Cultural centre - Thesis

ARCHITECTURE THESIS REPORT

SIDDI HERITAGE CULTURAL CENTRE by

CLAYTON KENNETH MATHIAS SEM :- IX (B.Arch) USN :-1OX16AT017 Under the guidance of Ar. Prof. SAMRUDDHI RODE

The Oxford School of Architecture Oxford College of Engineering Campus, Hosur Road, Bangalore

VISVESVARAYA TECHNOLOGICAL UNIVERSITY BELGUAM, KARNATAKA 2021

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ARCHITECTURE THESIS REPORT

SIDDI HERITAGE CULTURAL CENTRE by

CLAYTON KENNETH MATHIAS SEM :- IX (B.Arch) USN :- 1OX16AT017 Under the guidance of Ar. Prof. SAMRUDDHI RODE

The Oxford School of Architecture Oxford College of Engineering Campus, Hosur Road, Bangalore

VISVESVARAYA TECHNOLOGICAL UNIVERSITY BELGUAM, KARNATAKA 2021

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THE OXFORD SCHOOL OF ARCHITECTURE

Estd. 1974

Affiliated to Visvesvaraya Technological University, Belgaum Approved by Council of Architecture, New Delhi THE OXFORD COLLEGE OF ENGINEERING CAMPUS BOMMANAHALLI, HOSUR ROAD, BANGALORE-560068 Ph.: 080-30219797, 30219601 (Ext: 797), Fax: 080-25730551, 30219629

CERTIFICATE This is to certify that the Thesis Report titled “SIDDI HERITAGE CULTURAL CENTRE” by Mr. CLAYTON KENNETH MATHIAS of Sem 9, B.Arch (20162021 Batch), has been submitted in partial fulfillment of the requirement for the Award of Bachelor Degree in Architecture (B.Arch) by Visvesvaraya Technological University (VTU, Belguam, Karnataka). This has been approved .

Signature Principal TOSA

Ar.Prof.

Seal Date: 16 Jan 2021

Signature Guide

Ar.Prof. Samruddhi Rode

Signature of Student

External Examiners 01.Name : Signature

Clayton Mathias USN: 1OX16AT017

02.Name : Signature

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“SIDDI HERITAGE CULTURAL CENTER” AT DANDELI , UTTARA KANNADA

TABLE OF CONTENTS i.

Acknowledgements

6

ii. Preface

7

iii. Foreword

8

iii. Synopsis (Goal, Objectives, Hypothesis)

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Sl. No 1.

1.1 1.2 1.3 1.4 1.5 2.

2.1 2.2 2.3 2.4 2.5 2.6 2.7

3.

3.1 3.2 3.3 3.4 3.5 4.

4.1

PARTICULARS INTRODUCTION Culture The search & need for the study History and relevance Scale of the Project Why cultural center as a thesis project?

RESEARCH AND CULTURAL STUDY Primary issue Significance of Cultural Centers Modern Examples Cultural Relevance Data Collected Natural threats in Dandeli Social and Educational Benefits

Page No. 13

13 15 17 18 18 20 21 23 24 26 28 39 39

CASE STUDIES National Crafts Museum Madhya Pradesh Tribal museum Caja Granada Cultural center King Abdul Aziz Center for World Culture Comparison and analysis

42 41 46 54 65 71

READING THE PROGRAM Reading the program components

74

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4.2 4.3 5.

5.1 5.2 5.3 5.4 5.5 6.

6.1 6.2 6.3 6.4 6.5

6.6

Adjacency Matrix & Functional Diagram Area Program UNDERSTANDING THE SITE Why Dandeli?

Site Characteristics Geographical Factors Natural Factors SWOT Analysis

88

DESIGN TRANSLATIONS Zoning of Areas and functions Conceptual Framework Design Features Pros and Cons of this design FINALIZED DESIGN PROPOSAL Plans, Elevation and sectional drawings 3D model and Renders Cost estimation

99

BIBLIOGRAPHY

106

123

125

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i. ACKNOWLEDGEMENTS

Rarely does a reader peruse the part of the authors dedications, ready to skip it and dig into the good content. It has almost become an exercise in futility; nonetheless, here go my acknowledgements.

The leading person pre-eminent of my gratitude would be my thesis guide – Ar. Prof. Samruddhi Rode, professor at The Oxford School of Architecture (TOSA) for her guidance in structuring the contents of this project and helping me figure out the way to work about this relatively new topic and all its once concealed culture.

I would also like to give thanks to all the other staff at TOSA without whose co-operation, help and input, this work would not have the way it is. Also, I would like to specially thank all the professors and architects professionally involved with the development of my project either directly through juries or through the semester.

I would also like to thank the multimedia production houses of National Geographic for their diligent efforts in documenting the history of the Bantu peoples.

And lastly, I would like to thank my parents and my family for their encouragement and belief in me. Nobody has been more important to me in the pursuit of this project that the members of my family.

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ii. PREFACE

The idea of this project came to mind in the summer of 2019 when I had visited a rural village in the interiors of the district of Udupi, Karnataka. Over there, I came a upon a skilled farm workman who happened to resemble the look of African roots. After a long conversation with him, I learned that he is a part of the ‘Siddi’ community of people who have been living in India since the early Portuguese slave trade era of the 1600s. Researching more into this topic, I realized that these people and their culture were obscure to the patriotic, everyday Indian man.

Thus, when it was time for me to decide on a topic, I decided to make a landmark spearheading their culture.

The objectives of my project are simple, to uphold the values, teachings and daily mannerisms of their culture and derive inspiration from their vast history to come up with a space where all people of the Indian ‘Siddis’ can mildly relate to and make the common ‘Non-siddi’ person experience a sense of what it is to be one of them through my architectural design interventions.

Most of my research comes from online data, comprehensive documentaries and telephonic interviews, due to the travel ban during the coronavirus pandemic in the year of 2020. This project uses a mix of ancient and modern features of the Siddi form of construction, along with the deep-rooted concept of them being a collectively ‘Forest’ tribe of people.

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iii. FOREWORD

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iii. SYNOPSOIS TITLE :

SIDDI HERITAGE CULTURAL CENTER.

THESIS QUESTIONS: WHY HAS THERE NOT BEEN ANY ACKNOWLEDGEMENT IN THE FORM OF A MONUMENT FOR THEIR CULTURE ?

THESIS STATEMENT(s): Who are the Siddi people and how can we raise awareness to the public about their culture?

The Siddis of Karnataka (also spelled Siddhis) are an ethnic group inhabiting India.

Members are descended from Bantu peoples from Southeast Africa that were brought to the Indian subcontinent as slaves by Portuguese merchants. There is a 50,000 strong Siddi population inhabiting the coastal region of Karnataka for around 500 years now.

Yet, these people have been socially and economically neglected. Hence, In my opinion, the Siddi people need a much needed form of recognition and what better way than to make a monumental heritage park.

INTENT OF DESIGN STUDY / RESEARCH: The intention behind this particular project is due to the fact that the culture of this group of people that live among us is almost obscure to the people not associated with them.

This sort of history needs to be engraved somewhere an the architectural solution for this problem is seemingly the foremost method to solve it.

RELEVANT CASE STUDIES PERTAINING TO THIS TOPIC :

National Crafts Museum, New Delhi, India

Madhya Pradesh Tribal Museum,

CajaGranada Cultural center, Andalucia, Spain King Abdulaziz Center for World Culture,KSA

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LITERATURE REVIEW: A few sources for studying museum and cultural architecture thoroughly are : 1) Museum Architecture : A new Biography - Suzanne McLeod (2013) 2) Architecture : Form, Space and Order - Francis D.K. Ching (1979) 3) Architects Data - Ernst Neuferts(1936) 4) Time-Saver Standards for Arcitectural Design Data - John H. Callendar (1966) DATA COLLECTION: Majority of the Siddi people in Karnataka are Hindus, but a significant number of them are Muslims and Christians. Though most of the people are found in the Ghat areas of Yellapur and Ankola. They are bound by the belief of ‘Hirayu’ or ancestor worship. The Siddis speak the language of Konkani being from Goa. But they also speak Kannada and Marathi languages. Occupations of most Siddis are either farmers, casual labourers or both of these occupations. The Siddis of Karnataka are known in recent years for their unique style of quilting called kawandi. According to latest estimates there are around 3,700 Siddi families in the state with a total population of 18,000. Other Siddhi populations in the subcontinent include around 10,000 in Gujarat and 12,000 in Hyderabad. These people live together in settlements and their houses are made of the local brick and tile roof.

DESIGN AND RESEARCH METHODOLOGY : More research has to be done on the siddi people and their culture and a decision needs to be made whether the monument that is to be constructed is to be for all the Siddi people of Indian heritage and if so, how do we do justice so as to bind a monument together with all of their cultures. More research needs to be made on the peoples culture, food, lifestyle and celebratory worships.

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SITE SELECTION AND AREA: Site co-ordinates - 15°15'36.6"N 74°37'27.3"E (Site is located in the town of Dandeli) Nearest landmark is be St.Joseph the Worker Church.

Site is 6 Kilometers north of Chapoli post office.

Site area - 12.4 acres. Site is covered with wild grass and a few Acacia trees growing wildly. The site comes under the tourist town of Dandeli and is located almost at the center of this town.

DESIGN BREIF: This new ‘Cultural Heritage’ park would be an acknowledgement to the Siddi culture. It would consist of public spaces like parks as well as squares. There would need to be a central heritage exhibit or museum. There would be a place for tourists to take part in the cultural ways of the Siddi peoples and their lifestyle.

SPECIALISTS/CONSULTANTS REQUIRED 1) Local labour to carry the style of constructon.

2) Local craftsmen and artists.

3) Curator to guide with the obscure culture.

DESIGN DELIVERABLES: The design process will be done on computer software such as Autocad for the 2d drawings. The 3D visualizations will be done on Sketchup and Revit. A full working BIM model will be made on Revit to scale. Presentations and Image editing would be done on Photoshop.

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1. INTRODUCTION. 12 | SHCC

1.

Culture (Theory) :

Culture is a particular people at a particular point and place in history. According to Cristina deRossi, an anthropologist, “Culture encompasses religion, food, what we wear, how we wear it, our language, marriage, music, what we believe is right or wrong, how we sit at the table, how we greet visitors, how we behave with loved ones and a million other things”. Culture is the characteristics and knowledge of a particular group of people, encompassing language, religion, cuisine, social habits, music and arts.

Types of Cultures : • • • • • •

Western Culture (USA, UK, Germany, Russia….)

Far eastern Culture (China, Japan, Korea, Vietnam….)

Latin Culture (Spain, Portugal, Brazil, Mexico….)

Middle Eastern Culture (Iran, Syria, Egypt, Saudi Arabia….)

African Culture (Kenya, Nigeria, Congo, Zimbabwe….)

Subcontinental Asian culture (India, Sri Lanka, Pakistan, Bangladesh) 13 | SHCC

Above this, are examples of different countries practicing different types of broader culture. These types of cultures given above are only six examples of many broad classifications and the numerous countries under them. No matter what people are a part of, one thing is for certain, it will change at some point if time. Culture appears to be the key of recognition in our ethnically diverse yet interconnected world. But the sad truth is that culture is also associated with war, religion, ethnical differences and beliefs along with all its fluidity and constant motion.

2. The search and need for study: The search for this thesis occurred from a series of questions lingering in my mind and leaving me unsettled. So, in all possibilities, this thesis project could also be a way for me to answer those questions. Museums and many cultural centers around the world have become culturally identifying and city recognizing Icons; The Guggenheim Museum in Bilbao, Spain; The Louvre in Paris, France; The Taj Mahal in Agra, India; All this buildings are structures synonymous with the city’s name and likewise, the other way round, and this is for a reason. It is because these structures are of a particular time and resembles a particular parcel of time in history.

The Taj Mahal

The Louvre

The Guggenheim

3. The need for study: The need for study comes from the suppression of the Forest tribes of the Siddi people who are collectively identified as outsiders the country of India while they speak the same languages, eat the same food and drink the same water as the rest of us.

The Siddi people are also called as Afro-Indian people who have made India their home for the last 400 years. Also pronounced as Sidi, Siddhi, Sheedi or Habshi, are an ethnic group inhabiting India and Pakistan. Members are descended from the Bantu peoples of Southeast Africa, Some were merchants, sailors, indentured servants, mercenaries and slaves. The Siddi population is estimated at around 270,000 to 350,000 individuals, with Karnataka, Gujarat and Hyderabad in India and Makran and Karachi in Pakistan as the main population centres. Siddis are primarily Muslims, although some are Hindus and others belong to the Catholic Church.

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4. History: The first Siddis are thought to have arrived in India in 628 AD at the Bharuch port. Several others followed with the first Arab Islamic conquest of the subcontinent in 712 AD. The latter group are believed to have been soldiers with Muhammad bin Qasim's Arab army, and were called Zanjis. Some Siddis escaped slavery to establish communities in forested areas, and some also established the small Siddi principalities of Janjira State on Janjira Island and Jafarabad State in Kathiawar as early as the twelfth century. A former alternative name of Janjira was Habshan (i.e., land of the Habshis). In the Delhi Sultanate period prior to the rise of the Mughals in India, Jamal-ud-Din Yaqut was a prominent Siddi slave-turned-nobleman who was a close confidant of Razia SultanaAlthough this is disputed, he may also have been her lover, but contemporary sources do not indicate that this was necessarily the case.

Siddis were also brought as slaves by the Deccan Sultanates. Several former slaves rose to high ranks in the military and administration, the most prominent of which was Malik Ambar. Later the Siddi population was added to via Bantu peoples from Southeast Africa that had been brought to the Indian subcontinent as slaves by the Portuguese. Later most of these migrants became Muslim and a small minority became Hindu. The Nizam of Hyderabad also employed African-origin guards and soldiers.

INDIA : Harris (1971) provides an historical survey of the eastward dispersal of slaves from Southeast Africa to places like India. Hamilton (1990) argues that Siddis in South India are a significant social group whose histories, experiences, cultures, and expressions are integral to the African Diaspora and thus, help better understand the dynamics of dispersed peoples. More recent focused scholarship argues that although Siddis are numerically a minority, their historic presence in India for over five hundred years, as well as their self-perception, and how the broader Indian society relates to them, make them a distinct Bantu/Indian. Historically, Siddis have not existed only within binary relations to the nation state and imperial forces. They did not simply succumb to the ideologies and structures of imperial forces, nor did they simply rebel against imperial rule. The Siddi are recognized as a scheduled tribe in 3 states and 1 union territory: Goa, Gujarat, Karnataka and Daman and Diu.

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Siddis of Madras Region

Ikhlas Khan, PM of Bijapur

Map illustrating African slave trade in the 1600s from Bantu

Performing a genome-wide survey to understand the population history of the Siddis using hundreds of thousands of autosomal markers, we show that they have inherited ancestry from Africans, Indians, and possibly Europeans (Portuguese). Additionally, analysis of the uniparental (Y-chromosomal and mitochondrial DNA) markers indicate that the Siddis trace their ancestry to Bantu speakers from subSaharan Africa. It is estimated that the admixture between the African ancestors of the Siddis and neighboring South Asian groups probably occurred in the past eight generations (∼200 years ago), consistent with historical records.

5. Siddis in Karnataka: The Siddis of Karnataka (Kannada: ಕರ್ನಾಟಕದ ಸಿದ್ಧಿ ಗಳು) are an ethnic group inhabiting India.

Members are descended from Bantu peoples from Southeast Africa that were brought to the Indian subcontinent as slaves by Portuguese merchants. There is a 50,000 strong Siddi population across India, of which more than a third live in Karnataka. In Karnataka, they are concentrated around Yellapur, Haliyal, Ankola, Joida, Mundgod and Sirsi taluks of Uttara Kannada and a few smaller taluks with lesser number.

There are various hypotheses on the origin of the name Siddi. One theory is that the word was a term of respect in North Africa, similar to the word sahib in modern India and Pakistan. A second theory is that the term Siddi is derived from the title borne by the captains of the Arab vessels that first brought Siddi settlers to India. These captains were known as Sayyid.

Similarly, another term for Siddis, habshi (from Al-Habsh, the Arabic term for Abyssinia), is held to be derived from the common name for the captains of the Ethiopian/Abyssinian ships that also first delivered Siddi slaves to the subcontinent. The term eventually came to be applied to other Africans and not only to emancipated Siddis. In time, it came to be used to refer to their descendants as well. It is sometimes pronounced "Hafsi" and is considered an insult.

The majority of the Siddhis in Karnataka are descended from Bantu peoples from Southeast Africa that were brought to the Indian subcontinent as slaves by the Portuguese between the 16th and 19th centuries. During the Goan Inquisition, some of these slaves were freed and some escaped into the forests of the neighbouring Karnataka state. As the bulk of the Inquisition's records are now destroyed, a thorough reconstruction of the Siddhis' history in India and in Karnataka is very difficult. However, the few records that exist present a picture of oppression and ill treatment that the slaves were subjected

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to. A few of them, however, are also said to have escaped slavery. While most of them were victims of slave trade, some of them also were imported by the Sultans in the 15th-16th centuries as military mercenaries. Others were sailors on the trade routes to the east.

Majority of the Siddis in Karnataka follows Hinduism. There is a significant number following Islam and Christianity. The Haliyal taluk has populations of Muslims and Christians while the Hindu populations are concentrated in the ghat areas of Yellapur and Ankola. Although Siddhis opt for different religions they intermarry across religions without any reservations. The one factor which binds the Siddhis, irrespective of their religion is the Hiriyaru or ancestor worship. The dead are believed to be nearby, in the form of spirits. They are regarded as witnesses to be consulted by a family in all its concerns. On occasions like births, marriages and deaths, the ancestors are invoked. The home is organised around Hiriyaru, the spirits of departed parents. It signifies a remembrance of the parents, thanking them for their care over several years and also entreating them to keep a vigil over the family in future. It is obligatory for all relatives to attend the function, thus renewing kinship relations.

Siddis mainly speak Konkani, the native language of Goa which belongs to the Indo-Aryan family.

Some also speak other languages, such as Kannada and Marathi.

Almost all Siddis today subsist as agricultural and casual labourers, contractual or in some cases bonded, some also work as domestic help. The earliest Siddhi settlers who fled Goa and entered the Karnataka forests of North Canara, made the forests their home and started cultivation. In some of the villages in these areas, they form the earliest settlers.

Map marking different locations of Siddi Communities in the coastal region of Karnataka.

6. Scale of the project : This project is planned to be in a human scale, with a few structures also being of the gigantic or monumental scale. This cultural center is going to be designed at the heart to Dandeli town overlooking the forest and is going to depend on the annual tourism of Dandeli to provide visitors to the Museum section.

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The town of Dandeli is mostly known for its resorts, rivers and forests and these driving factors help bring around quarter of a million visitors at the least into the town every year and the number could be increased with this project of the Siddi Cultural Heritage centre that could be used to help in targeting African tourism to South India as they are an untapped market for an Asian country.

7. Why Cultural Center as an Architectural Thesis Design Project?

The question would be less of why a cultural building in general was chosen by me as my thesis project and more of why a cultural structure for the siddis would be chosen. The mere fact is that architects and architecture in India is not as celebrated as it is in other countries where almost every project requires a designer to oversee the project. The main reason I would want to build a project in honour and remembrance of the preservation of the Siddi culture is because they have never had that ‘climbing’ feeling as a collective people. Their entire existence in this subcontinent has been sustained in suffering. The were first brought as slaves and then unattended to during the first Goan inquisition.

After that, these people fled to the forests and they had stayed there for around 300 years having no way to get back home. This is where they developed their ‘Forest’ culture which I hope to preserve with my project.

Below is a satellite image of the map of Dandeli. The first striking feature is the red coloured spot which is probably the site I will be using for my project. But the significance of this map is to show how The town of Dandeli currently functions, with the Kali river encompassing most of the southern border territory, moving the the westward direction. This image also shows “Old Dandeli” which was colonial dandeli when the population of the inhabitants in this town was 500.

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MAP ILLUSTRATING THE TOWN OF DANDELI, (Radius – 1 km)

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RESEARCH AND CULTURAL STUDY. 1. Primary issue: The main issue for proposing a Siddi Heritage Cultural Center is for the mere fact that these people have been obscured for their entire existence as “Siddis”. Also this community has been thriving through music and dance and all different sorts of artforms like a personalized quilting method called “Kawandi”.

Another primary issue of choosing this project is the prospect of using Architecture as a tool of recognition for these people. Giving them a monument in the form of a usable space is more powerful than anything they can presume.

Cultural studies was initially developed by British Marxist academics in the late 1950s, 1960s, and 1970s, and has been subsequently taken up and transformed by scholars from many different disciplines around the world. Cultural studies are avowedly and even radically interdisciplinary and can sometimes be seen as antidisciplinary. A key concern for cultural studies practitioners is the examination of the forces within and through which socially organized people conduct and participate in the construction of their everyday lives.

2. Significance of cultural centers: Cultural centers enrich our society by promoting the arts, history, religion, and heritage of diverse cultures. Communities, municipalities and universities invest in this enrichment by building performing arts centers, museums, worship centers, heritage centers and libraries. Our goal with any cultural center is to work with the client to find aesthetic, functional solutions that lead to an unforgettable experience for visitors of the center.

Cultural centers can be structurally challenging, requiring the need for large open spans and unique loading conditions. One example is the minimal use of columns in order to provide unobstructed views of a stage or pulpit, which creates large concentrated loads on the foundation. When designing performing art centers with a Proscenium stage, rigging systems used to lift and position lighting, audio, video, scenery, special effects and related items must be considered in the overall design and can create significant challenges in connection design.

In the last few decades communities have begun to solicit the help of architects and engineers to restore the historical styles of their existing cultural centers while taking the opportunity to implement current trends as well as safety and accessibility codes. Structures utilizes our knowledge of historic materials and construction practices as well as methods from our extensive adaptive reuse portfolio to provide solutions for implementing these modifications while preserving the architectural intent.

Cultural centers are also significant in bringing together the urban and social fabric together with the cultural fabric of the urban populous. Cultural centers in all groups of people and with any kind of outlook has always been one of the most importance issues for designer. When we use the traditional culture in ordinary daily conversation, we often think of culture as an equivalent to the “higher things of the mind”– art, literature, music and painting and helping a community begin to understand its historic, economic, and social context is an essential foundation for developing and building sense of place.

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Traditional culture has a particular position among arts and other media due to being multi–dimensional and enjoying facilities regarding to arts. With respect to the shortage of cultural entertaining and particularly cultural center admirable, the art advancement in the country, necessity of matter is obviously clear. So it is necessary to design cultural center in particular place. This paper is aimed at designing a cultural center with the best features of architecture in the North canara region by helping the public opinion and studying the effective factors on cultural center design and associating these factors with designing matters.

This research applies multiple user experience research methods, which include practical observations and respondents several items.

Modern Examples of Cultural Centers: A cultural center or cultural centre is an organization, building or complex that promotes culture and arts. Cultural centers can be neighborhood community arts organizations, private facilities, governmentsponsored, or activist-run. Here are a few modern examples of Cultural centers on every continent.

ASIA :

Hong Kong Cultural Center, Hong Kong, China

Telugu Saamskrutika Niketanam, Vizag, India

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Ketagalan Cultural Center, Tainane, Taiwan

The Cultural Center, Manila, Phillipines.

EUROPE :

Matadero Madrid, Madrid, Spain

The Pompidou, Paris, France

NORTH AND SOUTH AMERICA :

Glaspaleis, Heerlen, Netherlands

House of Culture, Dubravka, Bratslava, Slovakia

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Centro Cultural Palacio De La Moneda, Santiago, Chile

Agustin Ross, Pichilemu, Chile

Detroit Cultural Center, Detroit, USA

Polyforum Cultura Sequiros, Mexico City, Mexico

OCEANIA :

Queensland Cultural Center, Queensland Australia

Vanuatu Cultural center, Palau

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The reason I have chosen these above examples here and not for my case studies is because these projects are of a smaller scale and they deal lesser with preserving the culture of a people, rather they deal on preserving a particular artform and act as a community center. The difference between these projects and my project is that the Siddi Heritage Cultural center will aim at preserving an entirety of a culture and thus combine multiple aspects if not all the aspects of siddi cultural behavior and make a centre combining all the activities of Siddi Culture.

3. Cultural relevance: KAWANDI : The Siddis of Karnataka are known in recent years for their unique style of quilting called kawandi.

Siddis go through a complicated process of quilting that makes their style distinct from surrounding groups. The process involves taking recycled fabric scraps and arranging them in stylistic geometric patterns, sometimes embedded with religious symbols. Quilts are usually made for family members by older women who can no longer work in the fields. The quilts are put to use as mattresses, crib covers, or covers for cold monsoon nights. The non-profit organization Siddis Women Quilting Cooperative (SWQC) was created in 2004 in an effort to provide a source of income to the community and quilt makers. In 2011 an exhibition titled “Soulful Stitching: Patchwork Quilts by Africans (Siddis) in India” was shown in the Museum of the African Diaspora, helping these quilt makers and the community to gain recognition.

Siddi Quilt (Kawandi)

Kawandi Quilts in The museum of African Diaspora

Siddi Woman quilting

Traditionally, Siddi quilts are created for family members and used as sleeping mattresses in warm weather or as covers during the cool, damp monsoon season. Large quilts come in sizes based on one, two or more family members. A quilt for three or more persons is regarded as auspicious, as it implies a growing family with children. In addition there are small, baby-sized quilts that are often decorated with brightly coloured patches (tikeli).

Kawandi are normally made of pieces of cloth from old, worn-out clothing gathered together by the quilters from family, friends or from items purchased at the local used-clothing markets. Some women incorporate parts of garments, such as the neckline of a child’s blouse or an old shirt (sometimes with the buttons still attached). Other women may cut the garments into small square or rectangular patches of brightly coloured cloth (tikeli). The tikeli are often placed on top of other, larger patches to create a series of layers in contrasting colours. When the quilters have enough pieces of cloth to make a quilt, a cotton sari is acquired and used as the backing for the quilt.

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Four corner start

Flower finish

Blessed belly

Scrappy strips

Kawandi are often called patchwork quilts, but technically they are made in an appliqué technique.

Starting at one corner of the sari, the women begin to work their way around, fixing the patches in place with lines of back stitch or running stitch, until the entire sari is covered. The stitches are seen as important, as they add a distinctive ‘rhythm’ that is regarded as the part of the ‘visual signature’ of the maker, along with the colours, designs, shapes and sizes of the cloth patches that individuals choose to use. The final step is to sew at each corner of the quilt one or more folded square patches, which form a multi-layered triangle called a phula, or ‘flower.’ These serve no specific function, but they are regarded as essential to a properly finished or ‘dressed’ Siddi quilt. A kawandi would be regarded as ‘naked’ without the phula.

Finished Quilt

Quilt on display by Fabrizio Mauro, 17 “ x 28 “

PERFORMING ARTS ( DANCE AND MUSIC ) :

Siddi men and siddi women performing the ‘ Dhamal ’ dance at different occasions in Mundgod and Yellapur.

Siddi community has been thriving through music and dance and these people have integrated music and dance into a form of celebratory event for the community. Largely settled in suburbs and forests, Siddis often work as coolies and unskilled labourers on plantations They were recognised as a 25 | SHCC

Scheduled Tribe (ST) in 2004, by the Government of Karnataka. Dance and music are integral to their cultural identity. They are widely known for their expressive dance form Siddi Dhamal, which portrays their community life. Dhamal was originally performed as a celebratory dance, when members of the community returned from a successful hunt. Today, the Siddis dance on any occasion — they also sing and dance to cheer themselves up following the death of a community member. While women sing a repetitive song pattern, the men usually play the dammam — a percussive instrument which looks similar to a mridangam, but is made of wood and deerskin on the sides — and set the rhythm.

While a singer leads with a phrase, others repeat in unison, in a refrain-like manner.

Women performing the Dhamal dance after a meal

A siddi man playing the percussive drum.

The dancers are colourfully dressed and adorned with leaves, with their faces painted. The language is predominantly Kannada, and though they are influenced by the Indian culture and language, their ancestral dress code still retains it’s unique identity. The Siddis live in tune with Nature and depend on it for survival. And so, their music and dance are inspired by anything that happens around them.

A few years back in the year of 2004, a news article about an interview with the Siddi’s surfaced, it read ‘At Elliots beach, they perform a song called ‘Fish’, which narrates how the elders from their community cook fish, while the younger ones ask how they are harming the ecosystem. “We sing about fishing, how ants eat and anything that is around us. Nature is our only inspiration,” says Lily, before she and her group break into a a song called ‘Chicken Saadam.’ It talks of how the Siddis can hunt down a chicken easily, but are often not able to buy rice to eat with it. Having lived in India for more than 400 years, are they curious about their roots? Lily says that her friends recently visited their ancestral town in Africa and the results were very different from their expectations. “They found that the language they speak is different and the community had a different lifestyle,” says Lily. She explains that though many of them are curious about their origins, they have mixed feelings about returning to Africa for good. She says, “What if things have changed completely and they don’t accept us?”

Today, about 50,000 Siddi people live all over India, of which, more than a third live in the northern parts of Karnataka. They speak their own language called Siddi Basha, and having lived in Karnataka for generations, they are also fluent in Kannada.

PERFORMING ARTS ( TRIBAL RELATED AND SPORTS ) : The one factor which binds the Siddhis, irrespective of their religion is the Hiriyaru or ancestor worship.

The dead are believed to be nearby, in the form of spirits. They are regarded as witnesses to be consulted by a family in all its concerns. On occasions like births, marriages and deaths, the ancestors are invoked. The home is organised around Hiriyaru, the spirits of departed parents. It signifies a remembrance of the parents, thanking them for their care over several years and also entreating them to keep a vigil over the family in future. It is obligatory for all relatives to attend the function, thus renewing kinship relations.

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Tribal initiation ceremonies of a boy becoming a man with challenges of strength and will are conducted in the tribe.

Hiriyaru worship may be performed twice a year by the 'Kartha'(head) of the family. It normally is held during the Navarathri festival in the first week of November. If this is not possible for some reason, it may also be performed in April–May during the other major festival - Holi. These obviously are not meant to coincide with the dates of the parents' deaths as the Siddis only observe the first death anniversary. Hindu Siddhis usually have elaborate functions to mark the event, but not so the Christian and Muslim Siddhis.

Tribal Ceremony rituals

In 1987, the Sports Authority of India (SAI), spearheaded by the then Union Minister of Youth Affairs and Sport Margaret Alva, began initial efforts to set up a sports scheme to scout and train members of the community in hopes of tapping into yet undiscovered athletic abilities of the Siddi people.Around 65 athletes were chosen to be trained in various athletic events. They were even taken to Bengaluru for training after an initial period of training in their schools. However, the ‘Special Area Games Scheme’ was discontinued six years later in 1993 leaving members of the community who enrolled for the programme stranded. “The scheme was not planned well. The community has been isolated for so long. So a scheme like this is essentially an integration into mainstream society and not just a sports training scheme. You actually needed mentors, people who would be able to mentor the Siddis and integrate them. This was not well thought out and that is why they started and stopped, and the scheme never came to fruition.”

Siddi Student athletes practicing for sports under the government scheme.

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The programme was later revived in 2009 and then again in 2016 with a small change. This time around, athletes enrolled in the scheme were trained in schools near their homes in Uttara Kannada and Dharwad districts. But the lack of specialised coaches meant that the athletes’ training was once again hampered. The uninspiring performances and lack of discipline of the athletes were also factors in the Sports Authority's decision to discontinue the programme. “The performances of the athletes trained was also deemed to be unsatisfactory. There was also a trend of athletes dropping out and there were a lack of trained coaches who could stay in Uttara Kannada and Dharwad and train tribal athletes”, says Shivali, who worked with SAI on implementing the programme in Dharwad. The programme, however, did help in bringing the different sections of Siddi community together. The community is divided on religious lines. Many members of the community are Christian since they were baptised by the Portuguese when they were brought to Goa. Many others became Muslims after they left Goa and sought refuge in the Bijapur Kingdom ruled by Adil Shah while several became Hindus after they took up work in Hindu households and took up the religion of their employers.

ARCHITECTURE AND BUILDING FORMS : The structures that would be used by these people are only a few types of built forms. Most of these structures are their residences. The other few structures are cattle sheds, grain silos, places of worship and likewise. Most of these structures are traditional vernacular structures at its most modern. These structures are usually made of brick with mud plastering and painted on or left to dry. The roofs are usually made from thatched leaves or in recent cases, roofing tiles. The grain and cattle storage sheds have walls made of leaves tied together. The religion to which the person belongs, makes a small part of the entrance architecture and other than this small feature, doesn’t account for too much. Below are a few examples of their built forms.

Left : Mud plastering past the twigged wall; Right : Thatched roof on a thatched wall house.(Coconut branches)

Left : Cattle shed with thatched roof ; Right : One of the more modern houses.

OTHER ASPECTS OF THE CULTURE : The culture of the Siddi is indicative of both the length of time they have been in India and their East African origins. While they have assimilated in many ways to the dominant culture, they have also kept 28 | SHCC

some ancestral practices especially in music and dance. Like other ethnic groups separated by geography, there are both differences and similarities in cultural practices among the Siddi. Generally, the Siddi primarily associate and marry members of their own communities. It is rare for the Siddi to marry outside of their communities although in Pakistan a growing number of the Sheedi (as they are known there) intermarry as a way to dilute their African lineage and reduce racial discrimination and prejudice.

Siddi communities, although classified as a tribe by the Indian government (in order to receive benefits), primarily live in agricultural communities where men are responsible for the farming and women are responsible for the home and children. Outside of their communities, men also tend to be employed as farm hands, drivers, manual laborers, and security guards. When it comes to dress, women and men dress in typical Indian fashion. For instance, Siddi women wear colorful saris and don bindis. Men wear what is generally appropriate for men in their communities. Like in other aspects of life, the Siddi have adopted the common dietary practices of the dominant society. But, an example of a staple meal would be a large portions of rice with dal and pickles. Athletics has been an important part of the Siddi community and has been a means to uplift youth and a means of escape from poverty and discrimination.

4.

Data collected for Cultural Centre:

Researching and exploring multiple case studies through the use of internet data bases and books from local libraries regarding the topic of healthy living and design, helped to understand what makes a healthy city successful. Understanding Dandeli and how it operates now and comparing it with that of other more sustainable cities provided insight on how to create a design that will benefit the community and create a sustainable and healthy place to live. Through the research of carfree living and other ways that promote a healthy lifestyle not only for oneself physically but also for our environment, a better idea of how to create a healthier and more successful future for Dandeli was established. Many cities are beginning to implement healthier designs into their city planning and are enforcing this form of living upon their inhabitants. Researching how these cities implement sustainable design, as well as what types of additions were needed to create their success has been an important part of determining what may or may not work.

Goal for thesis with the data collected : Throughout the process of this thesis, I aim to learn more about community planning and it’s benefits for the public. I have always been a supporter of community events as it gets the public interacting with each other and creates a strong bond within the community.

I also aim to learn more about park and public space design which will help me to design spaces that will be successful for the city of Dandeli. Besides the design aspect of this project, a goal of mine is to also better my graphic abilities and my use of programs I have learned throughout the past 5 years. By the end of the project, I hope to have refined my hand rendering skills and create a uniqueness with my renderings that represents myself in an unforgetable way.

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Components of a museum.

The above statement is for the multi-purpose open air Theater (O.A.T) which is at the top of my to-dofor-project list. This O.A.T which is meant for the purpose of rejuvenating the spirit of the initiation ceremony that the Siddi people perform in the forest pockets. The OAT is meant to repurpose their joy and happiness.

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GALLERY LAYOUT POSSIBILITIES: Throughout the process of designing galleries, different layouts have to possibilities of exhibits have to be made. Below are three types.

Huge rectangular fields of poles are the only size limitation for the programme in this hall. In a small, narrow venue, the capacity of the standing audience can be low due to the inefficient arrangement of access corridors.By reducing their number you can achieve a better balance. A lot of operational problems can be avoided by separating the space for visitors and staff. It seems obvious — if only this rule wasn't breached with almost every centre's conversion.

Diffused and focused light

Viewing angles of the exhibits

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It must be possible to completely darken all display rooms. In public rooms where no items are displayed, e.g. entrance area, cafe, library, a greater amount of daylight is desirable. The lighting calculations for museums are highly theoretical: the quality of lighting is decisive. American tests can be more informative. The ideal temperatures in the store and the display areas are 15-18°C in the winter and 20-22°C in the summer. The relative humidity in the store and the display areas depends on the displayed and stored materials: the optimal values are for wood 55-60%, canvas 50-55%, paper 4550% and metals, max. 40%. It is important to avoid short-term variations in relative humidity: the variation within one hour should not exceed 2.5%, or not more than 5% in one day. Seasonal variations should not be more than +5% in summer or -5% in winter. The changing flow of visitors in museums leads to continuous variation in the climatic parameters.

Left : Orientation of display rooms of different types, Right : Large scale glass relief replica in the national museum of new Zealand.

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The same style of wireframe exhibition can be used for the workshops where ants are involved in the culinary process.

Types of cultural museums located majorly around the world.

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Notice that the above diagrams are pertaining to the usage of natural lighting in a gallery and that is exactly what my project will be using. These above images provide data based on how a user experiences these narratives of different objects on display.

Luminance level and colour renderation in a museum based on different lighting.

Note that the above data is only for report purposes, I have no intention of using more than the minimum required bit of artificial lighting.

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The Technical Requirements of Small Museums, Raymond O Harrison, [M.R .A] .C Technical Paper No . 1, Canadian Museums Association, Ottawa, Ontario,1966 . The above diagram signifies the special organization.

A good museum includes these basic functions : (1) curatorial, (2) display, (3) display preparation, (4) education . In order to realize both objectives and functions, certain facilities and spaces are essential .

There must be sufficient diversification of spaces to allow each function to be undertaken separately while at the same time combining certain activities in a single area as required for economy in a small museum. Because of the many and varied kinds of tasks which a museum has to perform, it is absolutely impossible to maintain good housekeeping and curatorial procedures without separation of functions into separate rooms. This relation between functions and physical facilities is summarized in the above.

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Possible gallery configurations.

ESSENTIAL LIBRARY STANDARDS:

The below diagrams are pertaining to the library for the Cultural Centre for the town of Dandeli. The population of the town of Dandeli as of the year 2017 is 52,014. The standards provide us with a base calculation of a library for a town of around 25,000 people. Now considering that the library is not the town’s library, but that of the cultural center’s, the crowd that would be pulled are those people that would visit as tourists and journalists who would want to cover the Siddi people and their culture as most of these people’s culture is still lesser or totally undocumented.

Therefore when we take our standard calculations, we can take a calculation of the Cultural centre’s basic everyday crowd numbers which would be expected at 2000 people. This paves way for the library standard of 5000 people or even lesser, give or take.

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Library spacing and space calculation given below.

To a large extent the amount of book shelving required will depend on the size of the library service area and whether the library is a member of a library system . Most library planners, when estimating the size of the book collection, apply a standard which ranges from three books per capita (smallest communities) to one and one-half books per capita (largest cities) . In any event enough book shelving should be provided to plan for 20 years' anticipated growth. The program statement should also include a detailed analysis of the amount of shelving needed. It should be presented in terms of category, location, and linear feet. Categories found in nearly all public libraries include less used books for the bookstacks; and special subject collections. Allowances should be made also for nonbook materials (i .e ., phonograph records) which are often accommodated on library shelving . Despite the fact that there is considerable variation in the size of books, there are several reliable formulas which may be used to estimate the amount of space required for books. These are: open reading rooms, 7 volumes per lineal foot, or 50 books per foot of standard height wall shelving, or 100 books per foot of doublefaced shelving; bookstack areas, 15 books per square foot (includes aisles), or 2 books per cubic foot.

Optimum shelving conditions for adults

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Clearances for staff and readers to sit, read, catalogue as well as move about in the library.

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OPEN AIR THEATER DESIGN : Besides the choice among three traditional, historical theater shapes, which are available to theater planners and designers today, a new combination of multiples has appeared Now, we can attempt to have several, or all three of these stage forms in a single building even in the same auditorium. This unique possibility has led to the extreme complication of present-day theater design and to the utter confusion of present-day theater designers. There are many formulas used to determine the depth of the house, or more accurately, to determine the relationship between depth of house, width of house, and width of screen or proscenium . They vary considerably and are all empirically derived on the basis of existing theaters.

Type : Audience Surrounding Central Staging Arena.

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Variously called bandbox, arena, theater-in-the-round, circle theater and deriving certainly from circus, ancient amphitheatre (double theater), and primitive ritual sites, the arrangement of the acting area in the center of a surrounding ring of audience has gained in popularity in the twentieth century for a number of reasons : Expediency. At a time when formal theaters have been decreasingly available and increasingly expensive to build, while simultaneously the number of play production groups has been increasing rapidly, the arena arrangement, achievable in any large room, makes a rudimentary theater possible. Economy. As well as seating maximum audience in the minimum enclosure, this arrangement seats the largest audience within the shortest distance from the acting area. It is therefore attractive to the showman and also to the spectator who attaches value to proximity to the stage.

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Natural and Artificial Threats in Dandeli The main natural threat to Dandeli would be the effect of it’s thriving tropical hilly nature of environment which would lead to heavy rainfall and in turn leading to flooding. But this is not of bigger concern as the site chosen tapers downwards towards the edges and corners and the center of the site banks upwards opposite to gravity. The main geological threat to dandeli would be the landforms conforming to river edge as theland is a fairly young one and this can be proven by looking at the beaches of Uttara Kannada.

An artificial threat lurking close to Dandeli is that of the Kaiga Nuclear Power plant with is located around 22 kilometers away. Even though the city has a prepared contingency for if a disaster strikes the nuclear power plant, one cannot help if a Chernobyl-esque situation could occur nearby on a smaller scale.

An actual boon for Dandeli is is the Supa Dam close by which provides water and hydroelectric energy for all the communities and localities of Dandeli.

5.

Social and economic benefits

Like Siddhi populations across the sub-continent, Siddhis in Karnataka also have remained isolated, and economically and socially neglected. In 1984, at the instance of the Secretary of the Rural Welfare Trust, Dandeli and few others, an "All-Karnataka Siddi Development Association" was formed to bring Siddhis together and work for their integrated development. K. V. Subbanna, the Magsaysay awardee also made some efforts in this direction with his Ninasam.

On 8 January 2003, the Union government brought the Siddis under the list of Scheduled Tribes with a view to empowering them constitutionally. Further, policies to provide homes for homeless Siddis, water facilities, education, employment opportunities, roads, electricity, mobile hospitals 2 acres (8,100 m2) of land to each Siddi family and the right to collect forest products were also endorsed by parliament. It is hoped that proper implementation of these policies would go a long way in helping the Siddhi community enhance their social and economic status.

Internationally too, awareness of sub-Saharan African diaspora in the east has been limited. In 2006, however, 'The African Diaspora in Asia'(TADIA), a UNESCO backed initiative has also evinced interest in the rehabilitation of this tribe. Headed by Prof Angenot of Brazil, it has become the academic link between the Siddis of Karnataka, Gujarat and Andhra Pradesh and other research scholars. It aims at involving academic research, promoting cultural exchanges and raising funds for education and employment generation programmes for the Siddis.

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2. CASE STUDIES OF CULTURAL CENTRES

The main aim of the case study and the literature study is to understand the main aspects required in designing a cultural centre for a particular subject as obscure as the Siddi culture. Every space has its own importance and every space plays its own role in keeping the space alive. Case studies are required to figure out these spaces and whether to incorporate them of lose them in one’s design.

The following case studies have been chosen to do a case study in depth.

1.

2.

3.

4.

NATIONAL CRAFTS MUSEUM, New Delhi, India.

MADHYA PRADESH TRIBAL MUSEUM, Bhopal, India.

CajaGRANADA CULTURAL CENTER, Granada, Spain.

KING ABDULAZIL CENTRE FOR WORLD CULTURE, Dharhan, Saudi Arabia.

The criteria by which these projects were selected were quite peculiar. By now a person would have noticed that two of the above four case studies are from India and are not of Cultural Centers, but of Museums. The reason for this being that I have visited the latter during my visit to Bhopal and I could not do a live case study as my thesis took place in the midst of the coronavirus pandemic of 2020.

Nonetheless, the reason I have chosen these particular museums is because they both play a part in preserving some part of a culture. The National Crafts museum in Delhi helps preserve Indian Traditional craftsmanship through architecture whereas the Madhya Pradesh Tribal museum in Bhopal helps preserve the culture commemorative of the nine forest tribes of that state.

The latter two mentioned case studies are from Europe and the Middle east respectively, places where culture first boomed and humanity persevered. The CajaGranada Cultural center is located in the valley surrounded by the Andalucian Mountains and the Andalucian people are quite different from the common Spanish people. This cultural center was made for that exact purpose to retain Andalucian culture. The KAACWC in the Kingdon of Saudi Arabia is a centre that clain to preserve world culture but giving importance to Saudi Arabian bodouin culture. This cultural heritage centre is the pinnacle of modern architecture for cultural centres.

Stating these facts, I hope to justify my selection criteria for my case studies for this project.

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NATIONAL CRAFTS MUSEUM, New Delhi, India.

LOCATION :

Bhairon Marg near purana quilla, Pragati Maidan, New Delhi.

ARCHITECT : Charles Correa.

AREA OF THE PROJECT : 6800 sqm.

Above : Map and plan of the Crafts museum and Hastakala Academy.

This museum is also knows as National Handicrafts and Handlooms museum and more recently as Crafts museum and Hastakala academy. This museum is managed by the National Ministry of Textiles. This museum was established in 1950 due to the efforts of freedom fighter patriot Smt. Kamaladevi Chattopadhyay. The whole museum is set up like a village and the current building was designed and built by architect Charles Correa.

This museum’s importance lies in the fact that it shares a common space for artisans alike and different to share their work with counterparts from all over the country. This act transformed the space from a mere exhibit to a space to a cultural exchange and a craft promotion area.

The museum has three main entrances, namely – The Bhairon Marg entry (Visitor), The Pragati Maidan entry (Visitor) and the Pragati maidan staff/service entry.

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This is a picture showing a satellite view of the museum and nearby monuments or possible landmarks.

YEAR OF BUILD :

1975 – 1990

FORM AND SCALE : Masculine form and Human Scale STYLE OF ARCHITECTURE : Vernacular style of architecture using rural techniques from Indian villages.

CONNECTIVITY : This is a site located very well connected to all corners of the national capital. This museum is connected to the main road with a 24m wide (72ft) road with approximately means 3+1 lanes for each side of traffic. Walking commuting pedestrians have an advantage too as there exists a 2m pavement. The street outside is a National Highway and directly connects to the Asian highway in 300m. To the north of the site lies Pragathi Maidan metro station within 200 metres. So we can fairly conclude and say that this museum is pretty well-connected.

Photographs of the craft museum inside.

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LAYOUT : This project was an exercise in architectural and cultural metaphors. The low-lying museum building is a reflection of vernacular architecture and fine craftsmanship. Several architectural elements like the Jharokha, roof tiles, semi-open and open passages, internal courtyards, arches, carved doors, posts, pillars, perforated iron screens etc. are all visual delights.

Apart from these above features, the museum houses research and documentation facilities, a reference library, a conservation laboratory, a photo laboratory and a auditorium.

FACILITY

AREAS IN SQ.M

FACILITY

AREAS IN SQ.M 45 | SHCC

VILLAGE COMPLEX

3000

VILLAGE COURT

60

CRAFTS AREA

2000

TEMPLE COURT

140

AMPHITHEATER

140

CULTIC OBJECT

125

EXHIBITION

130

COURTLY CRAFT

500

ADMINISTRATION

50

DARBAR COURT

60

SHOP

40

LIBRARY

110

BUTA SCUPTURE

60

RESERVE COLLECT

100

FOLK & TRIBAL ART

100

CONS. LAB

50

CIRCULATION : The museum is organized around a central pathway revealing a set of spaces around a central pedestrian spine. Exhibits such as the village court and the central courts lie connected to the central pathway through connecting courtyards. The design demonstrates the relevance of courtyards as an effective means of regulating comfort conditions in an urban setup.

Off these courts are particular exhibits such as village crafts etc. The exhibits may be viewed individually of even viewed as unfolding events exhibits along the way. The sequence ends with the exit via the roof garden which forms an amphitheater for folk dances as well as open air display of large terracotta statues.

Circulation diagram of the ground floor of the site.

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Section through the longitudinal axis of the museum.

MATERIALS USED : The materials used in this museum are red brick and mud plaster. Roffs are made of clay roofing tiles and pillars are made of wood and carved too.

CONSTRUCTION TECHNIQUE : Tartan grid system has been implemented in this building.

INFERENCES : -

-

This project has actually succeeded in preserving the art culture of the rural Indian craftsmen and artisans. Thus it is a proven project that if a project is taken up trying to preserve a culture, the project actually has a chance of preserving it.

The art and architecture of the museum stay true to each other and they go hand in hand with each other thus standing true to its purpose.

The concept of making a museum like a village has never been better than in this example of the National Crafts Museum.

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MADHYA PRADESH TRIBAL MUSEUM, Bhopal, India.

LOCATION :

Shyamla hills road, Bhopal, Madhya Pradesh

ARCHITECT : Revathi Kamath, Kamath Design Studio AREA OF THE PROJECT : 28000 sqm.

Above : Front entrance of the Madhya Pradesh Tribal Museum.

The tribal museum of Madhya Pradesh was commissioned by the cultural welfare ministry of Madhya Pradesh in the year 2004. The museum was built with the certain type of built fabric by which the tribal of the museums commemoration could identify with. While the architecture of the museums is inspired by the tribal geometry, aesthetics, materials, shapes, forms and spatial consciousness, these elements now act as the source of inspiration for the tribal artisans supported by anthropologists, sociologists and social workers. All the interior artistic decorations are created by tribal artisans.

The Museum of Tribal Heritage at Bhopal was commissioned by the Government of Madhya Pradesh in 2004 since over 30% of the population of the state is tribal. It was important to create an architecture that was informed by their rich culture, evolved over millennia. The Museum is designed to create a built fabric which the tribal communities could identify with, extend, and evolve, to represent themselves and express their own ideas and way of life with ease and spontaneity.

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This is a picture showing a satellite view of the museum and nearby monuments or possible landmarks.

YEAR OF BUILD :

2004 - 2007

FORM AND SCALE : Masculine form with few feminine characteristics.

STYLE OF ARCHITECTURE : Modern construction using vernacular fabrication.

SITE CHARACTER : Built on a site of seven acres, the galleries are raised above the ground on columns, forming a continuous, multileveled veranda, following the contours of the sloping, rocky terrain. .CONNECTIVITY : The site is well connected to all the corners of the city of Bhopal. Bhopal bus service is 6.8 kilometers away. The train station is 8 km away and the Raj Bhog Intl. airport is 14 km away.

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LAYOUT : This Courtyards puncture the built mass, bringing in light and air, while enabling the roof forms to establish modulated scales and compositions. The structure is built of steel tubes, castellated girders, and steel rods fabricated into intricate trusses. Steel seemed to be a natural choice in the land & location of ancient Iron Age & Bronze Age civilizations, and the contemporary truck body building industry.

Lower and upper floor plans

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Workshops are arranged around the museum such that in the open spaces the artist of the worker and even the observer and utilize maximum open space as possible. Galleries are organized as a journey with intervals in between each other.

The sprawling campus is divided into six galleries showing the heritage and rich history of ten forest tibes of Madhya Pradesh. Namely, the bhils, gonds, bharias, korkus, sahariya, bhaiga, kols, etc.

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CONSTRUCTION STYLE : The walls use both local stone left exposed and brick plastered with crushed stone on the outside and mud plaster on the inside. The roofs are made of half-round tiles, galvalume sheets and concrete with a topping of grass and groundcover. The landscape is designed to collect and store rain water, to be used for both cooling and irrigating the green roof, and gardens.

The plant material is composed of largely local forest species.The architecture of the museum, integrates seamlessly into a continuum, the outside with the inside, the natural with the human construct, the tribal with the urban and the viewer with the viewed.

Various Elevations and cross sections of the museum.

CIRCULATION : At the entrance, a person has two choices, either to go to the museum display or to the warehouse. After taking the parth which is determined whether you work there or are a visitor, the next step is taken. Below lies the Circulation plan.

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AREA STATEMENT :

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Column Treatment for the museum

Open Gatherings

Decorated glass to prevent direct light

Dormatory of Artisans

INFERENCES : -

The main strategy was to utilise the skill sets of the tribal artisans in harmony with the architecture of the museum.

Climate responsive and sustainable design.

Architecture of the building does not involve local materials, just the façade of it does.

Height of the gallery is triple height which creates trouble when creating the gallery.

Some of the galleries are have full-height glass wall which was a drawback; but to rectify it, an artist was made to paint using glass colours to ensure soft sunlight.

The galleries are placed according to a fixed path to make sure that the visitors do not wander.

This is a blessing in disguise.

The landscape has been designed very artistically to attract visitors.

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CajaGRANADA CULTURAL CENTER, Granada, Spain.

LOCATION :

Avenue de la ciencia, 1800045, Granada, Andalucia, Spain.

ARCHITECT : Alberto Campo Baeza AREA OF THE PROJECT : 15000 sqm.

Above : Front entrance of the CajaGRANADA cultural center.

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The architects say ,We would like to make “the most beautiful building” for the Museo de al Memoria de Andalucía (Andalusia’s Museum of Memory) in Granada. The MA. A museum that wishes to transmit the entire history of Andalusia. As early as Roman times, Strabo described the inhabitants of Andalusia as “the most cultivated of the Iberians, who have laws in verse.”

SITE AREA :

2.45 acres / 10000 sqm

ENTRY AND EXIT: One main entry to the cultural center is from the podium building which serves as the entry level to the CajaGranada Savings bank. The other main entry is from the western façade.

There is a third separate entry from the back of the cultural building.

SITE CHARACTER : Everything is organized around a building with a central courtyard with elliptical trace which develops spiral ramps connecting three voltage levels and creating a space of interest.

SITE SURROUNDINGS : The project is located in a cultural and financial district of the Spanish city of Granada witch is located in a valley in the heart of the Andalusian Mountain range. Around the project site lies several shops, department stores, museums, banks, hospitals etc, within a 2 minute reach.

YEAR OF BUILD : 2006 – 2009

FORM : Masculine form.

CLIENT : CajaGranada Savings Bank

STYLE : Postmodern, Brutalist style.

CajaGRANADA cultural center is the striking feature in Granada City’s skyline.

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The designers intended the project for the MA as a building in line with the Central Headquarters of the CAJA GRANADA Savings Bank that they finished in 2001. They proposed a podium building measuring 60x120 m and rising three stories, so that its upper floor coincides with the podium of the main CAJA GRANADA building. And its façade as well. Everything is arranged around a central courtyard, in elliptical form in which circular ramps rise, connecting the three levels and creating a very interesting spatial tension. The dimensions of the elliptical courtyard have been taken from the courtyard of the Palace of Charles the V in the Alhambra. And to crown it all, as if it were a Gate to the City, a strong vertical piece emerges, the same height and width as the main building of the CAJA GRANADA. It thus appears before the highway that circles Granada as a screen-façade that sends messages over the large plasma screens that will cover it entirely. Like Piccadilly Circus in London or Times Square in New York. And to finish the entire operation, a large horizontal platform all the way to the River, the MA open FIELD that will serve as a public space in that new area of the city of Granada.

The new building, silent in its forms, is resounding in its elements to communicate the messages of the new millennium in which we are already immersed.

CajaGRANADA cultural center’s central elliptical spiral ramps in their courtyard.

CLIMATE OF THE PLACE :

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CONNECTIVITY : The closest connecting airport to the CajaGranada Cultural center is the Fredrico Garcia Lorca Granda International Airport which is located roughly 18.6 km away.The closest train station is less than 6km away. The entire city is well connected with Taxi and public transport and the closest bus station is around 3 blocks away. This city is one of the biggest cities in Spain and is thus well connected even by EURail.

DESIGN CONCEPT : Campo Baez’s design has been called as the silent architecture in the memory of Andalucia. This can be seen in his pencil sketches as they seem to portray “Enough”.

CajaGRANADA cultural center’s pencil initial sketches.

SPACES PRESENT WITHIN THE BUILDING :

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SITE PLAN , ELEVATION , SECTION :

FLOOR PLANS :

This is the ground floor of the cultural center which at this point in the building is just a floor of a bank with a courtyard in between. We can figure that out because there is no grand entrance to the building as of yet.

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This is the first floor of the cultural center. We can say that because notice that the building has an entry point at the western end. That is where the actual cultural center begins.

This is the Second floor of the cultural center. We can say that because notice that the elliptical ramps are finally making an end. The main giveaway in everyone of these plans is that the theater exists on the first floors but the floors above have a cross, meaning it’s an empty loft.

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This is the base plan for every floor above the third floor. As we can see, the building has now shrunk to a quarter of its current floorspace.

ELEVATION DRAWINGS :

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SECTIONAL DRAWINGS :

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CONSTRUCTION METHOD OF THE ELLIPTICAL RAMP :

INFERENCES : -

This form of architecture by the architect Alberto Campo Baeza has proved to be very effective.

He calls this style as silent architecture.

This building has stood true to the test of time and persevered through the modern Andalucia.

The one drawback of this building is that it does not make use of the fully permissible floor space by shrinking floor size abruptly above the initial three storeys.

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KING ABDULAZIZ CENTER FOR WORLD CULTURE, Dharhan, Kingdom of Saudi Arabia.

LOCATION :

8386, Ring road, 4586 Dharhan, Saudi Arabia

ARCHITECT : Snøhetta AREA OF THE PROJECT : 100,000 sqm.

CONSTRUCTION TIME : 2008 – 2017 CLIENT : Ithra Foundation by ARAMCO.

Sunset view of the Cultural center.

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SITE AREA :

The entirety of the elliptical shaped site is 50 acres, but the built project is 80,000 sqm.

ENTRY AND EXIT: There are two gates acting as entry and exit. One of them is for the service and staff personnel, the other bigger one is for visitors to the cultural center. A visitor will have to drive the entire length of the ring road in order to access the main entry.

SITE CHARACTER : This site is the first oilfield discovered in Saudi Arabia which transformed the nation. The main building of this project has a foundation that lies exactly on the spot of the first oilfield in 1936. This site was, is and will be owned by Aramco.

SITE SURROUNDINGS : The site is located in flat desert sandy site in the suburban area of one of Saudi Arabia’s biggest city – DAMMAM. Nearby to this site are oilfields, schools, industries administrative buildings etc.

FORM : Feminine form but the scale is so monumental that is looks masculine.

STYLE : UltraModern – Futuristic style.

Façade that belongs to one of the four structures

A render of the site

An Ellipsoidal road surrounds the project and creates a common boundary for the two contrasting landscape features, the Lush Garden and the Monosurface.

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EARLY DESIGN CONCEPTUAL DEVELOPMENT :

A longitudinal section from the early design stage shows the powerful condition of the keystone arrangement. The main stone is seen to be suspended within the public areas below ground while the remaining elements reinforce this event.

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Beginning stages of the design stage. Sketches in section and plan.

DESIGN BRIEF : The King Abdulaziz Center for World Culture is a bold new initiative on the part of the Saudi Aramco Oil Companyto promote cultural development within the Kingdom. Following an invited architectural design competition in 2007, Snøhetta has been selected to design this prestigious cultural facility.

Located in Dhahran, in the eastern province, the cultural center will provide for a wide range of activities servingthe local population and becoming a cultural landmark on a regional, national, and global horizon. When completed,the project will contain diverse cultural facilities, including an auditorium, cinema, library, exhibition hall, museum, and archive.

The auditorium will seat 930 visitors and will provide for a wide range of events ranging from opera, symphony concerts, musicals, and speeches etc. Together with the smaller cinema, this will be an unrivalled venue for the performing arts in the Kingdom.

The library will become a center for learning, containing some 200 000 books on open access, and catering for all ages and categories of users. The great exhibition hall will accommodate large scale travelling exhibitions, as well as providing the setting for social events, banquets, and conferences.

The museum and archive facilities connect the vibrant cultural life of the center to the past and to the very roots of the society from which this center is conceived. On May 20, 2008, the foundation stone was laid by King Abdullah. The Cultural Center completed in 2018 and got open to the public.

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Architectural illustrations of the auditorium and interior view.

The architectural concept is based upon the following six concepts: 1. The Past and the FutureCulture grows out of the past, without culture no community or company can create a future. The design for the Saudi Aramco Cultural Center embraces both past and future, captured in the present. Both in terms of architectural expression and internal logic, this proposal digs down into the past and reaches up into the future.

2. Introvert and Extrovert.The concept is both introverted and extroverted. Below grade, the museum and archive functions are grouped around the inner void, looking inwards to the truths and knowledge to be found within Saudi Aramco and the Kingdom of Saudi Arabia. Above the grade, the composition reaches out of the ground, connecting to the world beyond.

Architectural view from inside the site.

3. Repository and BeaconLocated below the grade, the museum and archive becomes a true repository of knowledge in protective surroundings and stored for posterity. In contrast, the Library, Children’s Exhibit, and Visitor Centre are expressed as beacons to scholars across the world.

4. Diversity and Unity. This design takes the form of a complex composition, consisting of a numberof individual and discrete components. Balance and harmony is created through interdependence.

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5. Each component is fashioned as a unique and tailor-made entity, conforming to and expressive of its own individual needs and requirements.

6. Teamwork. Not one component can be removed. All are interdependent and rely upon each other. The resulting composition is an expression of teamwork. Each part can be endlessly adjusted to suit the individual and speci c needs. This form for exibility is not general or universal, but speci c and individual.

ENERGY : The balance and harmony of the composition is not static, but dynamic, expressive of the teamwork, and above all of the energy to be found in the people that comprise Saudi Aramco and Saudi Arabia. Evoking wonder and bearing memory of the steadfast endurance and hard labor under severe conditions in the pioneer striking of oil.

CONSTRUCTION : The buildings one of a kind face / cladding is made from stainless CNC pipes. This pipe spans 350 km.

The façade was a challenging one and posed a challenge as it had to constantly be curved.

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OBSERVATION AND INFERENCES : -

-

The best thing that you can observe about this project is that the way it has been constructed and the underlying purpose by which it has been built makes it one of the top examples in its categories.

The amount of engineering and thinking that goes inside a building with a steel façade in a hot desert and still come with a LEED double platinum certification goes to show the engineering behind this marvellous structure.

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COMPARATIVE ANALYSIS. TOPIC

CAJAGRANADA CULTURAL CENTRE

MADHYA PRADESH TRIBAL MUSEUM

KING ABDULAZIL NATIONAL CENTRE FOR CRAFTS MUSEUM WORLD CULTURE

MOTIVE OF STUDY

As a museum of memory for the Andalusians and to preserve their culture.

To convey vernacular architecture in the form of an experience.

To understand how to build a modern cultural center and stay true to the origin.

To understand central spinal planning and how to preserve national crafts.

LOCATION

Granada, SPAIN

Bhopal, INDIA

Dharhan, KSA

NewDelhi, INDIA

YEAR OF COMPLETION

2009

2011

2017

1990

ARCHITECT

Alberto Campo Baeza

Revathi Kamath

Snohetta

Charles Correa

OWNERSHIP

CajaGranada Banking

MP state culture welfare ministry

ARAMCO

Trade authority of India

SITE AREA

9800 sqm

28000 sqm

202350 sqm

40000 sqm

GROUND COVERAGE

90%

25%

42%

--

BUILT UP AREA

15000 sqm

10300 sqm

100000 sqm

6800 sqm

FLOOR AREA RATIO

1.8

0.6

1.4

--

MAXIMUM HEIGHT

48 m

10.5 m

42 m

6m

CONCEPTUAL FORM

Simplicity in the structure to look like the gate of the city.

A modern type of structure where only the outer look

There are four components that are interdependent

Upholding vernacular architecture in the guise of 73 | SHCC

Also called as silent architecture

upholds the true value of vernacularity

of each other, preserving none of them traditional arts can be removed and crafts

CONTENTS OF EXHIBIT

Chronological features of Andalucia

Tribal art, life and artifacts.

Library, museum, theatre, knowledge bank

Traditional Indian arts and crafts

FUNCTION OF SPACE

Museum and Exhibition

Museum and Exhibition

Centre for Cultures

Museum for culture and artisanal village

Modern style Modern style Postmodern Purely STYLE OF ARCHITECTURE with Masculine with vernacular style wrapped in vernacular and features

art on the exterior faces.

a 350 km long steel pipe

resembles a village

Modern techniques with ellipsoidal ramp ancient construction fabrication

Look like geological rocks with a keystone in the balance

Tartan Grid system with RCC and mild steel cnstrctn.

LANDSCAPE

Full site Building

Perfectly done Not much was with attention to required; all the details plants, trees and flora was retained.

LIGHTING

Artificial lighting Almost fully only made use of natural lighting except a few spotlights

MATERIALS USED

Plasma screen Brick, Concrete, RCC, Steel facades, white Clay roof tile pipes, wood cement ceilings

CONSTRUCTION Advanced helical and FEATURES

Not that well developed because of the slope

Completely dependent on artificial lighting

Both natural and artificial lighting

Timber, Sandstone, Thatch, bamboo terracotta, brick 74 | SHCC

VISITORS VIEW

A visitor would be stunned to fid the lack of landscape but suddenly come upon an open courtyard in the midst of built form.

It would be met with a calm surprise as it is a new approach to an age-old conventional topic.

A person would be surprised to see the piping structure and think of it as dreamy and futuristic.

A visitor feels like he has suddenly entered an Indian village with a load of artistic talent.

MERTIS

Perfect revival and Preservation of Andalucia’s lost memory

Uses local materials, new approach, upholds tribal culture through architecture

LEED certified building, Proper use of landscape, most versatile cultural centre

Use of local building materials in a time when modern materials are taking centre stage.

DEMERITS

The lack of natural lighting and the overuse of the colour white is overwhelming

Workshop and administrative sections are separated.

Steel in the desert usually never leads to good conditioning of heat.

Not given designated area for future services, thus adaptation becomes difficult.

3.

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READING THE PROGRAM.

4.1) PROGRAM COMPONENTS : The following would be the main features of the Siddi Heritage Cultural Center : Galleries, Exhibitions, Workshops, Research Centers, Libraries, Viewports, Auditoriums, Convention halls, Restaurants.

1. GALLERY : The purpose of modern Cultural centres is to collect, preserve, interpret and display items of artistic cultural or scientific significance for the education of the public. Galleries prove to be an effective way to collect artifacts and items and showcasing it for the public to view. My Galleries will almost surely be divided into three Galleries – The historical Significance gallery, The sky gallery and the Cultural heritage gallery.

2. EXHIBITION : The word ‘Exhibition’ is usually not always used for the meaning of a collection of items displayed at a mass public gathering for a larger audience made available for display. My designed cultural center would have two exhibits - The Geometric Permanent exhibition and the Bridge on water Exhibit.

3. CONVENTIONAL FACILITIES : The conventional facilities available at the Siddi culture heritage park would be firstly a 300 seater centre stage arena and two 500-seater convention halls for local purposes and economic / financial funding.

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4. LIBRARY SERVICES : The library facilities available at the Siddi culture heritage park would be a vast book archive on the history of the Siddi culture and also the Bantu peoples. The second feature would be the digitizing of the archives to keep a digital future for ease of access. The third and most important would be a fulturistic digital gallery above the library floor that would use holograms to project details of the Siddi Culture.

5. WORKSHOPS : The workshops by the siddi cultural heritage centre is probably going to be pottery, wood, clothers and forest bamboo workshops. The arrangement is accorndinly.

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SPACE ALLOCATION AND DISTRIBUTION :

Below is a probable area-space-activity chart indicating all the ratios of one space to the other.

ADJACENTCY MATRIX : The adjacency matrix is a chart illustrating what spaces lie in the Siddi Cultural Heritage center and their main agendas lie close or far from each other. It is more of a proximity chart showing the spaces lying adjacent to each other.

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4.2 FUNCTIONAL DIAGRAM : The Functional diagram is a chart showing the sequence of spaces that the visitor will enter in a designated path. What areas are accessible to the visitor directly and indirectly and the spaces only available to the staff.

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4.3

AREA STATEMENT PROGRAM :

FUNCTION OF SPACE

UNITS

USERS

AREA (Sq.m)

Ticket counter

1

40

30

Entry lobby

3

150

300

Reception / front office

1

10

30

Cultural center shop

1

40

150

6+6

12

25

Commute stairs

1

20

20

Waiting area

1

40

70

Directors office

1

-

40

Curators office

2

-

20

Waiting room

1

7

25

Cultural center main office

1

50

120

Conference room

4

20

60

Tourism & Logistics office

1

15

80

File records room

1

10

10

Staff pantry

1

30

30

20

25

10

40

ENTRANCE AREA

Visitor toilets

ADMINISTRATION

Staff lockers

2

Staff toilets

5+5

Security Monitor room

1

10

CULTURAL GALLERY 80 | SHCC

Historical narrative gallery

1

150

1000

Contemporary Art gallery

1

150

1000

Digital projection gallery

1

150

300

Exhibition space

2

150

1000

10

40

Forest Tree park

1

200

-

Bridge patio

1

80

400

5+5

20

50

Wood workshop

1

70

300

Pottery and vessel workshop

1

70

300

Hunting and cooking workshop

1

70

300

Clothing workshop

1

70

300

Storage / service room

2

20

5+5

20

Cloud Gallery

1

30

100

Open air gallery

1

30

100

Viewport

2

30

100

Reading bookzone

1

100

100

Librarians office

1

8

20

Toilets

100

NATURAL GALLERY

Portable toilets

WORKSHOPS

Toilets

50 50

ENLIGHTENMENT DOMAIN

LIBRARY

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Projection Gallery

1

100

200

Viewing deck

2

20

35

6+6

12

70

1

300

400

Seating

2

100

400

Kitchen

2

20

100

Staff lounge

1

30

50

Dry Storage

1

10

-

Wet Storage

1

10

5+5

10

Staff Canteen

1

20

Staff Toilets

3

20

Multipurpose hall 1

1

400

500

Multipurpose hall 1

1

400

500

5+5

20

80

Maintenance rooms

2

10

85

Janitors Closet

2

10

35

Electrical room

3

10

20

HVAC room

3

20

30

Storage / Service rooms

2

12

2+2

10

Toilets

AUDITORIUM Auditorium

RESTAURANT

Toilets

50 20 25

CONVENTIONAL FACILITIES

Toilets

SERVICES

Staff washrooms

40 60

PARKING 82 | SHCC

Add 30% of the total carpet area for walls, pantries, water fountains, lobbies, circulation systems, Janitor cupboard and stores, emergency exits, service rooms, switch rooms, electrical rooms and mechanical system and support rooms.

Total built - up area required = Estimated Carpet area + 30% area for transition Total Floor Area = 14,160 + 4208 = 18,408 Sqm. Site area = 50,383 Sqm.

Ground Coverage = 45% of total area = 22,672 Sqm.

Permitted F.A.R. = 2.25 Permitted total built-up area = 113,361 Sqm. Max. height allowed = 5 storeys

Min. setback = 7 m

DESIGN DIRECTIVES : There are a lot of factors to take into considerations when designing a site on an contoured sloped terrain. There numerous methods to tackle them are given below.

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DESIGN DIRECTIVES : There are a few studies done by the American cultural studies centres on how to gain the attraction of a lot of crowd and keep their attention in a cultural centre through various question, specifically 25 in number in a questionnaire. This research was done in 8 american cities through various schools, universities and offices whether people would come and the cultural centre would garner their attention on a day – off. Gathering the data from the answers they came up with this chart below.

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UNDERSTANDING THE SITE.

DANDELI : The proposal for the Siddi cultural center has been under discussion for a few months before the COVID-19 pandemic struck. The organisations involved were the Karnataka Cultural welfare Ministry, The siddi organization of welfare, INTACH and many of the similar kinds. Keeping a cultural center of this significance and scale in this area would definitely pull crowds of massive scale, Siddi and others.

An unintentional bonus comes when we realize that Goa’s tourism is only a 2 hour bus ride away.

Hence that can also pull in the crowd and cultures.

MACRO ANALYSIS

MICRO ANALYSIS

India – State of Karnataka – Uttara Kannada – Dandeli – The Site

SITE ADDRESS : Nirmala Nagar, Dandeli, Karnataka – 581325, INDIA. LANDMARK :

Bangur Nagar PU College

SITE AREA : 12.45 acres / 50000 sqm LAND - USE :

Public / Semi-Public

SITE CO-ORDINATES :

15°15'36.6"N 74°37'27.3"E

ROAD WIDTH OUTSIDE SITE : 6 m two way road with 2 m pavement on each side.

OWNERSHIP :

Dandeli District Welfare Association

SECONDARY LANDMARKS :

St. Joseph Church.

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PHOTOGRAPHS TAKEN OF SITE :

Photographs taken of the site from the eastern boundary with a college site.

Photographs taken of the site from the site showing views of the forest border.

SITE SURROUNDINGS : This includes geographical and man-made sites of importance.

In Clockwise order : Moulangi Ecological park (5.7km) , Old Dandeli bridge (4 km), St.Joseph Church (0.5 km), Dandelappa temple (2.3 km), Syntheri Rocks (2.4 km), Kali river (4.1 Km).

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The site for the Siddi cultural heritage center has many famous landmarks of dandeli nearby. These include the above examples and many more tourist destinations. The area of the site is around an area which is considered one edge of the city which is borderline forested. The other side of this site is residential in nature. Dandeli is a smaller town with a end-to-end length of 3.5 km at maximum. The city has staying accommodation for many people too with the city primarily being a tourist town. I feel this town has the capability of becoming much bigger thus expanding starting with the Siddi cultural center.

The above picture shows a picture of Dandeli from a satellite view. This image shows the site (marked in yellow) with restect to the town of Dandeli. The site is as mentioned on one corner of Dandeli. The larger looking site at the south of this site is the Dandeli paper company which is the biggest employer of this region. The other streams of income for Dandeli comes from purely modern tourism.

SITE MORPHOLOGY : Morphology of the site has been taken at four instances of uneven gaps. The first one is from 2011 through 2014, 2017 all the way till 2020.

2011

2014

2017

2020

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Thus it can be concluded that the site has remained particularly untouched but since it is a government property, it is constantly maintained. But the areas around this site are government housing quarters and these structures were built somewhere around 2002 and thus not much change has happened to the areas around the site, but the rest of Dandeli has grown irrespective of the site.

SITE LAND-USE AND REGULATIONS TO ABIDE :

-

-

-

According to the landuse map of Dandeli provided by the UDA (Uttara Kannada Development authority), it is evident that the town was supposed to develop around the central spinal ‘Barchi Road’.

But illegal unsolicited city growth has rendered this plan useless. So much so that the Barchi road has now submerged to half it’s expected size of 20m and has no ability to grown anymore.

According to the town and country planning department of Karnataka and the bye laws given by it, land of area above 5000 sqm needs to have a road setback of 7% of that side’s length.

Maximum ceiling permitted height is 3.6 m.

Occupant per load area of carpet area 100 sqm is 66 persons.

There are roads on all four sides according to the land use map.

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TEMPORARY STRUCTURES EXISTING ON SITE : There exist a few unregulated and illpermissioned illegal structures like sheds on the site. These structures will have to be taken off before construction.

SITE CHARACTERISTICS :

Site Diagram showing dimensions, contours and altitudes.

Services provided around the site

Accessibility and road hierarchy

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View of the site section outside the site and adjacent roads too.

QUANTITATIVE SITE DATA :

Sources of noise around the site.

Vegetation on site. (Acacia)

Temporary structures on site.

From the above data we can infer that the main sources of noise that comes to the site are from the adjoining road and the far away Barchi Road. The man-made structures and sheds on site are only temporary and with a little government force, the people will be willing to remove it. The vegetation are a few wild shrubs, acacia trees and bushy thorny grass.

VEGETATION, SOIL AND GENERAL ENVIRONMENTAL ASSESSMENT OF THE SITE : The soil can be described as derivatives of the most ancient metamorphic rocks in India, which are rich in iron and manganese. The soils of the district are basically divide into two distinct zones based on topography; the coastal alluvial soil and the upghat lateritic and granitic soils. Mixed lateritic soils are found in taluks of Supa, Haliyal and Mundgod, which contains certain patches of black soil as well. The lateritic soils are highly leached, reddish brown in colour, shallow to medium in depth and loamy in texture. These soils are found in the taluks of Karwar, Kumta, Honnavar, Bhatkal, Sirsi and Siddapur.

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found in taluks of Sirsi, Yellapur, Karwar and Ankola. In the coastal taluks there are numerous patches of land which contain saline soil of light yellow or brownish colour. These lands are not quite suitable for cultivation.

The Western Ghats of Uttara Kannada district are known for their dense forests which cover about 80% of the area of the district. The total forest of Uttara Kannada is about 8,29,151 ha., and the per capita forest is about 0.77 ha.

The forests of Uttara Kannada can be classified into 3 categories based on density as Partially open forest ( 20 40% density), Medium density forest (40 80% density) and Closed forest (above 80% density). Based on this classification Uttara Kannada district has about 1388.89 km2 of partially open forest, 1646.16 km2 of medium density forest and 714.55 km2 of closed forest. Depending on phenological conditions and other ecological factors, the forests of Uttara Kannada are broadly divided into two types namely Moist and Dry types. The moist type may be sub divided into evergreen, semi evergreen and moist deciduous. The dry type can be divided into dry deciduous and thorny forest The central part of Uttara Kannada is of the evergreen type as shown in Figure 9. They are composed of very tall trees, forming a very dense canopy and are many storied and impenetrable. The rainfall in this forest is as high as 4000-5000 mm. The semi evergreen forests are seen in pockets and often merges with the evergreen and the moist deciduous type. Therefore, distinguishing them is rather difficult.

Therefore, in conclusion, the landform of site in study is hilly, the crop pattern is paddy-pulses, the soil is loamy, the geomorphology is denudational hill, the forests are evergreen, the soil type is forest brown soil and the soil dept is more than a hundred centimeters.

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STUDY OF DEMOGRAPHICS AND PHYSICAL FACTORS ON SITE :

SITE TOPOGRAPY AND PHYSICAL FEATUREANALYSIS: Below is a three dimensional illustration showing the highest and owest point in the site. The highest point is at the center of the site with a difference of around 7 – 8 metres from the lowest point. The lowest points are toward the south and north ends specifically to the eastern front. In the contour maps that you have seen provided by me or going to be provided by me the differences between each level is always 1 metre or 1000 mm. The blue arrows that you see in the following image represents the stormwater draining out of the site. Since the site is in Dandeli, the site experiences heavy rainfall ecery year around 1000 mm rise. The ground waster is recharged very well and is always moist.

EASTERN SECTION THROUGH SITE.

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WESTERN SECTION THROUGH SITE.

SOUTHERN SECTION THROUGH SITE.

NORTHERN SECTION THROUGH SITE.

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This picture above illustrates how the topography plays an important role in the design process of the development project. The orientation of the buildings is also affected by how the wind affects the site.

There are two underlying factors illustrated In the picture above, one is the wind direction and the other is the wind path. The sun arches towards the south on its journey from dawn to dusk and east to west.

The picture above shows how that would affect a Given position on the site. The wind moves from the south west to the north east direction and back likewise in the reverse during the summer and latter during the winder months.

CLIMATIC ANALYSIS IN DANDELI: The Dandeli lies on 469m above sea level The climate here is tropical. When compared with winter, the summers have much more rainfall. This climate is considered to be Aw according to the Köppen-Geiger climate classification. The average temperature in Dandeli is 25.5 °C | 77.9 °F. The annual rainfall is 1990 mm | 78.3 inch.

The "mean daily maximum" shows the maximum temperature of an average day for every month for Dandeli. Likewise, "mean daily minimum" shows the average minimum temperature. Hot days and cold nights show the average of the hottest day and coldest night of each month of the last 30 years.

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Wind speeds are not displayed per default, but can be enabled at the bottom of the graph. The precipitation chart is useful to plan for seasonal effects such as monsoon climate in India. Monthly precipitations above 150mm are mostly wet, below 30mm mostly dry. Note: Simulated precipitation amounts in tropical regions and complex terrain tend to be lower than local measurements.

The sun path diagram and the wind direction map :

The Precipitation days chart :

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The graph shows the monthly number of sunny, partly cloudy, overcast and precipitation days. Days with less than 20% cloud cover are considered as sunny, with 20-80% cloud cover as partly cloudy and with more than 80% as overcast. Note: In tropical climates like in Dandeli the number of precipitation days may be overestimated by a factor up to 2.

The Wind rose chart :

The wind rose for Dandeli shows how many hours per year the wind blows from the indicated direction.

Example SW: Wind is blowing from South-West (SW) to North-East (NE). Cape Horn, the southernmost land point of South America, has a characteristic strong west-wind, which makes crossings from East to West very difficult especially for sailing boats.

Precipitation amounts :

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SWOT ANALYSIS : -

Strength : Located in the tourist hub of Dandeli, Easy access from the main road.

Trees make the scope of wind, shade and rain much better in chances.

-

Weakness : Many temporary structures on the site made illegally Site has been drormant from a long time.

Garbage has piles up on the side of the corner of the road and site.

-

Opportunities : First of the community projects in the Siddi community Siddi people are assured that their culture is preserved.

Safe for disabled users.

-

Threats : There are still racially discriminatory figures in the government who wouldn’t want such a kind of project to occur on government land.

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DESIGN TRANSLATIONS.

ZONING OF AREAS :

EARLY SKETCHES OF ZONING POSSIBILITIES.

In the above types of zoning the first one with henceforth be referred to the left sketch making the right sketch the ‘second’ one.

In the first sketch, the entry is located on the eastern edge of the site with the first zone entered to is either the administration building or the gallery building depending on where what your purpose of visit is. The visitor in this instance would be made to walk for a long distance as all the other spaces of attraction are very separated between each other. The other drawback in this type of arrangement is that the good parts of the land which is the eastern front which is relatively higher land is taken away for something so unsuperficial like the entry and parking.

In the second sketch, the entry is at the southeastern corner of the junction of the road with the entry leading either to the administration building or the gallery building depending on where what your purpose of visit is. The bigger galleries come only after a visit to the small entry gallery with a museum shop. This is to attract the customers to buying some shoppe items. This zoning formation also holds the strategy of having a very good view of the entire site. This becomes advantageous when attracting customers nad visitors when they see more buildings of the same architecture and being intrigued.

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2 D Zoning Schematic diagram.

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CONCEPTUAL FRAMEWORK : DESIGN DEVELOPMENT

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FINAL DESIGN PROPOSED DRAWINGS.

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Thesis Project: SIDDI CULTURAL HERITAGE RESORT, DANDELI, KARNATAKA Student name:

CLAYTON KENNETH MATHIAS

USN: 1OX16AT017

ABSTRACT ESTIMATE Site area =

12.45 acres

Total BUILT UP up area = 17581.00 sqm S.No PARTICULARS 1

Cost in Rs/-

A. LAND DEVELOPMENT COST Rs 42.5 lakh/Acre which includes: A1. Registration A2. Land Clearing & Surveying) A3. Land developing (Levelling, Providing Access to Infrastructure etc) A4.Providing Roads/Godowns/Temporary Sheds etc for Construction processes 12.45 acres x 42,50,000/-

2

5,31,25,000/-

B. BUILDING CONSTRUCTION COST @ Rs 20,000/sq m Approx (Conventional RCC Structure) Total B’up area is 5,000sqm

3

17581.00 sqm x 20,000/-

35,51,62,000/-

C.SERVICES COST (15% of Total Construction Cost) MEP services ( mechanical, electrical, and plumbing), Fire, RWH & Solar etc

4.

20% x 35,51,62,000/-

7,10.32,400/-

E. LANDSCAPE WORKS (Approx 15% of Construction Cost) Hard and Soft Landscape

6.

5,27,43,000/-

D. INTERIORS COST (Approx 20% of Construction Cost) including Furniture & Acoustics

5.

15% x 35,51,62,000/-

15% x 35,51,62,000/-

5,27,43,000/-

F. EQUIPMENT COST (Approx 15-20% of Construction Cost) or Related Machinery etc.

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20% x 35,51,62,000/7

G.STATUTORY APPROVALS etc (@ 5%) 5% x 35,51,62,000/-

8

I. MISC /UNFORSEEN Artworks etc

10

1,77,58,100/-

H. AUTHORITY PERMISSION, NOC etc (@ 5%) 5% x 35,51,62,000/-

9

7,10.32,400/-

1,77,58,100/-

(@15%) 15% x 35,51,62,000/-

5,27,43,000/-

J. PROFESSIONAL CONSULTANCIES I.1. Architectural /STRUCTURAL

@10%

& Project management Consultancy I.2.MEP, Landscape, Others etc

@ 5%

I.3 Contractor fees

@ 15%

TOTAL 25%

25% x 35,51,62,000/-

TOTAL PROJECT COST (A + B + C + D + E + F + G + H + I +J)

8,87,90,500/-

83,28,87,100/-

Total Project cost :

Rupees EIGHTY THREE CRORE FORTY LAKHS only

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LITERATURE REFERENCES : http://wgbis.ces.iisc.ernet.in/energy/water/paper/ETR24/index.htm http://www.dtcp.gov.in/en/notice-board https://video.nationalgeographic.com/video/short-film-showcase/00000162-bdb1-d72d-a9fabff1b7460000 https://www.thehindu.com/society/history-and-culture/tunes-and-sounds-from-thewoods/article30607717.ece https://www.youthkiawaaz.com/2018/05/siddi-tribe-community-special-area-games-racism/ https://yourstory.com/2017/04/siddis-karnataka?utm_pageloadtype=scroll https://en.wikipedia.org/wiki/Bantu_peoples https://www.ncbi.nlm.nih.gov/pmc/articles/PMC3135801/ https://en.wikipedia.org/wiki/Siddis_of_Karnataka https://en.wikipedia.org/wiki/Siddi#:~:text=The%20Siddis%20of%20Karnataka%20(also,a%20t hird%20live%20in%20Karnataka.

BOOKS REFERRED TO : Contemporary Museum Architecture and Design: Theory and Practice of Place – GEORGIA LINSAY Museum Architecture Justin Henderson – Justinian Henderson Museum Exhibition Planning and Design - Elizabeth Bogle Data collection done on Times savers standards and Neuferts - fourth edition Architecture Now! Houses Vol 3 - by Philip Jodidio

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