 13'2"

Seating

Male- Female Toilets

Hankerchief / Napkins (20+20)

Seating

books (150)

Seating

Miniature of charkha & gandhiji (20+20)

Readymade Dress (15)

Readymade Pyjamas (35)

Readymade Kurtis (35)

Step Up +6"

Water

Step Up +6"

Seating

B Saree (35)

Saree (35)

Finished floor LVL = 3'0"

Display Table

Ground LVL = 0'0" Step Up +6"

Section : E-E

Slab LVL = 15'0" Slab Bottom LVL = 14'6"

A Reception/Cash Counter Pants/Denims (20) Display Table

Beam Bottom LVL = 13'2"

Readymade Shirt (15)

Gamchha/ Napkins / Hankerchief (20+20+20) Readymade Shirt (15)

C Luggage Counter

ls (80) materia Dress

Shirting Materials (80)(male)

Security Cabin + Valet Parking

Step Up +6"

(fem

ale)

Dress materials (80)(female)

LVL=0'6"

Catalogue store + cutting desk

Lahengas/ Pyjamas (20)

Kurtas / Sadras (30)

Finished floor LVL = 3'0"

Section : F-F

Kartik Dilipbhai Panchal Undergraduate Design Thesis Project En.No.: VAD2016BDS1F004 Batch : 2016-20 Design Development Academy

Ground LVL = 0'0"

Furniture Layout / Section Details Retail Showroom (हस्तबुनी वेत्ति ) Khadi Weaving Centre (Ahmedabad, Gujarat) Thesis Subject : Re-Vitalizing Khadi Centre

Scale : NTS

Date : July-10-2020

Drawing No.: 02

Page No.: 91

Remarks:

Kurtas / Sadras (30)

ODU

N.T.

10'-412"

5'-1"

N.T.

ODU

13'-1012"

20'-243"

3.0 TR

15'-1134"

10'-112"

17'-712"

3.0 TR

11'-11"

3.0 TR

15'-712"

3.0 TR

11'-314"

11'-11"

3.0 TR

10'-1012"

11'-11"

18'-112"

2.0 TR

5'-712"

13'-1012"

12'

20'-243"

3.0 TR 10'-412"

3.0 TR

15'-1134"

7'-612"

3.0 TR

Kartik Dilipbhai Panchal Undergraduate Design Thesis Project En.No.: VAD2016BDS1F004 Batch : 2016-20 Design Development Academy

AC Layout Retail Showroom (हस्तबुनी वेत्ति ) Khadi Weaving Centre (Ahmedabad, Gujarat) Thesis Subject : Re-Vitalizing Khadi Centre

Scale : NTS

Date : July-10-2020

Drawing No.: 03

Page No.: 92

Remarks:

ODU

N.T.

6'-412"

1'-6"

SB: 10 on Floor

SB: 9 on Floor

4'-034"

5'-412"

12'-3"

SB: 8@ 3'6"

SB: 19 @ 3'6"1014"

10'-1114"

5'-10"

5'-812" 15'-9"

3'-1014"

1014" SB: 18 @ 3'6"

SB: 5 @ 3'6" (Taken care in furniture)

10'-112"

SB: 11 on Floor

3'-9"

SB: 7 @ 3'6"

2'-6"

6'-412"

SB: 12 on Floor

SB: 13 on Floor

10'-112"

12'

3'-9"

5'-712"

3'-9"

SB: 15 @ 3'6"

2'-6"

SB: 16 @ 3'6"

8'-11"

SB: 17 @ 3'6" 1'-6"

12'-6"

11'-412"

12'

13'

5'-814"

SB: 14 @ 3'6"

3'-8"

3'-1"

10'-412"

11'-214"

8'-112"

3'-1"

4'-012"

4'-014"

7'-1134"

21'-412"

2'-1134"

18'-714"

7'-014"

SB: 6 @ 3'6"

5'-712"

Kartik Dilipbhai Panchal Undergraduate Design Thesis Project En.No.: VAD2016BDS1F004 Batch : 2016-20 Design Development Academy

SB: 4 @ 3'6" (Taken care in furniture)

4'-034"

5'-034"

1'-7"

SB: 2@ 2'10" SB: 1 @ 2'10" (Taken care in SB: 3 @ 2'10" (Taken care in furniture) (Taken care in furniture) SB: 2A @ 1'6" (Taken furniture) care in furniture)

11'-112"

SB Layout / CCTV Layout / Speaker Layout Retail Showroom (हस्तबुनी वेत्ति ) Khadi Weaving Centre (Ahmedabad, Gujarat) Thesis Subject : Re-Vitalizing Khadi Centre

Scale : NTS

Date : July-10-2020

Drawing No.: 04

Page No.: 93

Remarks:

6'-1143"

7'-514"

N.T.

4'-6"

N.T.

27'-9" 1'-714" 1'-714" 1'-714" 1'-714" 1'-714" 1'-714" 1'-714" 1'-714" 1'-6" 1'-6" 1'-6" 1'-6" 1'-6" 1'-6" 1'-6" 1'-6" 1'-6" 1'-6" 1'-6" 1'-6"

11'-3"

Wooden Ceiling ZigZag Pattern 1'6" Down

Wooden Ceiling 1'4" Down

Gypsum Cornice Ceiling 1'6" Down

12'

1'-6" 11'-3"

15'

7'-6"

Gypsum Cornice Ceiling 1'6" Down

1'-6"

Gypsum Ceiling 0'6" Down

15'-112"

1'-6"

12'

Gypsum Ceiling 0'6" Down

4'-112"

6' 8'

12'-8"

12'-9"

1'-6"

Wooden Ceiling + BFT Tile 1'6" Down

12'

7'-514"

7'-6"

5'-6"

5'-634"

4'-112"

Gypsum Ceiling 0'6" Down

22'-6"

13'-6"

6" 3"

9" 3"

6" 3"

9" 3"

3'-6" 6"

Gypsum Cornice Ceiling 1'6" Down

1'-6"

9" 9" 9" 9" 9" 9" 9" 9" 9" 9" 9" 9" 9" 9" 9" 9" 9"

1'-6"

Reception Ceiling Earthen Pots

1'-6"

Gypsum Ceiling 1'6" Down Wooden Carving Planks + Wooden Patti Ceiling 1'6" Down

5'-1114"

26'

Toilet Tile Ceiling Section 1'-6"

16'

9'-112"

1'-6"

1'-6" Gypsum Cornice Ceiling 1'6" Down

3 4

10'

212"

3 4

" 214"

3 4

" 2"

Wooden Ceiling 1'6" Down

3 4

" 34"

334"

214"

934"

3 4

Suspended Kullad Ceiling 3'6" Down

Cornice Section

13'-6"

Garment Display Ceiling

Kartik Dilipbhai Panchal Undergraduate Design Thesis Project En.No.: VAD2016BDS1F004 Batch : 2016-20 Design Development Academy

3'-6"

1'-6" 2" 2'-5"

1'-6" 1'-6"

11'-3"

28'-634"

Ceiling Layout / Electircal points Location Retail Showroom (हस्तबुनी वेत्ति ) Khadi Weaving Centre (Ahmedabad, Gujarat) Thesis Subject : Re-Vitalizing Khadi Centre

28'-514"

Scale : NTS

Date : July-10-2020

Drawing No.: 05

Page No.: 94

Remarks:

3'-9"

4'-034"

1'-1012"

3'-9"

N.T.

1'-1012"

N.T.

3' 1'

1'-812"

1'-9"

4'-6"

5'-512"

4'-6"

5'-512"

3'-1014"

9'-114"

4'-314"

4'-234"

4'-714"

4'-314"

4'-714"

4'-012"

4'-014"

5'-912"

2'-214"

4'-034"

4'-334" 9"

3'-9"

4'-034"

2'-6"

3'-9"

1'-7"

3'-9"

7'-6"

1'-6"

3'-9"

9'-112"

1'-9"

6'-412"

3'-914"

9'-6"

3'-74"

5'-6"

9" 1' 9" 9"

5' 1'

Hanging Light

6'-412"

2'-1134"

3'-234"

2'-114"

6'-134"

2'-114"

4'-034"

14 Nos.

CCTV Camera

2'-214"

12 Nos.

5'-612"

Switch Board

4'-314"

19 Nos.

4'-012"

4 Spot COB Light (Concealed) Wall Light

5'-514"

74 Nos. 8 Nos.

5'-514"

2 Spot COB Light (Concealed) Speaker pt. Button Light (Concealed)

9" 9"

412"

2'-612"

2'-312"

2'-612"

1'-1114"

2'-612"

2'-312"

2'-612"

1'-9" 1'-9"

9" 2'-612"

2'-112"

434"

2'-134"

1'-9"

3 TR. 10Nos. 2 TR. 1Nos. Cassette AC Loop (Profile Light) Loop (Wall Light +Ceiling Light+Hanging Light)

1'-9"

412"

25 Nos. 351 Nos.

Profile Light (From Ceiling) Profile Light (From Furniture)

505 R.ft. 10 Nos.

Type of Fixture Profile Light (From Floor)

9'-814"

Quantity

125 R.ft. 535 R.ft.

5'-034"

Symbol

10"

3'-814"

5'-6"

10"

3'-814"

912"

11'-11"

5'-6"

2'-612"

2'-312"

2'-612"

1'-1114"

Loop (Speaker)

Kartik Dilipbhai Panchal Undergraduate Design Thesis Project En.No.: VAD2016BDS1F004 Batch : 2016-20 Design Development Academy

Electrical Layout / Looping Layout / Electrical Quantity Retail Showroom (हस्तबुनी वेत्ति ) Khadi Weaving Centre (Ahmedabad, Gujarat) Thesis Subject : Re-Vitalizing Khadi Centre

Scale : NTS

Date : July-10-2020

Drawing No.: 06

Page No.: 95

Remarks:

2'-612"

2'-312"

2'-612"

2'-012"

N.T.

1' 1014"

12'

4' 8" 8" 8" 8" 8" 8" 8" 9"

2'-6"

9" 8"

1'-812"

2'-6"

1'-1114"

1'-412"

8" 8" 8" 8" 8" 8" 8" 8" 8"

1'-143" 1'-812"

1'-812" 714"

1'-812"

N.T.

1'-934"

14'-9"

12'

3'-6" 1'

3' 11"

24'

3'-3"

2'-8"

2' "

32'-6"

56'-6"

1 4

26'-6"

1'-312"

BFT Kolam (Made in India series) Quantity: 1095 sq.ft. (Floor) Tile Size : 200mmx200mm 3 4"

wooden patti with 3mm groove Quantity: 200 sq.ft. (Floor)

Kartik Dilipbhai Panchal Undergraduate Design Thesis Project En.No.: VAD2016BDS1F004 Batch : 2016-20 Design Development Academy

11'-3"

13'-6"

28'-614"

11"

3'-6"

6'-512"

3'-6"

512"

Red Soraya Traventine Quantity: 140 sq.ft. (FLoor) + 150 sq.ft. (Dado) Slab Size : 4'0"x4'0" BFT Royal cross B (Heritage Tiles Graphic Collection) Quantity: 35 sq.ft. (Floor) + 25 sq.ft. (Ceiling) Tile Size : 200mmx200mm Johnson Tiles (ATRM4N) Atrium Graphite Natural Quantity: 525 sq.ft. (Floor) + 30 sq.ft. (Dado) Tile Size : 600mmx600mm Johnson Tiles (JEST04) Mosaic Gold. Mixed Finish Quantity: 490 sq.ft. (Dado) Full Piece : 1'0"x1'0" Single Mosaic : 1"x1"

Luban Wood Planks Floor Quantity: 2500 sq.ft. (Floor) Wooden Plank Size : 0'4"x4'0"

28'-434"

Flooring Layout / Tile Sizes / Quantity Retail Showroom (हस्तबुनी वेत्ति ) Khadi Weaving Centre (Ahmedabad, Gujarat) Thesis Subject : Re-Vitalizing Khadi Centre

28'-514"

Scale : NTS

Date : July-10-2020

Drawing No.: 07

Page No.: 96

Remarks:

3D Renders of Retail Showroom

Reception Area

Display Racks for Male section

Revitalizing Khadi Centre- Ahmedabad

3D Renders of Retail Showroom

Seating At Trial Area with Male- Female section

Display Racks of Female Section

Revitalizing Khadi Centre- Ahmedabad

3D Renders of Retail Showroom

Display Racks of Female section

Display Unit for Charkha and Gandhiji Idols

Revitalizing Khadi Centre- Ahmedabad

3D Renders of Retail Showroom

Library Racks With Cluster of Seating

Clusters of Seating at Library with Courtyard view

Revitalizing Khadi Centre- Ahmedabad

100

3D Renders of Retail Showroom

Courtyard View from Discussion Space

Basin Area

Revitalizing Khadi Centre- Ahmedabad

101

bamboo chattai finish 3/4"plywood with veneer finish veneer finish with 3mm groove in between 3/4" 1/5"x1/5" round wooden rod

Carving Wood " 1"

" 312"

1 2

612"

5'-1112"

112"

Indirect Light

112"

Display Unit for Mannequins Display

Pants/Denims (20)

Gamchha/ Napkins / Hankerchief (20+20+20)

3 4

Readymade Shirt (15)

" "

1 2

3 4

1'-012" 512" 1'-012" 512" 1'-012" 512" 1112" 112"

Cross Section

Front Elevation "

1'-812"

1 2

1'-812"

1 2

414"

112"

Lahengas/ Pyjamas (20)

Plan @ 5'LVL

Undergraduate Design Thesis Project En.No.: VAD2016BDS1F004 Batch : 2016-20 Design Development Academy

Kurtas / Sadras (30)

1'-6"

112" 3" 1'-014"

1 2

Kartik Dilipbhai Panchal

Display Unit for Artifacts

512"

234"

3 4

112"

1'-212"

1'-312"

1'-812"

Plan

3 4

112"

1 2

612"

Bamboo Chattai Finish 12mm x 50mm MS pato Powder coating 3/4" Plywood sandwich with veneer finish 3/4" Plywood sandwich with veneer finish

1 2

312"

1 2

1'-6"

Display Rack for Readymade Shirt / Pants-Denims / LahengasPyjamas / Kurtas- Sadras for Male

Plan

414"

1 2

2'-512" 2'-612" "

1 2

2'-11" 2'-4"

Plan

112"

6" 3"

2" 512"

9" 6" 3"

1'-314"

612"

8" 112" 112" 112" 2"

Cross Section

3" 234"

112"

Front Elevation

112"

312" 1'-1012" 312"

612"

1 2

7'-012"

3'-8"

412" 114"

1'-4"

2'-6"

112"

1'-4"

3'-9"

1'-4"

1 2

634" 3" 512"

3" 7" 114"

6'-9" 1" 112" 1"

1'-10"

2'-112" 112"

7'-112"

8mm MS Plate Indirect Light Pebbles

Cross Section

Front Elevation

Cross Section

Front Elevation

1'-314"

3" 112"

8mm Ms Plate Indirect Light Pebbles

512"

112"

3'-1012"

214"

6" 3"

112" 214" 21" 4 3"

634" 3" 712"

2'-7"

1'-312"

3 4

9" 6" 3"

3 4

5'-9 "

112"

1 1 1 1 1 1 1 1 1 1 1" 2" 71" 3122"" 2"6" 2" 2"6" 2" 2"6" 2" 2"6" 2" 3" 2 214" 1" 1" 1" 1" 1" 1 2"

Indirect Light

114" 112"

112" 1 4

112" 1 102"

112"

114" 112"

KEY PLAN Male Section

Display Rack for Gamchha / Napkins / Hankerchief for Male

Furniture Details Retail Showroom (हस्तबुनी वेत्ति ) Khadi Weaving Centre (Ahmedabad, Gujarat) Thesis Subject : Re-Vitalizing Khadi Centre

Scale : NTS

Date : July-10-2020

Drawing No.: 08

Page No.: 102

Remarks:

Wallpaper FInish

Wallpaper Finish

1'-312"

3 4

112"

" 1"

112"

114" 112" 112" 3"

1 112" 14" 112" 3"

5'-914"

634" 3" 712"

3 4

112"

234"

1'-212"

3 4

1'-312"

3 4

112" 1 102"

634" 3" 712"

112" 1 102"

3 4

1'-312"

634" 3" 712"

1 2

1'-314"

1'-4"

7" 114"

112"

234"

8" 112" 112" 112" 2"

1'-6"

Plan

112"

Plan

Display Rack for Readymade Kurtis / Pyjamas and Shawls For Female

Display Rack for Readymade Dresses For Female

Display Rack for Hankerchief / Napkins For Female

Display Rack for Sarees For Female

8mm Ms Plate

Hankerchief / Napkins (20+20)

Readymade Dress (15)

Readymade Pyjamas (35)

612"

1 2

312"

1 2

7'-012"

" 312"

1 2

2'-512" 2'-612"

KEY PLAN Female Section

1 2

312"

2'-7"

3'-8"

3'-9"

1'-1012"

6'-6"

1 2

Readymade Dress (15)

Cross Section

Front Elevation

7'-112" 1 2

512"

9" 6" 3"

2" 512"

6" 3"

9" 6" 3"

Cross Section

Front Elevation

8mm MS Plate Indirect Light Pebbles 6" 3"

Indirect Light Pebbles

2'-6"

Cross Section

Plan

Shawls 20)

3" 212" 112" 1 2" 212" 12"

Front Elevation

234" 112"

Cross Section

Front Elevation

Plan

Cross Section

Front Elevation

634" 3" 512"

112"

112" 1 1'-22"

512" 1'-4"

1'-6"

112"

7" 114"

1'-6"

Cross Section

Front Elevation

112"

112" 3"

112"

2'-112"

2'-734"

1'-012"

512"

112"

6'-9"

2'-1114"

1'-012" 1'-012"

6'-9"

112" 1 3" 22"

3 4

" "

512"

214"

512"

3'-1012" 7'

6'-9"

112" 1 212" 3"24"

2'-11" 2'-4"

312"

1 2

612"

Plan 612"

5'-1112"

612"

Plan

Mirror in between Display Racks

Display Unit for Mannequins Display

Readymade Kurtis (35)

Display Unit for Artifacts

Readymade Kurtis (35)

Saree (35)

Kartik Dilipbhai Panchal Undergraduate Design Thesis Project En.No.: VAD2016BDS1F004 Batch : 2016-20 Design Development Academy

Furniture Details Retail Showroom (हस्तबुनी वेत्ति ) Khadi Weaving Centre (Ahmedabad, Gujarat) Thesis Subject : Re-Vitalizing Khadi Centre

Scale : NTS

Date : July-10-2020

Drawing No.: 09

Page No.: 103

Saree (35)

Remarks:

6" 6" 6" 712" 6" 6" 6" 3" 712" 1"12" 34" 1 1 1 1 1 1 1 1 1 " 1"12" 12" 1"12" 12" 1"12" 12" 1" 2" 2" 1" 2" 2" 1" 2" 2" 1" 2" 2" 1" 2" 214"

1 2

3 4

3" 5" 3"

112"

114"

3 4

112" 5'-914"

Wallpaper finish 3/4" plywood with White PU finish 1/2"x1/2" round Wooden Rod Carving Wood Indirect Light

3 4

112" 3"

1'-312"

" 1"

114" 112"

3 4

112"

5'-9 "

3 4

114" 112"

3 4

112" 1 4

3 4

112" 112"1 11" 72" 3" 2

112"

Indirect Light 114" 112"

Wallpaper finish 12mm x 50mm MS pato Powder coating 3/4" Plywood sandwich with White PU finish 3/4" Plywood sandwich with White PU finish 1 Indirect Light 12" 11" 3" 2 3 4

Carving wood

112"

1/5"x1/5" round wooden rod

112"

3/4"plywood with Wihte PU finish White PU finish with 3mm groove in between 3/4" 1/5"x1/5" round wooden rod Indirect Light

112"

3/4"plywood sandwich with White PU finish

3" "

1 2

1 1 2 2

3 4

2" 512"

9" 6" 3" 312"

1'-1012"

7" 1"

214 " 114"

234 "

2'-3 "

112" 2"

1" 1 2

1 4

1'-934"

312"

Plan

" 312"

1 2

1'-1134" 1'-914" 114"

6'-412"

6'-6"

6'-412"

6'-6"

243"

Cross Section

Front Elevation 1 2

3" 4" 3"

1 2

" 4" 1"

2'-512" 2'-612"

Front Elevation 1 4

1'-9"

1134"

1'-6" 114"

314 "

2'-11" 2'-4"

312"

1 2

Plan 3"

2'-6"

LHS Elevation 4"

Display Unit for artifacts

2' 3'

4' 4' 4'

Mirror Details

3'-6"

6" 3" 3"

1 2

3 4

" 34"

1 4

2'-6"

114"

Details of Chair

Mirror Indirect Light Solid Wood

Wooden Floor 3" 3"

Back Elevation

RHS Elevation

Front Elevation

2'-6" 3"3"

Details of Trial Room

2'-6"

1'-6"

2'-6"

1'-6"

2'-6" 6"

1'-6"

2'-6"

1'-6"

Plan

Carving Plank Dim

KEY PLAN Trial Room + Waiting Area

Kartik Dilipbhai Panchal Undergraduate Design Thesis Project En.No.: VAD2016BDS1F004 Batch : 2016-20 Design Development Academy

Furniture Details Retail Showroom (हस्तबुनी वेत्ति ) Khadi Weaving Centre (Ahmedabad, Gujarat) Thesis Subject : Re-Vitalizing Khadi Centre

Scale : NTS

Date : July-10-2020

Drawing No.: 10

Page No.: 104

Remarks:

8mm MS Plate Indirect Light Pebbles 6" 3"

2" 4" 2"

RHS Elevation 114"

214 " 4" 3"

2'-9" 3" 4" 1'-3" 11"

3" 1'

112"

3" 3"

Wooden Carving Plank

Wooden Carving Planks

Wooden Carving Plank

112" 114"

Full Heighted Mirror

Solid wood Jute fabric fixed cushion Jute fabric loose Round Cushion Carving wood

Wallpaper Finish

1 2

Wallpaper Finish

3 4

Wallpaper Finish

3'-6" 11' 7'-6"

7'-6"

11'

3'-6"

ceramic vases - 3 sizes Wooden patti 3/4" with 3mm groove in between Entrance for window display

Front Elevation 19'-9"

4'-3"

5'-512"

4'-134"

28'-5" 5'-512"

4'-134"

5'-512"

2'-1"

Plan

24'-214"

4'-3"

4'-6" 3'-6"

1'-6"

3'-6" 4'-6"

4'-214"

Front Elevation

1'-1014"

5'-512"

4'-134"

28'-514" 5'-512"

Plan

4'-134"

Window display elevation details

Kartik Dilipbhai Panchal Undergraduate Design Thesis Project En.No.: VAD2016BDS1F004 Batch : 2016-20 Design Development Academy

Furniture Details Retail Showroom (हस्तबुनी वेत्ति ) Khadi Weaving Centre (Ahmedabad, Gujarat) Thesis Subject : Re-Vitalizing Khadi Centre

Scale : NTS

Date : July-10-2020

Drawing No.: 11

Page No.: 105

Remarks:

5'-512"

1'-11"

1'-4" 9'-312" 11'-6"

3/4" Plywood

Shutter

1'-3"

3'-2"

1'-3"

3'-2"

1'-3"

3" 3 4" 1'-214"

Cross Section

Floor LVL

2'-3"

1'-3"

3'-2"

Back Elevation

3" 1'

1012"

Floor LVL

1'-3"

Shutter

1'-9"

Shutter

112" 6" 3"

Shutter

1'-114"

Drawer

7" 3" 9" 3"

Drawer

1'-2"

Drawer

3'-6"

2'-6"

Red Soraya Traventine

3 4

1'-214"

1 4

" 1 1'-02"

1 4

" 1 94"

1 4

" 1 94"

1 4

" 1 94"

1 4

" 1 94"

1 4

" 1 94"

1 4

" 1 94"

1 4

" 1 94"

1 4

" 1 94"

1 4

" 1 94"

1 4

" 1 94"

1 4

" 1 1'-02"

1'-214"

3 4

" 6" Red SorayaTraventine Groove 3/4"

Cross Section

3'-2 "

Indirect Light Space

1 4

6mm Groove

wooden Patti Hammered Copper Coil 1'-214"

6" 3 4

1'-9"

834" "

1 2

" 3"

834" "

3 4

843" "

3 4

834" "

3 4

834" "

3 4

843" "

3 4

834" "

3 4

834" "

3 4

843" "

3 4

834" "

9'-6"

3" 1'-214" 3 4" 3"

6" "

3 4

1'-9"

14'

2'-6"

Front Elevation

2'-612"

812" 6"6" 9"

9" 6"6" 812"

Reception/Cash Counter

13'-6"

Plan

Reception Desk Details 1'-6" 9" 6" 1'-6"

Kartik Dilipbhai Panchal Undergraduate Design Thesis Project En.No.: VAD2016BDS1F004 Batch : 2016-20 Design Development Academy

9'-6" 12' Plan

6" 9" 1'-6" 1'-6"

Courtyard Details Furniture Details Retail Showroom (हस्तबुनी वेत्ति ) Khadi Weaving Centre (Ahmedabad, Gujarat) Thesis Subject : Re-Vitalizing Khadi Centre

Scale : NTS

Date : July-10-2020

Drawing No.: 12

Page No.: 106

Remarks:

Indirect Light

8'-6"

10'

1'-3"

112"

1'-3"

6'-9"

5'-6"

112"

1'-3"

112"

1'-3" 112"

10'

3 4

3" "

1'-3"

3" 3" 9"

3 4

112" 1 114"

112"

3 4

1'-6"

4'-6"

2'-6"

Indirect Light

Cross Section

Front Elevation

Indirect Light Plywood With veneer Finish

1'-412" 112"

8'-3" 112"

9'-9" 112"

RHS Elevation

112"

Back Elevation

1'-6"

Handle

Details of Baggage Counter

1'-9"

" 4" 1"

3" 4" 3"

3" "

1 2

Step Up +6"

1 1 2 2

1134" "

1 4

114"

314"

Front Elevation 1"

RHS Elevation 114"

11"

10'

Plan

2" 4" 2"

1 2

1'-6"

3 4

1'-6"

214" 4" 3"

2'-6" 7'

1'-6"

4'-6"

1'-6"

2'-9" 3" 4" 1'-3"

1'-6"

112" 114"

3 4

Solid wood Jute fabric fixed cushion Jute fabric loose Round Cushion Carving wood

8'-6"

Display Table

214" 114"

234"

112" 2"

1" 2'-312"

1 4

1'-934"

1'-914"

114"

1'-1134"

234"

Plan

112"

1'-314"

112"

1'-1112"

112"

4'-012"

1'-314"

112"

1'-1112"

112" 3 4

" 1"

112"

2'-8" 112"

2'-8"

1'-314" 112"

2'-9"

1'-434"

112"

2'-6"

3 4

1'-314" 112"

2'-8"

1 2

1'-412"

1 2

1'-412"

1 2

1'-412"

112"

Veneer Finish 3mm Groove in between 3/4"

le) fema

3 4

1014" 112"

2'-6"

(80)(

112"

BFT Tile Cladding

Cross Section

2' 2'-6"

Front Elevation

11'-3"

Plan

Details of Catalogue Storage / Cutting Desk

Kartik Dilipbhai Panchal Undergraduate Design Thesis Project En.No.: VAD2016BDS1F004 Batch : 2016-20 Design Development Academy

Dress materials (80)(female)

Wooden patti 1134" "

1'-412"

1'-1012"

112" 112"

1 2

1'-412"

Luggage Counter

1 2

112"

2'-9"

Dre

1'-414"

ls teria ss ma

2'-912"

1'-9"

1 2

" 9" 8"

1 2

112" 3 1'-04"

Display Table

1'-912"

112" 3 1'-04"

112"

Details of Chair 12mm Plywood veneer Finish 3/4" Plywood Veneer Finish Indirect Light

Shirting Materials (80)(male)

Catalogue store + cutting desk

KEY PLAN Baggage Area / Discussion Area

Details of Baggage Counter

Furniture Details Retail Showroom (हस्तबुनी वेत्ति ) Khadi Weaving Centre (Ahmedabad, Gujarat) Thesis Subject : Re-Vitalizing Khadi Centre

Scale : NTS

Date : July-10-2020

Drawing No.: 13

Page No.: 107

Remarks:

books (150)

3"3" 1"

1'-10"

1"6" 112"

3" 0"

8'-6"

112" 1" 6"

1'7"

1'-7"

1"6" 112"

1'-7"

1'-6" 3 4

1 2

614"

1134"

312"

Seating

3" 3 4

1'-7"

1'-112"

" 1"

7'-012" 1 12" 1'-7"

Detail: A

1'-7"

1 12" Wood Indirect Light

12mm MS round bar 25mm dia. Brass Pipe

Detail: B

1'-10" 2'-112"

112" 1"

112"

1'-7"

3 4

1'-314"

112"

9'-8"

1'-7"

18mm Plywood

1" 112"

Miniature of charkha & gandhiji (20+20)

1'-414"

Front Elevation

112" 3"

3" 112" 1"

1'-534"

Front Elevation

1'-534"

3" 1" 112"

3 4

Cross Section

1'-414"

Step Up +6"

1 4

1'-414"

Brass buttons

3 4

214"

1'-414"

Step Up +6"

112" " 34"

1'-414"

" 112" 1"

9'-8"

112" 112" 112" 1"

1'-10" 2'-112" 1" 112" 112" 3"

Seating

7'-012" 1 12"

1'-7"

1 1 2 2

" "1 2"

112"

312"

1'-7"

1'-10"

112"

1'-10"

1'-7"

112"

3"3" 1"

books (150)

7'-9" 1'-10"

" 34" 112"

3"3" 112" 1" 6"

Brown Leather Upholstery Solid Wood

2' 3'-6" 4" 1'-2"

11"

3" 6" 3"

114"

RHS Elevation

Front Elevation 3 4

114"

2'-614"

314"

KEY PLAN Utility Area

2'-6"

1 2

114"

Plan

Detail of Corner Table for Library

Detail of Chair for Library

8mm White Backpainted Glass 18mm plywood sandwich Carving Wood Plank Indirect Light 112" 1 92"

112" 1 92"

112"

fixed Indirect Light from inside 112"

9" 112"

2" 1 2" 1"

9" 112"

0" 2"

9" 112"

112"

9" 112" 9'-8"

9" 112"

112"

9" 112"

9" 112" 9" 112"

" 1 1 2"32" 82" 2"

" 1"

Front Elevation

Cross Section

Front Elevation

1" 3"

Plan

Left side (Seating) 3"

12mm Ms round bar 8mm White Backpainted Glass

Left side (Rack) Right side (Seating )

Right side (Cloth Rack)

7'-6"

112"

Cross Section 1

Detail:Indirect B1 2" Wood Light

18'-6"

Plan Plan

Details of Partiton Library Area

Details of Display Unit for Charkha / Gandhiji Idols

Kartik Dilipbhai Panchal Undergraduate Design Thesis Project En.No.: VAD2016BDS1F004 Batch : 2016-20 Design Development Academy

12mm plywood with veneer finish Indirect Light 1 solid wood patti 2"x3" solid wood blocks

1 2

3 4

9" 112"

3 4

1 2

1'-312"

1'-6"

11'-3"

9" 112"

9" 112" 9" 112"

1'-134"

112" 1 92"

9" 112"

Detail: A

" 34" 112"

112" 1 92"

9" 112"

" 1"

1'-5"

1 2

112" 1 92"

9" 112"

112" 1 92"

9" 112"

3 4

1'-6"

1 4

112"

9" 112"

112" 3 94"

112"

112" 1 92"

9" 112"

112" 1 92"

9" 112"

3 4

" 12"

112" 1 92"

9'-8"

1 4

Detail: B

Cross Section

112" 1 92"

112" 112" 34"

3 4

1'-314"

Front Elevation

112" 1 92"

112"

334"

1'-3"

3 4

Detail: A

112" 1 92"

9" 112"

112" 1 92"

112"

1'-6" 1'-514"

3 4

Furniture Details Retail Showroom (हस्तबुनी वेत्ति ) Khadi Weaving Centre (Ahmedabad, Gujarat) Thesis Subject : Re-Vitalizing Khadi Centre

Scale : NTS

Date : July-10-2020

Drawing No.: 14

Page No.: 108

Remarks:

112"

112" 112" 3" Detail: A

10'-3"

1 2

112" 112" 112" 112" 112" 112" 112" 112" 3"1'-71" 1'-71" 1'-71" 1'-71" 1'-71" 3" 2 2 2 2 2

112" 112" 3"

112"

2114" 34"

1 2

2'-1 "

634"

1 2

314"

112"

Detail of Library Rack

314"

1'-7"

1 2

1 2 3 4

314"

1'-7"

314"

Plan

9'-9"

Plan

112" 214"

1'-6"

woven cane screen carving Wood

Detail: B

1'-11"

1'-6"

books (150)

Seating

books (150)

Seating

1'-6"

Handle

3'-6"

1'-4" 2'-2"

1'-4" 3'-6"

2'-2"

1'-4"

1'-4" 3"

5'-412"

2'-2"

5'-1114"

Mosaic tiles rec soraya traventine Gold Series Basin Mirror WIth brass patti veneer finish with 3mm groove in between 3/4"

3 4

" 34"

3 4

1'-2"

Front Elevation

1 2

" 21" 2

1 2

" 1112"

1'-8"

1 2

" 1112"

1'-8"

1 2

712"

1 2

712"

2'-9"

Front Elevation

8'-112"

1 2

112"

" 1112"

10"

1 2

RHS Elevation

1'-8"

1 2

1112"

1 2

" 4"

2'-6"

Back Elevation

LHS Elevation 112"

1'-414"

112"

1 " 4"

1 2

Window Details

1'-014" 1" 1'-014" 1"

7' 1114"1

2' 1'

4'-1114" Plan

2'-6"

1 2

" 34" 34" 3 4

Niche Detail

Details of Toilet

1 2

134"

1'-034" 112" 1"

1'-034" 1"

Wooden patti

1'-034" 1" 1" 11" 2

N.T.

714"

N.T.

Shutter

2'-6"

Shutter

1'-3"

9'-2"

Fixed

Indirect Light Veneer finish with 3mm Groove in Between 3/4"

Johnson Tiles (ATRM4N) Atrium Graphite Natural

Shutter

In-built Refrigator

Cross Section

Pull-out Plates

Plates

1'-212"

Detail : A

1'-212"

1 2

2'-5"

112"

Cup-saucer

6" 3" 112"

Cup-saucer

Cross Section

Front Elevation

18mm Plywood Sandwich

Front Elevation

Cross Section "

6" 7'-8" 11'-714"

3'-9" 5'-6"

1'-11"

6' 7'-6" Plan

Kartik Dilipbhai Panchal Undergraduate Design Thesis Project En.No.: VAD2016BDS1F004 Batch : 2016-20 Design Development Academy

214"

" 112"

Handle

3 4

112"

1 2

1'-6" 2'

Water

3 4

Water

Detail : A 12'-2"

6" 1'

6'-6"

2' Cutlery

Cross Section

Front Elevation 6"

2' Cutlery

2'-2"

2'-6"

Shutter

1'-3"

2'-7"

Shutter

1'-3"

Kadappa stone

1112"

Fixed

1'-3"

Male- Female Toilets

veneer finish with 3mm groove in between 3/4"

9" 1'

2'-2"

Granite Platform

" 34"

2'-9"

Plan

Details of OTS Courtyard

Details of Pantry Unit / Water Dispensor Unit

Furniture Details Retail Showroom (हस्तबुनी वेत्ति ) Khadi Weaving Centre (Ahmedabad, Gujarat) Thesis Subject : Re-Vitalizing Khadi Centre

8mm x 25mm brass patti paint

3'-9"

1'-4"

1" 1 2"

" 34" 3 4

1 4 Indirect Light

Details of Basin Unit

1'-014" 1"

10 "

1"x1" Mosaic Tiles

1'-014" 1"

Red Soraya Traventine

1'-014" 112" 1"

1'-8 "

1 4

1 2

1'-8 "

1" 2"

9" 1 2

" 34"

4'-3" 4'-6"

1 2

3 4

1'-1 "

N.T.

3 4

Cross Section

6mmx12mm MS bar 12mm glass 25mmx25mm MS Square Pipe

412" 3" 3 3 4" 4"

5'-2 "

1' 6"

6' 1'-6" 1' 1'-6" Plan

3'-9"

5'-2 "

1 4

6" 6"

1'-014" 1" 1"

3'-6"

7'-6" 6'-514"

6'-9"

1'-414"

2'-6"

1' 1'-414"

10"

3'-6" 1'-414" 1 212" 2"

1'-6" 6" 6"

6'-343"

1'-4"

1 2

4'-112"

1 2

112"

6"6" 2'-3"

1 2

212"

2'-1"

4'-1"

212"

KEY PLAN Utility Area

Scale : NTS

Date : July-10-2020

Drawing No.: 15

Page No.: 109

Remarks:

LVL = 0'6"

LVL = 1'0"

LHS Elevation

12'-3"

3'-5"

1'-3"

LVL = 1'6"

1'-3" 6" 1'-3" 6" 1'-3" 6" 1'-3" 6" 1'-3" 6" 1'-3" 6" 1'-9"

10'-6"

10 11

1'-3" 6" 1'-3" 6" 1'-3" 6" 1'-3" 6"

3'-5"

Front Elevation

3'-5"

3'-5" 3"

1'-3" 6" 1'-3" 6" 1'-3" 6" 1'-3" 6" 1'-3" 6" 1'-3" 6"

10'-6"

1'-3" 6" 1'-3" 6" 1'-3" 6" 1'-3" 6" 1'-3" 6" 1'-3" 6"

LVL = 2'6"

3'-5"

10'

3'-5"

1'-6"

3'-5"

2'-6" 11'-9"

10'

RHS Elevation

Details of Steps Retail Showroom

Kartik Dilipbhai Panchal Undergraduate Design Thesis Project En.No.: VAD2016BDS1F004 Batch : 2016-20 Design Development Academy

Furniture Details Retail Showroom (हस्तबुनी वेत्ति ) Khadi Weaving Centre (Ahmedabad, Gujarat) Thesis Subject : Re-Vitalizing Khadi Centre

Scale : NTS

Date : July-10-2020

Drawing No.: 16

Page No.: 110

Remarks:

Plan

8' 10'

Kadappa Stone

1'-3" 6" 1'-3" 6" 1'-3" 6" 1'-3" 6" 1'-3" 6" 1'-3"

LVL = 2'0"

Kadappa Stone

10'

3'-5"

Green Contour Line

11'-5" 13'-5"

10'-7" 9'-8"

4" 3" 3" 1" 1"

1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1"

2'-3"

4' 2'-8"

1"10"

4" 3" 3" 1" 1" 1'

75mmx25mm MS Square Pipe 100mmx75mm MS Squre pipe 300mmx100mm C Girder MS

300mmx175mm I Girder MS 100mmx75mm MS Square Pipe

3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3"

Indirect Light

Cross Section

2" 1" 1" 100mmx100mm MS Square pipe

Front Elevation 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1"

1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 1" 214" 4"

212" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 2"3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3" 3"

3" 3" 3" 3" 3" 3" 3" 312"

9" 4"

106° 3 4

2'-11 "

9" 3"

25'-212"

13'-6"

28'-114"

70'-4 " 73'-412" Plan

Kartik Dilipbhai Panchal Undergraduate Design Thesis Project En.No.: VAD2016BDS1F004 Batch : 2016-20 Design Development Academy

3 4

Furniture Details Retail Showroom (हस्तबुनी वेत्ति ) Khadi Weaving Centre (Ahmedabad, Gujarat) Thesis Subject : Re-Vitalizing Khadi Centre

Details of MS Shed Retail Showroom

Scale : NTS

Date : July-10-2020

Drawing No.: 17

Page No.: 111

Remarks:

10'-7"

9'-2"

74°

Slab LVL = 15'0" Slab Bottom LVL = 14'6" Beam Bottom LVL = 13'2"

N.T.

Service Counter N.T.

Female Toilets

Male toilets N.T.

Finished floor LVL = 3'0"

Section : A-A

Dinning space with Four Seater Tables

Ground LVL = 0'0"

N.T.

Slab LVL = 15'0" Slab Bottom LVL = 14'6"

Handwash space

Beam Bottom LVL = 13'2"

Sunken Seating

Washyard

Water

Finished floor LVL = 3'0"

Service Counter

Section : B-B

Ground LVL = 0'0"

Slab LVL = 15'0" Slab Bottom LVL = 14'6" Beam Bottom LVL = 13'2"

Finished floor LVL = 3'0"

Section : C-C

Kitchen

Ground LVL = 0'0"

Store Room

Dinning space with Six Seater Tables Slab LVL = 15'0" Slab Bottom LVL = 14'6" Beam Bottom LVL = 13'2"

LVL=3'0"

Finished floor LVL = 3'0"

Section : D-D

LVL=0'6"

Ground LVL = 0'0"

Kartik Dilipbhai Panchal Undergraduate Design Thesis Project En.No.: VAD2016BDS1F004 Batch : 2016-20 Design Development Academy

Furniture Layout / Section Details Dinning Hall (भोजनघर) Khadi Weaving Centre (Ahmedabad, Gujarat) Thesis Subject : Re-Vitalizing Khadi Centre

Scale : NTS

Date : July-10-2020

Drawing No.: 18

Page No.: 112

Remarks:

N.T.

Service Counter

ODU

7'-114"

N.T.

3'-034"

N.T.

4.0 TR

N.T.

13'-312"

N.T.

ODU

Water

4.0 TR 6'-9"

6'-1114"

10'-1114"

4.0 TR

4.0 TR 8'-414"

ODU

14'-614"

Service Counter

6'-814"

7'-1"

4.0 TR 11'-214"

Kartik Dilipbhai Panchal Undergraduate Design Thesis Project En.No.: VAD2016BDS1F004 Batch : 2016-20 Design Development Academy

AC Layout Dinning Hall (भोजनघर) Khadi Weaving Centre (Ahmedabad, Gujarat) Thesis Subject : Re-Vitalizing Khadi Centre

Scale : NTS

Date : July-10-2020

Drawing No.: 19

Page No.: 113

Remarks:

N.T.

SB: 12 @ 3'6"

5'-512" 4'-334"

4'-712" 2'-334"

SB: 9 @ 3'6"

N.T.

8'-714"

Service Counter

SB: 10 @ 3'6"

N.T.

SB: 13 @ 3'6"

SB: 8 @ 3'6"

1'-6" SB: 6 @ 3'6"

SB: 7 @ 3'6"

6" SB: 14 @ 3'6"

SB: 11 @ 3'6"

N.T.

1'-6"

2'-6"

7'-112"

N.T.

3'-1012"

SB: 5 @ 3'6"

3'-1012"

N.T.

6'-214"

6'-234"

SB: 15 @ 3'6"

17'-4"

2'-6"

5'-834"

SB: 17 @ 3'6"

25'-7"

30'-812"

SB: 19 @ 3'6"

4'-234"

SB: 18 @ 3'6"

Service Counter

SB: 4 @ 3'6"

3'-6"

SB: 16 @ 3'6"

2'-5"

Water

SB: 20 @ 3'6"

7'-9"

9'-6"

7'-9"

8'-414"

SB: 3 @ 3'6"

SB: 2 @ 0'6"

3'-9" SB: 1 @ 3'6"

1'-3" 1'-3"

Kartik Dilipbhai Panchal Undergraduate Design Thesis Project En.No.: VAD2016BDS1F004 Batch : 2016-20 Design Development Academy

SB Layout/ CCTV Layout / Speaker Layout Dinning Hall (भोजनघर ) Khadi Weaving Centre (Ahmedabad, Gujarat) Thesis Subject : Re-Vitalizing Khadi Centre

SB: 21 @ 3'6"

Scale : NTS

Date : July-10-2020

Drawing No.: 20

Page No.: 114

Remarks:

2' 3'

1'-214"

1' 3'

2' 2'

2' 1'

3' 1'

2' 1

-0

2' "

2' 2'

1' 1'

2' 2'

" -2 4 3'

2' 2'

1' 1'

3 " -2 4

2' 2'

" -2 4 2'

2' 2'

" -2 4 2'

2' 2'

3 " -2 4

1' 1'

2' 2'

1 " 14 2'

3 " -2 4

2' 2'

1' 1' 3'

2' 2'

1' 2'

1' 1'

2' 2' 2'

2' 2'

3' 3' 3 " -2 4

2' 1' Service Counter 2'

3' 1'

2' 2'

" 4

3' 3'

2' 2'

1' 3'

-2 1'

3' 3'

1' " -2 4 2'

3' 1'

-0 1 2" 2' 2'

" 2'

3' 2'

1' 1'

-2 1'

-1

1' -1 3'

-1

2' " -1 2' " -1 2' " -1 1'

1' 2' 2' 2'

-2 2'

2' 2'

1' 1'

3 " -2 4

6" 1'-343"

" -8

2' 2'

1' 1'

2' " -2 4 3'

3' 1' 3'

2' 2'

3' 2'

Drawing No.: 21

Page No.: 115

Remarks: Date : July-10-2020

2' 2'

2'-6" 2' -0 3 " -2 4

3' 3' 3 " -1 4

2' 2'

-1 1 4"

1' 1' 1 " -1 2

2' 1'

2' 1'-3" 1'-3" 1'-3"

1'-6"

1'-1014" 1' 6" 1' 2' 2'

2' 1'-234"

2' 2' 2'

2' 2'

2'-6" 1' 1' 2'-712"

2' 2'

1' 1'

2' 2' 2' 1'

1' 2'

2' 1'

1'-1014"

N.T.

2'-6"

2' 2' 2'

2' 1'

2'-6" 1' 1' 1'-234"

2' 1' 2' 2'

2' 2' 2' 2' 2'-6"

2'-6" 2'

1'-1014" 1'-10" 9" 1'-934" 1'-6"

1'-912"

1'-1034"

1' 1'-714"

2' 2' 1' 2' Service Counter 3

-1 4

" -1 4

3 " -1 4

1' 3 " -1 4

1' 2'

-1 4

2' 1 " -8 4

Scale : NTS

Undergraduate Design Thesis Project En.No.: VAD2016BDS1F004 Batch : 2016-20 Design Development Academy

Flooring Layout / Tile Sizes / Quantity Dinning Hall (भोजनघर) Khadi Weaving Centre (Ahmedabad, Gujarat) Thesis Subject : Re-Vitalizing Khadi Centre Kartik Dilipbhai Panchal

2' 2' 3' 2'

2' 3' 2' 2'

1' 2'

2' 3' -6 "

1' 1' 2'

3' 2'

2' -6

1' 1'

3' 1' 2'

2' 3'

2' 3

2' 3'

1' 2' 2' 3

2' 2'

1' 12'' 2'

3' 12''

2' 2'

3' 3' 1'

3' 2' 3' 2'

3' 3

2' 2' 3'

2' 2'

3' 2' 3'

1' 1'

3' 3'

2' 2'

3' 2' 1'

1' 3' 3' 1' 3

1' 1' 2' 4

3' 2' 2'

3' 2'

2' 1' 3' 3'

2' 2' 3' 2' 2'

1' 1' 3'

1' 2' 4

3' 2

3' 2' 2'

2' 2' 3' 3

Water

3' 2'

-1 2' "

-1

2' 2'

3' 3' 0" 9" 3' "

Kadappa stone Flooring Quantity : 2950 sq.ft. Tile Size : 600mmx900mm (2'0"x3'0")

2' 2'

3' 3' 2'-9" 3' 3' 3'

3' 2' 2'-3"

3' 1'-6"

1'-9"

1'-6" 2' 6"

N.T.

1' 3' 2'-6"

3' 412"

3' 1'-412" N.T.

2' 3' N.T.

6" 1'

6" 3' 1'

1'-6"

1'-6" 6" N.T.

N.T.

3'-814"

3'-212"

2'-712"

6'-9"

3'-3"

4'-334"

3'-212"

3'-814"

2'-334" 2'

3'-814"

Service Counter

4'-2"

5'-614"

N.T.

3'-1112"

N.T.

2'-712"

N.T.

2'-712" 1'-1012"

1'-1012"

2'-712" 1'-1012"

3'-114"

3'-112"

2'-6"

4'-634"

5'-10"

2'-712"

N.T.

4'-1114"

4'-814"

2'-6"

2' N.T.

1'-1012"

3'-1"

2'-712"

N.T.

3'-843"

4'-612"

3'-834"

Water

7'-512"

4'-612"

4'-614"

7'-512"

4'-7"

Service Counter 3'

Wall Light Switch Board

CCTV Camera

21 Nos.

Hanging Light (Surface mounted)

4'-9"

3' 2'

4 TR. 5 Nos. Cassette AC

4'-412"

3'-8"

06 Nos.

3'-8"

36 Nos. 9 Nos. 21 Nos.

Type of Fixture Speaker pt. Down Lighter (Surface mounted) 4 Spot COB Light (Surface mounted)

3'-834"

Quantity

11 Nos. 37 Nos.

3'-834"

Symbol

Loop (Wall Light +Ceiling Light+Hanging Light) Loop (Speaker)

NOTE : No False ceiling has been done on the site. all the fixtures will be fixed on the RCC slab

Kartik Dilipbhai Panchal Undergraduate Design Thesis Project En.No.: VAD2016BDS1F004 Batch : 2016-20 Design Development Academy

Electrical Layout / Looping Layout / Electrical Quantity Dinning Hall (भोजनघर) Khadi Weaving Centre (Ahmedabad, Gujarat) Thesis Subject : Re-Vitalizing Khadi Centre

Scale : NTS

Date : July-10-2020

Drawing No.: 22

Page No.: 116

Remarks:

MS Base

MS Bars

Kadappa Stone Top Wooden Patti

Drawer

Shutter

Kadappa Stone Top Wooden Patti

PU Paint Wooden Patti

Corten Steel Cladding on Planter

Kartik Dilipbhai Panchal Undergraduate Design Thesis Project En.No.: VAD2016BDS1F004 Batch : 2016-20 Design Development Academy

Furniture Details Dinning Hall (भोजनघर) Khadi Weaving Centre (Ahmedabad, Gujarat) Thesis Subject : Re-Vitalizing Khadi Centre

Scale : NTS

Date : July-10-2020

Drawing No.: 23

Page No.: 117

Remarks:

3D Renders of Dinning Hall

Greenery View from Dinning Hall

Dinning Space With Hanging Lights of Bicycle Wheels

Revitalizing Khadi Centre- Ahmedabad

118

3D Renders of Dinning Hall

Private Seating Sunken Down For Green View outside

Dinning Hall with Rusted Metal Patta

Revitalizing Khadi Centre- Ahmedabad

119

3D Renders of Dinning Hall

Kadappa Flooring Dianonal Strips

Dinning Hall with Rusted Metal Patta

Revitalizing Khadi Centre- Ahmedabad

120

LVL=3'0"

LVL=0'6"

Undergraduate Design Thesis Project En.No.: VAD2016BDS1F004 Batch : 2016-20 Design Development Academy

Conference Hall

Furniture Layout Administration Unit (कार्यकारी विभाग) Khadi Weaving Centre (Ahmedabad, Gujarat) Thesis Subject : Re-Vitalizing Khadi Centre

Managing Director Cabin

Drawing No.: 24

Scale : NTS

Page No.: 121

Date : July-10-2020

Remarks:

Staff Area

Kartik Dilipbhai Panchal

Marketing Manager Cabin

HRD Manager Cabin

8'0" Wide passage LVL=2'0"

Finance Manager Cabin

N.T. N.T.

Male-Female Toilets

Business Lounge

Undergraduate Design Thesis Project En.No.: VAD2016BDS1F004 Batch : 2016-20 Design Development Academy

1.5 TR

5'-434" 9"

AC Layout Administration Unit (कार्यकारी विभाग) Khadi Weaving Centre (Ahmedabad, Gujarat) Thesis Subject : Re-Vitalizing Khadi Centre

1.5 TR

11'-934"

5'-734"

1.5 TR

9'-034"

5'-734"

Drawing No.: 25

Scale : NTS

1.5 TR

2.0 TR

Page No.: 122

Date : July-10-2020

6'-334"

LVL=3'6"

Kartik Dilipbhai Panchal

5'-8"

1.5 TR

LVL=2'0"

1.5 TR

Remarks:

6'-634"

N.T. N.T.

LVL=3'6"

Gypsum Ceiling 1'6" Down

Gypsum Ceiling 1'6" Down Gypsum Ceiling 1'6" Down

15'-6"

Gypsum Ceiling 1'6" Down

Drawing No.: 26

Scale : NTS

14'-514"

Page No.: 123

Date : July-10-2020

15'-6"

Undergraduate Design Thesis Project En.No.: VAD2016BDS1F004 Batch : 2016-20 Design Development Academy

15'-6" 20'-412"

8'-8"

1 15'-3 LVL=3'6" 4"

Ceiling Layout / Electrical points Location Administration Unit (कार्यकारी विभाग) Khadi Weaving Centre (Ahmedabad, Gujarat) Thesis Subject : Re-Vitalizing Khadi Centre

15'-3" Gypsum Ceiling 1'6" Down

Kartik Dilipbhai Panchal

59'-712"

20'-412"

Gypsum Ceiling 1'6" Down LVL=2'0"

11'-334"

Gypsum Ceiling 1'6" Down

11'-334"

Remarks:

N.T. N.T.

LVL=3'6"

16'

Switch Board

CCTV Camera

Hanging Light

44 Nos.

13 Nos.

4 Nos.

3'-6" 2'

Electrical Layout / Looping Layout / Electrical Quantity Administration Unit (कार्यकारी विभाग) Khadi Weaving Centre (Ahmedabad, Gujarat) Thesis Subject : Re-Vitalizing Khadi Centre

4'-114"

LVL=3'6"

4'-114"

Page No.: 124

Date : July-10-2020

6'-514"

Drawing No.: 27

Scale : NTS

4'-114"

2'-634"

4'-2"

2'-643"

4'-2"

Remarks:

LVL=3'6"

Undergraduate Design Thesis Project En.No.: VAD2016BDS1F004 Batch : 2016-20 Design Development Academy

2'-712"

4'-114"

Kartik Dilipbhai Panchal

4'-912"

3'-6"

2'-1134"

Loop (Wall Light +Ceiling Light+Hanging Light) Loop (Speaker)

234" 1'-11"

3'-1034"

4'-114"

3'-9"

1.5 TR. 8 Nos. 2 TR. 1 Nos. Split AC

4 Spot COB Light (Concealed) Wall Light

58 Nos. 5 Nos.

3'-3"

Type of Fixture

Speaker pt. Down Lighter (Concealed)

2'-9" 3'

Quantity

2' 3'

18 Nos. 44 Nos.

2' 3'-9"

Symbol

2' 3'

4'-912"

2' 1'-11"

2'-9" 1'-11"

4'-6"

1'-3"

3'-9"

4' 2'-9"

3'-1034"

3'-3" 1'-11"

3'-6"

4' 4'-912"

4'-2"

2'-014"

3'-3" 4'-912"

5'-1134"

4'-912"

3'-6"

2'-712"

4'-912"

3'-1034"

4'-912"

6'-014"

2'-612"

2'-11"

4'-612"

N.T.

2'-6"

3'-6" 1'-11"

2' 1'-11"

3'-6" 2'-712"

3'-1034"

2' 3'-8"

3'-6"

1'-11"

2'-7"

1'-11"

0" 6'-514"

4'-912"

4'-114" 4'

2'-712"

4'-114"

1'-11"

4'-114"

LVL=2'0"

2' 2'

N.T.

2'-7"

1'-9"

1143"

13'-214"

SB: 7 @ 3'6"

SB: 9 - 18 @ 3'0" (All SB taken care in furniture)

SB: 24 @ 1'0"

SB: 25 @ 1'0"

9'-612"

1'-534"

SB: 23 @ 1'0"

6'-514"

5'-414"

6'-114"

SB: 8 @ 3'6"

SB: 28 @ 2'0" (Taken care in furniture) SB : 4A @ 3'0" (Taken care in furniture) 4'-3" 3'-412"

1'-6"

1' 2'-2"

SB: 32 @ 3'6"

SB: 26 @ 2'0" SB: 27 @ 2'0" (Taken care in (Taken care in furniture) furniture) SB : 4A @ 3'0" SB : 4A @ 3'0" (Taken care in (Taken care in furniture) furniture) 3'-412" 4'-3"

6'-643"

LVL=3'6"

Page No.: 125

11'-3"

Drawing No.: 28

Date : July-10-2020

11 " 11 "

12'-1012"

1112" 1112"

1 2

4'-3" 3'-412" SB: 29 @ 2'0" (Taken care in furniture) SB : 4A @ 3'0" (Taken care in furniture)

6'-014"

LVL=2'0"

8'-214"

Scale : NTS

SB: 33 @ 3'6"

SB: 34 @ 3'6" 1 2

3'-412" 4'-3" SB: 31 @ 2'0" SB: 30 @ 2'0" (Taken care in (Taken care in furniture) furniture) SB : 4A @ 3'0" SB : 4A @ 3'0" (Taken care in (Taken care in furniture) furniture)

Remarks:

N.T.

6'-634"

N.T.

4'-1134"

SB: 22 @ 1'0"

6'-1114"

LVL=3'6"

6'-9"

14'-4"

SB: 2 @ 0'6" (Taken care in furniture)

7'-312"

SB: 3 @ 1'6" (Taken care in furniture) SB : 3A @ 2'6" (Taken care in furniture)

SB: 1 @ 0'6" (Taken care in furniture)

SB: 4 @ 1'6" (Taken care in furniture) SB : 4A @ 2'6" (Taken care in furniture)

Undergraduate Design Thesis Project En.No.: VAD2016BDS1F004 Batch : 2016-20 Design Development Academy

SB: 6 @ 1'6" (Taken care in furniture) SB : 6A @ 2'6" (Taken care in furniture)

1'-534"

SB Layout / CCTV Layout / Speaker Layout Administration Unit (कार्यकारी विभाग) Khadi Weaving Centre (Ahmedabad, Gujarat) Thesis Subject : Re-Vitalizing Khadi Centre

SB: 20 @ 1'0"

Kartik Dilipbhai Panchal

SB: 5 @ 1'6" (Taken care in furniture) SB : 5A @ 2'6" (Taken care in furniture)

9'-612"

1'-6"

1143"

SB: 21 @ 1'0" 6'-1"

12'-814"

SB: 19 @ 1'0"

16'

Flooring Layout / Tile Sizes / Quantity Administration Unit (कार्यकारी विभाग) Khadi Weaving Centre (Ahmedabad, Gujarat) Thesis Subject : Re-Vitalizing Khadi Centre

Undergraduate Design Thesis Project En.No.: VAD2016BDS1F004 Batch : 2016-20 Design Development Academy

8' 1'

Drawing No.: 29

Scale : NTS

Page No.: 126

Date : July-10-2020

Remarks:

13'-112"

16'

Kartik Dilipbhai Panchal

15'-6"

BFT Terazzo tile (In Situ) Quantiy : 1300 sq.ft.

16' 8' 6' 16'-412"

4'-6"

4'-5"

BFT Terazzo tile (In Situ) Quantity : 600 sq.ft.

60'-412"

20'-412"

4'-6" 4'-5"

LVL=2'0"

11'-334"

16'

11'-334"

8'-2"

N.T. N.T.

LVL=3'6"

12'

LVL=3'6"

Shutter

MS Plate Credenza

Corten Steel

Pebbles

Wooden Top

Office Table for Cabins

Undergraduate Design Thesis Project En.No.: VAD2016BDS1F004 Batch : 2016-20 Design Development Academy

Limestone Planter for Cabins

Conference Desk

Sunken Seating Details

Kartik Dilipbhai Panchal

Artifact Display unit For Passage

Furniture Details Administration Unit (कार्यकारी विभाग) Khadi Weaving Centre (Ahmedabad, Gujarat) Thesis Subject : Re-Vitalizing Khadi Centre

Scale : NTS

Date : July-10-2020

Drawing No.: 30

Page No.: 127

Remarks:

3D Renders of Administration Unit

Limestone Planter in Cabins

Terazzo Flooring in passage with Artifact Display

Revitalizing Khadi Centre- Ahmedabad

128

3D Renders of Administration Unit

Limestone Cladding With Planter and Terazzo Flooring

Wooden Top with MS Base Desk

Revitalizing Khadi Centre- Ahmedabad

129

3D Renders of Administration Unit

Business Lounge Sunken Down with Plants and Pebbles

Sunken Seating with Kadappa Cladding

Revitalizing Khadi Centre- Ahmedabad

130

3D Renders of Administration Unit

Toilet Basin Area Muddy Wall and Stone basin

Revitalizing Khadi Centre- Ahmedabad

131

Slab LVL = 15'0" Slab Bottom LVL = 14'6" Beam Bottom LVL = 13'2"

Finished floor LVL = 3'0"

Ground LVL = 0'0"

Section : A-A

Slab LVL = 15'0" Slab Bottom LVL = 14'6" Beam Bottom LVL = 13'2"

Finished floor LVL = 3'0"

Ground LVL = 0'0"

Section : B-B

Slab LVL = 15'0" Slab Bottom LVL = 14'6" Beam Bottom LVL = 13'2" Drying Rack

Drying Rack

N.T.

Drying Rack

Wash Area storage

Low storage sewing machine

sewing machine

sewing machine Low storage

Low storage

N.T.

sewing machine

Textile Preparation Desk

Low storage

water tank

sewing machine

Full Storage

Section : C-C

Full Storage

Marking & Cutting desk

Ground LVL = 0'0"

Slab LVL = 15'0" Slab Bottom LVL = 14'6"

storage

Low storage

Finished floor LVL = 3'0"

Full Storage

Low storage

Full Storage

sewing machine

water tank

N.T.

Beam Bottom LVL = 13'2" Full Storage

storage

Tailoring Space 19'7"x28'5" LVL=4'0"

Full Storage

Step Up +6"

Fashion Designer Cabin 21'6"x11'3"

Finished floor LVL = 3'0"

LVL=5'6"

Ground LVL = 0'0"

Material Library 13'6"x12'0"

Step Up +6"

Full Storage

Section : D-D

storage

LVL=4'0" Iron & Packaging desk

Iron & Packaging desk

storage

Full Storage

LVL=5'0"

Slab LVL = 15'0" Slab Bottom LVL = 14'6" Full Storage

Full Storage

Beam Bottom LVL = 13'2"

LVL=3'0"

LVL=0'6"

Finished floor LVL = 3'0"

Ground LVL = 0'0"

Section : E-E

Kartik Dilipbhai Panchal Undergraduate Design Thesis Project En.No.: VAD2016BDS1F004 Batch : 2016-20 Design Development Academy

Furniture Layout / Section Details Dinning Hall (रचनात्मक विभाग) Khadi Weaving Centre (Ahmedabad, Gujarat) Thesis Subject : Re-Vitalizing Khadi Centre

Scale : NTS

Date : July-10-2020

Drawing No.: 31

Page No.: 132

Remarks:

N.T.

9'-014"

5'-934"

N.T.

7'-412" 5'-934"

7'-412"

2.0 TR 6'-9"

10'-9"

1.0 TR

5'-3"

3.0 TR

34'-3"

14'-114"

Undergraduate Design Thesis Project En.No.: VAD2016BDS1F004 Batch : 2016-20 Design Development Academy

AC Layout Dinning Hall (रचनात्मक विभाग) Khadi Weaving Centre (Ahmedabad, Gujarat) Thesis Subject : Re-Vitalizing Khadi Centre

5'-6"

2.5 TR

Kartik Dilipbhai Panchal

6'-9"

Scale : NTS

Date : July-10-2020

Drawing No.: 32

Page No.: 133

7'-3"

2.5 TR

Remarks:

N.T.

11'-712"

Gypsum Ceiling 1'6" Down

13'-6"

11'-1012"

Gypsum Ceiling 1'6" Down

21'-6"

23'-112"

Gypsum Ceiling 1'6" Down

14'-9"

14'

Kartik Dilipbhai Panchal Undergraduate Design Thesis Project En.No.: VAD2016BDS1F004 Batch : 2016-20 Design Development Academy

Ceiling Layout / Electrical Points Location Dinning Hall (रचनात्मक विभाग) Khadi Weaving Centre (Ahmedabad, Gujarat) Thesis Subject : Re-Vitalizing Khadi Centre

10'-9"

10'-6"

9'-6"

Scale : NTS

Date : July-10-2020

Drawing No.: 33

Page No.: 134

Remarks:

N.T.

SB: 37 @ 1'6" (Taken care in furniture)

SB: 32@ 2'0" (Taken care in furniture)

5'-6"

8'-10"

5'-6"

1'-6"

SB: 36 @ 1'6" (Taken care in furniture)

SB: 31@ 2'0" (Taken care in furniture)

3'-6"

SB: 26 @ 2'0" (Taken care in furniture)

SB: 27@ 2'0" (Taken care in furniture)

SB: 22 @ 2'0" (Taken care in furniture)

SB: 23 @ 2'0" (Taken care in furniture)

SB: 28 @ 2'0" (Taken care in furniture)

SB: 29 @ 2'0" (Taken care in furniture)

SB: 24 @ 2'0" (Taken care in furniture)

SB: 25 @ 2'0" (Taken care in furniture)

6'-1114"

SB: 11 @ 2'0"

13'-214"

SB: 33 @ 3'6" (Taken care in furniture)

SB: 21 @ 2'0" 1'-7"

Kartik Dilipbhai Panchal Undergraduate Design Thesis Project En.No.: VAD2016BDS1F004 Batch : 2016-20 Design Development Academy

5'-6"

1'-6"

5'-3"

1'-6"

2'-9"

SB: 10 @ 2'0" (Taken care in furniture) SB : 10A @ 3'0" (Taken care in furniture)

SB: 15 @ 3'6" (Taken care in Furniture) SB: 9 @ 3'6"

2'-1"

5'-3"

SB: 16 @ 2'0"

SB: 15 @ 0'6"

2'-9"

1'-634"

SB Layout / CCTV Layout / Speaker Layout Dinning Hall (रचनात्मक विभाग) Khadi Weaving Centre (Ahmedabad, Gujarat) Thesis Subject : Re-Vitalizing Khadi Centre

SB: 20 @ 3'6" (Taken care in Furniture)

5'-3"

SB: 1 @ 2'0"

SB: 17 @ 3'6" (Taken care in Furniture)

5'-6"

SB: 5 @ 2'0" (Taken care in furniture) SB : 5A @ 3'0" (Taken care in furniture)

4'-3"

SB: 7 @ 0'6"

8'-6"

3'-2"

1'-9" 5'-1114"

2'-9"

SB: 4 @ 2'0" (Taken care in furniture) SB : 4A @ 3'0" (Taken care in furniture)

4'-3"

SB: 12 @ 2'0"

SB: 13 @ 2'0" (Taken care in furniture) SB : 13A @ 3'0" (Taken care in furniture)

4'-3"

SB: 6 @ 2'0" (Taken care in furniture) SB : 6A @ 3'0" (Taken care in furniture)

SB: 14 @ 3'6"

SB: 34 @ 3'6" (Taken care in furniture)

SB: 3 @ 2'0" (Taken care in furniture) SB : 3A @ 3'0" (Taken care in furniture)

SB: 2 @ 2'0" (Taken care in furniture) SB : 2A @ 3'0" (Taken care in furniture)

4'-3"

SB: 39 @ 1'6" (Taken care in furniture)

N.T.

1' SB: 8 @ 3'6"

2'-1112"

SB: 38 @ 1'6" (Taken care in furniture)

1'-9"

N.T.

SB: 35 @ 3'6" 1' (Taken care in furniture)

1'-6" 1'-6"

SB: 18 @ 2'0"

10'-4"

SB: 19 @ 2'0"

Scale : NTS

Date : July-10-2020

Drawing No.: 34

Page No.: 135

2'-9"

Remarks:

6'-121"

3'-4"

12'-843" 12'-843"

4'-1"

5'-112"

1'-6" 2'

5'-314"

1'-9"

5'-314"

2'-712"

2'-734"

5'-314"

2'-6"

4'-1"

5'-712"

4'-1"

12'-8"

6'-4"

4'-1"

4'-243" 4'-1"

4'-1"

2'-412"

5'-112"

12'-8"

4'-1"

5'-112"

N.T.

1 2

1'-3"

4'-4 "

1 2

4'-4 "

3 4

1'-2 "

1 2

3'-1 "

1'-112" 3'-3"

Symbol

3'-3"

4'-112"

4'-712"

4'-1012"

3'-3"

2'-9"

5'-414"

2' 4'-412"

4'-412"

4'-6"

2'-412"

2'-734"

5'-314"

152 Nos. 29 Nos.

4 Spot COB Light (Surface Mounted) Wall Light

45 Nos.

Switch Board

17 Nos.

CCTV Camera

2 Nos.

Hanging Light

3.0 TR. 1 Nos. 2.5 TR. 2 Nos. 2.0 TR. 1 Nos. Cassette AC 5'

2'-434" 2'-434"

Type of Fixture

Speaker pt.

2'-6" 3'-3"

5'-6"

3'-3"

1'-1134"

3'-3"

2'-014"

3'-3"

5'-314"

Quantity

18 Nos.

1.0 TR. 1 Nos. Split AC

3'-3"

2' 3'-1034"

4'-912" 4'-912"

3'-6"

5'-314"

1'-6"

3'-1 "

2'-434"

1 2

5'-6" 4'-6"

3'-3"

2'-434"

1'-6"

2'-6"

N.T.

2'-814"

6'-4"

4'-1"

4'-3"

4'-834"

2'-412"

5'-434"

4'-3"

4'-234"

2'-034"

9'-534"

2'-034"

4'-112"

2'-034"

9'-534"

2'-412"

2'-034" 1'-314"

N.T.

6'-421"

Kartik Dilipbhai Panchal Undergraduate Design Thesis Project En.No.: VAD2016BDS1F004 Batch : 2016-20 Design Development Academy

Electrical Layout / Looping Layout / Electrical Quantity Dinning Hall (रचनात्मक विभाग ) Khadi Weaving Centre (Ahmedabad, Gujarat) Thesis Subject : Re-Vitalizing Khadi Centre

Scale : NTS

Date : July-10-2020

Drawing No.: 35

Page No.: 136

Fan 4'0" Dia.

Loop (Wall Light +Ceiling Light+Hanging Light) Loop (Speaker)

6 Nos.

Remarks:

N.T.

8'-1112"

10'-634" 28'-512"

24'-614"

19'-9"

10'

38' 5'-3"

8'-6"

20'

26'-514"

27'-514"

32'-9"

29'-2"

N.T.

1'-112"

N.T.

19'-10"

12'-412"

11'-1012"

21'-6" 14'-9"

20'-4" 8'-9"

23'-712"

23'-112"

13'-6"

1'-6"

13' 13'-3"

13'-9"

11'-3"

10'-9"

19'-10"

Rms Stonex Grey Sonata Marble Tile Size : 5'0" x 1'0" (1500mmx300mm) Quantity : 1450 sq.ft.

Kota Stone Tile Size : 2'0"x 2'0" (600mmx600mm) Quantiy : 2450 sq.ft.

Kartik Dilipbhai Panchal Undergraduate Design Thesis Project En.No.: VAD2016BDS1F004 Batch : 2016-20 Design Development Academy

Flooring Layout / Tile Sizes / Quantity Dinning Hall (रचनात्मक विभाग) Khadi Weaving Centre (Ahmedabad, Gujarat) Thesis Subject : Re-Vitalizing Khadi Centre

Scale : NTS

Date : July-10-2020

Drawing No.: 36

Page No.: 137

Remarks:

1'-612" 1'-612" 1'-634" 1'-634" 1'-612" 1'-612" 112"

112"

1'-11"

3" 1 112" 12" 112" 112" 112" 1'-912" 1'-912" 1'-912" 1'-912"

112"

Sectional Elevation

13'-6" 9'-614"

3 4

1'-11 "

9'-312" 11'-1012"

Detail of Designer's Work Desk

Material Library 13'6"x12'0"

4'-3"

Plan

Detail of Material library rack Detail of Staff Area Desk Kartik Dilipbhai Panchal Undergraduate Design Thesis Project En.No.: VAD2016BDS1F004 Batch : 2016-20 Design Development Academy

Furniture Details Dinning Hall (रचनात्मक विभाग) Khadi Weaving Centre (Ahmedabad, Gujarat) Thesis Subject : Re-Vitalizing Khadi Centre

Scale : NTS

Date : July-10-2020

Drawing No.: 37

Page No.: 138

Remarks:

1 2

6" 1'-3" 2"

" 9"

Planter Pebbles Kadappa stone

24'-6"

512" 6"

6'-412"

8'-9"

6'-412"

512" 6"

1 2

5" " 6"

512" 6"

1" 1"

1 2

1 2 1 2

1 2

Cross Section

2" 1"

" 1" 112"

2'-6" 3" 2'-3"

1 2

4" 3"

Kadappa Stone Indirect light

1 2

Plan

3" 2'-3"

3" 1'-3"

3" 2'-3"

pebbles Kadappa Stone

Front Elevation 512"

1'-3"

1' 3"

1'-3" 3"

1'-6"

21'-6" 1' 1' 3" 3" 24'-6" Plan

7' Plan

1 2

1'-3" 3" 1'-6"

1 2

512"

2'-6"

3'-6"

Cross Section

RHS Elevation

1'-6" 512" 512"

1 2

6" 1'-9" 3"

Cross Section

6'-6"

112"

2" 4" 4"

1 1 1122""

6" 6"

Mannequin Display Planter Detail

Planter Detail

Designer Cabin Walkway detail Kartik Dilipbhai Panchal Undergraduate Design Thesis Project En.No.: VAD2016BDS1F004 Batch : 2016-20 Design Development Academy

Furniture Details Dinning Hall (रचनात्मक विभाग) Khadi Weaving Centre (Ahmedabad, Gujarat) Thesis Subject : Re-Vitalizing Khadi Centre

Scale : NTS

Date : July-10-2020

Drawing No.: 38

Page No.: 139

Remarks:

Brass handle Wooden Cornice Wooden Patti Cane Screen 112" 3"

3 4

1'-914"

2'-1034"

1'-1112" 1"

2'-412"

3" 1134" "

1 12" wood

25x25x3mm MS angle 25mmx25mm MS box pipe

Cross Section

5' "

1'-6"

1 2

Detail

1 2

112" 1" 1" 112"

Detail of Dye Trolly

1 2

1 4

1" 34" "

3 4

1 4

3 4

ms framed structure wooden top

1134" 112"

3 4

112"

112" 3" 112"

Cross Section

Front Elevation

Plan

1 4

1 2

Front Elevation

LHS Elevation

3'-6"

112"

1 2

1'-514"

1 2

1'-11" 112" 12"

"1 24"

1 2

1 4

2'-9" 112"

1 4

1'-3"

Cross Section 2"

3 4

1'-712"

112" 3"

1'-514" 1'-4"

1'-712"

Brass Handle Wooden patti Cane Screen 112" 112"

" 112"

1'-512" 1'-512"

112"

1 2" 1" 1"1112" 2"

11212"" 3"

Front Elevation

1'-3"

2'-412"

3 4

1 2

" 12"

4'-5"

3 4

1'-1012"

1'-512"

1 2

112"

1" 112"

1'-712"

112"

1'-712"

6" 112"

112"

" 112" 6"

Plan

Detail

Detail of Low height storage for Tailor space

Plan

Detail of Full Height Storage for Tailor space + Packaging space + Dye space 1 2

1'-2"

1 2

512" 1 2"

112"

Textile Preparation Desk Detail 1 2

6'-6"

4" 1'-934" 1'-934"

3" 1'-3" 3' 1'-3" 3"

2'-614"

2'-534"

1 4

2'-534"

2'-6 "

6'-6"

RHS Elevation wooden legs drawer wooden top

1'-9 "

Front Elevation

3 4

1 2

1'-034" 9" 4"

1 " 11"

1'-712"

2'-412"

Drawer Detail

5'-514"

Plan

Marking & Cutting desk Detail

Front Elevation

1'-112" 3" 412" 112" 112" 1'

Side Elevation

storage Front Elevation

7'-6" 8'

934" 112" 6"

1'-6"

6'-6"

Plan

Undergraduate Design Thesis Project En.No.: VAD2016BDS1F004 Batch : 2016-20 Design Development Academy

Plan Drying Rack detail

Detail of Iron & Packaging desk with storage

Kartik Dilipbhai Panchal

2'-6"

Front Elevation

MS square section

3' 2" 1'-5" 1'-5"

912"

7'-6"

2'-1"

934" 112"

1'-2"

2'-1"

1'-9"

2'-3"

3" 3"3"

5'-6"

Wooden desk

1'-012"

RHS Elevation

612"

2" 2" 2" 612" 812" 812"

Cane basket

6'-3"

Front Elevation

2'-3"

112"

1'-112" 112"

112"

Open Shelves SB Space

Furniture Details Dinning Hall (रचनात्मक विभाग) Khadi Weaving Centre (Ahmedabad, Gujarat) Thesis Subject : Re-Vitalizing Khadi Centre

Detail of Dye Box

Scale : NTS

Date : July-10-2020

Drawing No.: 39

Page No.: 140

Remarks:

1 2

212" 512" 1 1 2" 2"

1'-10"

1 2

" "

1'-4" 1 2

512" 1 2"

1'-1112"

1'-134"

1'-734"

1 2

1 42

512" 1 2"

1'-4" 1 2

212" 1 2

212"

1'-10"

1 2

" "

1'-1112"

1 2

" "

512" 1 2"

1 2

10" "

Front Elevation

212"

1'-1112"

512" 1 2"

10"

Front Elevation

1'-1"

Rms Stonex Grey Sonata Marble

1'-8" N.T.

Paint 8mm x 25mm brass patti

2'-2"

6" 1'

1' 2'

paint

12'-3"

6" 1'-6" 2'

3" 6" 1' 3' 3"

9'-3"

1'-3"

1" 1 2"

2'-6"

3' 6"

3' 3'

3' 2'-6" 6"

1'-6"

2'-6"

1'-6" 6"

2'-6"

5' 4'

1 2

1'-6"

1'-412"

3" 6"

1'-6"

1'-1012"

6" 1'-6"

1014"

6mmx12mm MS bar 12mm glass 25mmx25mm MS Square Pipe

1'-6" 3'

1 4

1 " 4"

1 2

Window Details

Details of Toilet Kartik Dilipbhai Panchal Undergraduate Design Thesis Project En.No.: VAD2016BDS1F004 Batch : 2016-20 Design Development Academy

Furniture Details Dinning Hall (रचनात्मक विभाग) Khadi Weaving Centre (Ahmedabad, Gujarat) Thesis Subject : Re-Vitalizing Khadi Centre

Scale : NTS

Date : July-10-2020

Drawing No.: 40

Page No.: 141

Remarks:

3D Renders of Design Unit

Courtyard at Arrival with Mannequins Display Unit

Walkway towards Production Unit through Designer Cabin

Revitalizing Khadi Centre- Ahmedabad

142

3D Renders of Design Unit

Designer Work Desk with Courtyard view

Chair to Chill out

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3D Renders of Design Unit

Black stone and Magenta paint with Brass patti

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3D Renders of Design Unit

Staff Area

Chillout Space for Staff Area

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3D Renders of Design Unit

Stitching Space for Tailors with Storages

Packaging Space for workers with storage

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3D Renders of Design Unit

Dye House with dye boxes and textiles preparation Desk

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9'-6" 69'-614"

Defect & Cleaning Desk

11'

Defect & Cleaning Desk

LVL=3'0"

48'

18'-1114"

N.T. N.T.

Storage

Storage Storage

20'-4"

N.T. N.T.

LVL=4'0"

LVL=3'0"

LVL=0'6"

Scale : NTS

Page No.: 148

Date : July-10-2020

11'

N.T. N.T.

Storage

Step Up +6"

LVL=0'6"

Drawing No.: 41

Remarks:

17'-6"

N.T. N.T.

18'-1"

Kartik Dilipbhai Panchal

Furniture Layout / Flooring Layout / Quantity Production Unit (उत्पादनविभाग) Khadi Weaving Centre (Ahmedabad, Gujarat) Thesis Subject : Re-Vitalizing Khadi Centre

Kota Stone Tile Size : 2'0"x 2'0" (600mmx600mm) Quantiy : 10800 sq.ft.

18'-1" 20'-1" 18'-1"

N.T. N.T.

Undergraduate Design Thesis Project En.No.: VAD2016BDS1F004 Batch : 2016-20 Design Development Academy

N.T. N.T.

13'

Symbol

Quantity

Switch Board

Speaker pt. Down Lighters (Surface Mounted) Wall Light

Type of Fixture

CCTV Camera

80 Nos. 269 Nos. 18 Nos.

20 Nos.

Fan 4'0" Dia.

5'-214"

Remarks:

Note : All the switch Boards will be placed in between 2 columns @0'6" ht. Note: No False ceiling has done on the site, all the fixtures will be mounted on RCC Slab.

Loop (Wall Light +Ceiling Light+Hanging Light) Loop (Speaker)

68 Nos.

38 Nos.

5'-214"

5'-11"

5'-214"

5'-6"

5'-214"

5'-214 "

Date : July-10-2020

5'-214 "

Scale : NTS

Page No.: 149

5'-214"

Drawing No.: 42

5'-214" 5'-11"

5'-214"

5'-214 " 5'-11"

5'-214"

5'-214 " 2'-6"

5'-6"

5'-214"

5'-214" 5'-11"

5'-214"

5'-214" 6'-8"

5'-214"

5'-214 "

8'-034"

5'-214"

4'-934 "

2' 2'

3'-6" 2'-6"

4' 5'-6"

4'-243" 2'-712" 4'-712" 4'-712"

2'-712 "

4'-234" 4'-712" 4'-712"

4' 2' 4'-6"

6'-034 " 2'-4"

4'-641"

2'-4"

4'-541" 4'-6"

4'-8"

N.T. N.T.

4'-6"

N.T. N.T.

4'-641" 2'

Kartik Dilipbhai Panchal

2'-314" 3'

SB+ CCTV + Speaker Layout/ Electrical Layout / Looping / Quantity Production Unit (उत्पादनविभाग) Khadi Weaving Centre (Ahmedabad, Gujarat) Thesis Subject : Re-Vitalizing Khadi Centre

4'-234"

4'-714 " 4'-614" 4'-614"

4'-314" 3'

4'-314" 7'-012" 4'-314" 4'-314" 7'-012" 3' 4'-314 " 4'-314" 3' 2'-314 "

5'-1114" 4'-6" 2'-734 "

N.T. N.T.

4'-512" 2'-734 " 4'-6" 3'-514"

2' 4'-814 " 4'-814 " 4'-814 " 2'

N.T.

4'-621"

3'-134 " 4'-6" 2'-734 " N.T.

N.T. N.T.

Undergraduate Design Thesis Project En.No.: VAD2016BDS1F004 Batch : 2016-20 Design Development Academy

N.T. N.T.

3D Renders of Spinning and Weaving Unit

Spinning and Weaving unit with Courtyard View

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3D Renders of Spinning and Weaving Unit

Spinning Space with Storage

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3D Renders of Spinning and Weaving Unit

Courtyard View from Main Entrance

Handlooms

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3D Renders of Spinning and Weaving Unit

Defect and Cleaning Space with storage

Handlooms

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CHAPTER 8 CONCLUSION The aim of this project was to formulate solutions for the fast-declining cotton khadi industry in the district of Gujarat. After understanding the shortcomings of the industry, it is realized that fragmentation of the industry is one of the main issues that can be solved through Design Influence.

Hence, the design aim of the project was to collaborate the different activities of the cotton khadi industry in a single space for the betterment of the industry. The overall premises designed provides the scope for research studies in the field and implementing it first hand on the weavers to test the findings. In case of satisfactory report, the upgrade can be implemented throughout the weaving industry. The premises provides the facilities to the staff and workers to collaborate with Designers As well as administrators. Most importantly, the project aims providing a space for weavers to weave and sell their products directly to government marketing companies without the involvement of middlemen. The premises can be used to organize annual or bi-annual exhibitions to promote the industry, the design encompasses space to hold such events. Hence through this premises, the working of the handloom industry can be altered to suit the best interest of its actual stake holders, which is the weavers, spinners etc. An established center for an industry attracts un-employed youths. This will ensure more employment opportunities in the sector and thus increasing the importance of the industry. This in turns affects the mindset of people especially in Harijan community, when they realize that the industry is fast growing, they themselves would want to go back to producing handloom thus saving the weaving in the community from going extinct.

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CHAPTER 9 REFERENCE Referred books 1. Cotton Khadi in Indian Economy

By : Yovesh Chandra Sharma

2. Integrated Handloom Center

By : N. Neha

3. Indian Khadi Industry

By : Apparel Resource

4. Vantage for internal circulation

By : A UoH Publication

Referred Links 1. http://www.historyofclothing.com/making-clothing/history-of-weaving/ 2. https://brainly.in/question/5165009 3. https://en.wikipedia.org/wiki/Khadi#History 4. https://en.wikipedia.org/wiki/Ahmedabad#Climate 5. https://sewguide.com/fabric-weaving-types/#1_plain_weave 6. https://www.youtube.com/watch?v=tJ8FbSyg2ZI 7. http://www.indiantextilemagazine.in/weaving/indian-weaving-industry-an-overview/ 8. http://www.thehandloomschool.org/page/about-ww

9. https://www.youtube.com/watch?v=dPkA1FSUWOs 10. https://www.youtube.com/watch?v=eKjXWIa3cZk 11. https://shodhganga.inflibnet.ac.in/bitstream/10603/125567/7/07_chapter%201.pdf 12. https://www.iiad.edu.in/stories/evolution-fashion-industry-india/

13. http://www.kvic.org.in/kvicres/khadicoord.php 14. http://www.icmrindia.org/free%20resources/casestudies/Reviving%20Khadi.htm 15. http://www.khadiculture.com/khadi.html 16. https://www.jaminidesign.com/en/smartblog/80_Le-Khadi-la-matiere-revolutionnaire.html 17. https://www.google.com/search?q=cotton+growing+states+in+india&tbm=isch&ved=2ahU KEwiD9Z72o6HoAhWT2jgGHX37CnMQ2cCegQIABAA&oq=cotton+growing+s&gs_l=img.1.0.0l5j0i8i30l5.24603.24603..26221...0.0.. 0.137.137.0j1......0....1..gws-wiz-img.fcZpqGdnEIc&ei=wqNwXoOMI5O14EP_farmAc&bih=826&biw=1788&rlz=1C1OKWM_enIN875IN875#imgrc=jb1MxOi9feNVJM

18. http://www.kvic.gov.in/kvicres/update/VT_Khadi_Mumbai/Khadi%20India%20MumbaiDesktop/index.htm 19. http://www.kvic.gov.in/kvicres/PM.php 20. http://www.kvic.gov.in/kvicres/update/e_Book/mobile/index.html#p=1 21. http://www.kviconline.gov.in/khinstprofile/regdInstnsOfficewise.jsp?OFF_CD=18&TARGET RANGE=&cat=A Revitalizing Khadi Centre- Ahmedabad

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