Thesis on "Integrated Handloom Center Thiruvananthapuram"

A REPORT ON THE DESIGN OF

INTEGRATED HANDLOOM CENTER, THIRUVANANTHAPURAM A Thesis Submitted by

N. NEHA B130409AR In partial fulfillment for the award of the Degree of BACHELOR OF ARCHITECTURE

Guided By Ar. Namratha Radhakrishnan

DEPARTMENT OF ARCHITECTURE AND PLANNING NATIONAL INSTITUTE OF TECHNOLOGY CALICUT NIT CAMPUS PO, CALICUT KERALA, INDIA 673601

MAY 2018

For my mother who introduced me to the world of textiles and prints.

DEPARTMENT OF ARCHITECTURE AND PLANNING NATIONAL INSTITUTE OF TECHNOLOGY CALICUT

CERTIFICATE This is to certify that the thesis entitled “Design of an Integrated Handloom Center in Thiruvananthapuram” is a bonafide record of work done by Ms. N. Neha, (B130409AR), under my supervision. The thesis is submitted to the Department of Architecture and Planning, National Institute of Technology, Calicut in partial fulfilment of the requirements for the award of the degree of BACHELOR OF ARCHITECTURE.

Thesis Co-Ordinator

Guide

Dr. Mohammed Firoz C

Ar. Namratha Radhakrishnan

Dept. of Architecture and Planning

Dept. of Architecture and Planning

National Institute of Technology Calicut Date: This is to certify that this thesis has been examined on …………… and found satisfactory/unsatisfactory, for the award of the degree of BACHELOR OF ARCHITECTURE.

INTERNAL EXAMINER

EXTERNAL EXAMINER

HEAD OF THE DEPARTMENT

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DECLARATION BY THE STUDENT

I certify that: a) The work contained in the thesis is original and has been done by myself under the general supervision of the supervisor. b) The work has not been submitted to any other Institute for any degree or diploma. c) I have followed the guidelines provided by the Institute in writing the thesis. d) I have conformed to the norms and guidelines given in the Ethical Code of Conduct of the Institute. e) Whenever I have used materials (data, theoretical analysis, and text from other sources, I have given due credit to them by citing them in the text of the thesis and giving their details in the references. f) Whenever I have quoted written materials from other sources, I have put them under quotation marks and given due credit to the sources by citing them and giving required details in the references.

N. Neha (Name of the student)

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ACKNOWLEDGMENT

This thesis would not have been possible without the support and guidance of many people.

First and foremost, I would like to thank my thesis guide, Ar. Namratha Radhakrishnan for her constant guidance, timely inputs and endless support throughout the semester. I am extremely obliged to her for taking me through the process and helping me arrive at a design.

I would also like to thank Dr. Mohammed Firoz, thesis coordinator and faculty advisor, for his valuable inputs and encouragement. I also extend my gratitude to Dr. Kasthurba. A.K, Head of the Department for her support.

This thesis was made much easier by Mr. Sanal, who helped me find a possible site, the weavers of Balaramapuram and Payattuvila who took their time to teach me the process and soul of weaving and Mr. Rajesh from Sargaalaya for his valuable comments and inputs.

Getting through this thesis required more than just academic support. I thank all my friends for encouraging me, listening to me and at times tolerating me over the past six months. Lastly, none of this would have been possible without the constant emotional and financial support from my parents and sister.

N. Neha

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“The artist like the God of creation remains within or behind or beyond or above his handiwork, invisible, refined out of existence, indifferent, paring his fingernails.�

-James Joy

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Contents

CONTENTS

CONTENTS ..................................................................................................................... v LIST OF FIGURES ......................................................................................................... x LIST OF TABLES ........................................................................................................ xiv MOTIVATION .............................................................................................................. xv ABSTRACT .................................................................................................................. xvi CHAPTER 1 .................................................................................................................... 2 INTRODUCTION ........................................................................................................... 2 1.1 Aim of the project .................................................................................................. 2 1.2 Objectives of the project ........................................................................................ 2 1.3 Methodology .......................................................................................................... 2 CHAPTER 2 .................................................................................................................... 4 BACKGROUND STUDY ............................................................................................... 4 2.1 Small Scale Traditional Industry ............................................................................ 4 2.2 Handloom Industry in India ................................................................................... 4 2.3 Handloom Industry in Kerala ................................................................................. 6 2.3.1 Key locations of the industry .......................................................................... 7 2.3.2 Weaver satisfaction rates ................................................................................ 9 2.4 Handloom Industry in Thiruvananthapuram ........................................................ 10 2.4.1 History........................................................................................................... 10 2.4.2 Present centers of the Industry ...................................................................... 12 2.5 Downfall of the Industry ...................................................................................... 13 2.5.1 Reasons for the downfall of the industry ...................................................... 13

N. Neha, Thesis, B.Arch., Department of Architecture and Planning, NITC

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Contents

2.5.2 Project Rationale ........................................................................................... 14 2.6 Reviving the Industry ........................................................................................... 14 2.6.1 Case studies ................................................................................................... 15 2.6.2 Key lessons learned....................................................................................... 19 2.6.3 Solution ......................................................................................................... 20 CHAPTER 3 .................................................................................................................. 22 PROJECT SYNOPSIS ................................................................................................... 22 3.1 Aim ....................................................................................................................... 22 3.2 Objectives and goals............................................................................................. 22 3.3 Design Methodology ............................................................................................ 22 3.4 Design Principles.................................................................................................. 24 3.5 Scope .................................................................................................................... 24 3.6 Limitations ........................................................................................................... 24 3.7 Principle activities and user groups ...................................................................... 24 CHAPTER 4 .................................................................................................................. 26 CASE STUDY ............................................................................................................... 26 4.1 Understanding Production Unit............................................................................ 26 4.1.1 Chaliyar Street, Balaramapuram ................................................................... 26 4.1.2 Payattuvila Co-operative Society.................................................................. 29 4.2 Understanding Designer Intervention .................................................................. 33 4.2.1 The Handloom School, Maheshwar .............................................................. 33 4.2.2 Ganga Maki Studio, Uttarakhand ................................................................. 36 4.3 Understanding Academic Block........................................................................... 40 4.3.1 Indian Institute of Handloom Technology .................................................... 40 4.3.2 National Institute of Fashion Technology, Kannur....................................... 42 4.4 Understanding Exhibition Space .......................................................................... 44

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Contents

4.4.1 Sargaalaya, Vadakara .................................................................................... 44 CHAPTER 5 .................................................................................................................. 50 DATA COLLECTION AND COMPARATIVE ANALYSIS ...................................... 50 5.1 Data Collection ..................................................................................................... 50 5.1.1 Production Unit ............................................................................................. 50 5.1.2 Standards ....................................................................................................... 54 5.2 Comparative Analysis .......................................................................................... 56 5.2.1 Production Process Flow Chart ..................................................................... 56 5.2.2 Data Comparisons ......................................................................................... 58 5.3 Conclusion............................................................................................................ 59 CHAPTER 6 .................................................................................................................. 60 PROJECT BRIEF .......................................................................................................... 60 6.1 Program Flow ....................................................................................................... 60 6.2 Area Statement ..................................................................................................... 61 6.3 Conclusion............................................................................................................ 63 CHAPTER 7 .................................................................................................................. 65 SITE ANALYSIS .......................................................................................................... 65 7.1 Location ................................................................................................................ 65 7.1.1 Ownership ..................................................................................................... 65 7.1.2 Site Accessibility .......................................................................................... 65 7.1.3 Catchment Area ............................................................................................ 66 7.1.4 Site Surrounding ........................................................................................... 67 7.1.5 Feasibility...................................................................................................... 67 7.2 Site Drawings ....................................................................................................... 68 7.3 Site over the years ................................................................................................ 68 7.4 Site regulations ..................................................................................................... 69

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Contents

7.5 Climate ................................................................................................................. 69 7.5.1 Macro- climate .............................................................................................. 69 7.5.2 Micro- climate ............................................................................................... 70 7.6 SWOT Analysis.................................................................................................... 71 7.7Grid Analysis......................................................................................................... 71 7.7.1 Site Drainage and vegetation ........................................................................ 72 7.7.2 Slope Analysis .............................................................................................. 72 7.7.3 Site Views ..................................................................................................... 73 7.7.4 Site Activity and Circulation Zoning ............................................................ 73 7.9 Site Zoning ........................................................................................................... 75 7.9.1 Zoning Strategies .......................................................................................... 75 7.10 Conclusion.......................................................................................................... 76 CHAPTER 8 .................................................................................................................. 77 DESIGN ......................................................................................................................... 77 8.1 Conceptual Ideas .................................................................................................. 77 8.3 Design Development ............................................................................................ 78 8.5 Site Plan................................................................................................................ 81 8.5.1 Analysis......................................................................................................... 82 8.6 Building Design.................................................................................................... 82 8.6.1 Parking structure ........................................................................................... 82 8.6.2 Main Block- Academic, administration and production ............................... 83 8.6.3 Canteen ......................................................................................................... 84 6.4 Designer studio and dye house ........................................................................ 85 8.6.5 Hostel and Mess block and other stay facilities ............................................ 86 CHAPTER 9 .................................................................................................................. 88 CONCLUSION .............................................................................................................. 88

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Contents

CHAPTER 10 ................................................................................................................ 89 REFERENCE ................................................................................................................. 89 Index .............................................................................................................................. 91 About the author ............................................................................................................ 92 Appendix 1 ..................................................................................................................... 93

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List of Figures

LIST OF FIGURES Figure 1 - Methodology ................................................................................................. 3 Figure 2 Textile production percentage ......................................................................... 5 Figure 3 Important places in Kerala of the Handloom Industry ................................... 7 Figure 4 Balaramapuram handlooms ............................................................................. 8 Figure 5 Chendamangalam handlooms .......................................................................... 8 Figure 6 Kannur handlooms........................................................................................... 8 Figure 7 Kuthampalli handlooms................................................................................... 8 Figure 8 Structure of Balaramapuram Town ............................................................... 11 Figure 9 Important centers of Handloom Industry in Trivandrum .............................. 12 Figure 10 Maheshwar forts .......................................................................................... 15 Figure 11 Maheshwar Handloom sarees ...................................................................... 15 Figure 12 Fabindia advertisement posters ................................................................... 16 Figure 13 Fabindia - Mumbai Kalaghoda .................................................................... 17 Figure 14 Anita Dongre and her designs ..................................................................... 17 Figure 15 Grassroot designs......................................................................................... 18 Figure 16 Chia Maki and her studio ............................................................................ 18 Figure 17 Chia Maki Products ..................................................................................... 19 Figure 18 Design Methodology ................................................................................... 23 Figure 19 User Group of the Program ......................................................................... 25 Figure 20 Location of Balaramapuram ........................................................................ 26 Figure 21 Site Plan of Chaliyar street .......................................................................... 27 Figure 22 Chaliyar street .............................................................................................. 28 Figure 23 Section of double street ............................................................................... 28 Figure 24 Payattuvila cooperative society ................................................................... 29 Figure 25 Payattuvila site plan ..................................................................................... 30 Figure 26 Payattuvila Co-operative society ................................................................. 32 Figure 27 The handloom School- location[12] ............................................................ 33 Figure 28 The Handloom School- Site plan[12] .......................................................... 34 Figure 29 Plan of the academic building ..................................................................... 35

N. Neha, Thesis, B.Arch., Department of Architecture and Planning, NITC

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List of Figures

Figure 30 Design development of The Handloom School........................................... 35 Figure 31 Elevation of the Handloom School[12] ....................................................... 36 Figure 32 Site Plan of Ganga Maki Studio[14] ........................................................... 37 Figure 33 Ganga Maki Studio- The raised platform is for women who knit threads etc. while men use looms on the area below that. .............................................................. 38 Figure 34 Ganga Maki Studio- This is the designer’s studio. To create diffused light in the studio, semitransparent roofs with bamboo is made. ......................................... 38 Figure 35 Ganga Maki Studio- This is the area used by other weavers. The space is detached from the designer studio but kept nearby for accessibility. .......................... 39 Figure 36 Ganga Maki Studio- This is another example for semitransparent roof.

Bamboo frame work is done, and polycarbonate sheets are laid on top. ..................... 39 Figure 37 Indian Institute of Handloom Technologies ................................................ 41 Figure 38 - NIFT Kannur campus ................................................................................ 42 Figure 39 NIFT Kannur Building Plans....................................................................... 42 Figure 40 Sargaalaya arts and crafts village [16]......................................................... 45 Figure 41 - Sargaalaya site plan ................................................................................... 46 Figure 42 - Sargaalaya site zoning analysis ................................................................. 46 Figure 43 Sargaalaya - Vehicle Movement and parking ............................................. 47 Figure 44 Sargaalaya - Built form analysis.................................................................. 47 Figure 45 Cotton thread ............................................................................................... 50 Figure 46 Winding process .......................................................................................... 51 Figure 47 Warping process .......................................................................................... 51 Figure 48 Sizing process .............................................................................................. 51 Figure 49 Beaming process .......................................................................................... 52 Figure 50 Weaving process .......................................................................................... 52 Figure 51 Process Flow Chart - Traditional Society.................................................... 57 Figure 52 Process Flow Chart - Co-operative Society................................................. 58 Figure 53 Final Program Flow ..................................................................................... 60 Figure 54 Site Location Map ....................................................................................... 65 Figure 55 Site user group catchment area. ................................................................... 66 Figure 56 Plan of site surroundings ............................................................................. 67

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List of Figures

Figure 57 Photos of the site ......................................................................................... 67 Figure 58 Site Plan (Scale 1:4000) .............................................................................. 68 Figure 59 Site Section (Scale 1:4000) ......................................................................... 68 Figure 60 Site over the years ....................................................................................... 68 Figure 61 Site Constraints ............................................................................................ 69 Figure 62 Average minimum and maximum temperature in Trivandrum ................... 69 Figure 63 Average rainy days in Trivandrum .............................................................. 69 Figure 64 2D sun path analysis .................................................................................... 70 Figure 65 Sun Path Analyses on 3D Model ................................................................. 70 Figure 66 Grid Analyses - Site Drainage ..................................................................... 72 Figure 67 Grid Analyses - Slope Analysis ................................................................... 72 Figure 68 Grid Analyses - Site views .......................................................................... 73 Figure 69 Grid Analyses - Site Privacy ....................................................................... 73 Figure 70 Grid Analyses - Site Access ........................................................................ 74 Figure 71 Grid Analyses overlapped ........................................................................... 75 Figure 72 Extent of access into the site for different user groups ............................... 75 Figure 73 Inter-relation of activities ............................................................................ 76 Figure 74 Site Zoning .................................................................................................. 76 Figure 75- Concept for Vehicular access ..................................................................... 77 Figure 76 Massing concept .......................................................................................... 77 Figure 77- Production unit concept.............................................................................. 78 Figure 78- Informal space concept .............................................................................. 78 Figure 79 Original site contours .................................................................................. 78 Figure 80 Site contours after site development ............................................................ 79 Figure 81 Initial massing idea ...................................................................................... 79 Figure 82 First conceptual massing ............................................................................. 80 Figure 83 Final conceptual massing ............................................................................ 80 Figure 84 Final site plan with all building ground floor plans .................................... 81 Figure 85 Masterplan circulation analysis ................................................................... 82 Figure 86 Basement parking plans ............................................................................... 82 Figure 87 First floor plan of main building ................................................................. 83

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List of Figures

Figure 88 Second floor plan of main building ............................................................. 84 Figure 89 Canteen plan and structure .......................................................................... 85 Figure 90 Plan of designer studio and dye house ........................................................ 85 Figure 91 Mess block and Guest house plan ............................................................... 86 Figure 92 Mess block first floor and hostel ground floor plan .................................... 86 Figure 93 Mess block second floor and hostel block first floor plan........................... 87

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List of Tables

LIST OF TABLES Table 1 Growth rates of textiles and clothing exports to the world exports .................... 5 Table 2 Number of societies and members surveyed in Kerala[5] ................................. 6 Table 3 Average wages for handloom sector employees[5] ............................................ 9 Table 4 Satisfactory scale of members - district wise[5] ............................................... 10 Table 5 Area statement of Payattuvila Handloom Society ............................................ 31 Table 6- Area study for academic building.................................................................... 43 Table 7- Floor area requirement for the production unit [21] ........................................ 54 Table 8 - Floor area ratio and coverage standards ......................................................... 55 Table 9 Off -street parking standards according to KMBR[22] .................................... 55 Table 10 - Standards for sanitation facilities according to KMBR ................................ 56

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Motivation

MOTIVATION Chaliyar theruvu (street) is a small community in Balaramapuram, Thiruvananthapuram known for their exquisite handloom sarees. I grew up there.

Ten years back, a walk through those streets would transport you to a traditional weavers’ street of Tamil Nadu- beautiful kolam designs at the entrance, children playing on the streets, old women sitting on the “thinnai” stringing jasmine flowers and the whole street drowned in the constant noise of winding and weaving from the weaver’s quarters. Occasionally, you can spot tourist buses with a large group of foreigners who has come to get a first-hand taste of Kerala handloom and large clusters of sparrows pecking on the street.

It’s not the same anymore. Globalization combined with the declining condition of the industry has resulted in the residents of the community looking for alternate occupations. Even though the life style of the residents hasn’t changed much, the architecture and weaving activities are fast disappearing. Presently majority of the community deals with the retail of the handloom products under the brand name of Balaramapuram Handloom with products sourced from weavers’ cooperative society from around the district.

My initial intention on taking this project was to look at the opportunities of revival of the community from an urban scale. But on interaction with the residents, their disinterest in returning to their traditional occupation was clear. Hence, I had to look for other alternative solutions. Viewing the issue from a much larger scale, we realize the decline of the industry is due to many different issues like lack of collective administration and research. This project is an attempt to bring back the lost importance to the amazing artisans of the handloom industry.

N. Neha, Thesis, B.Arch., Department of Architecture and Planning, NITC

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Abstract

ABSTRACT The handloom industry is the second largest cottage industry in Kerala employing up to 1 lakh households. Once a thriving and respected occupation, it now battles with globalization and new age notions about such industries. There are many organizations trying to save this sinking ship through multiple policies and programs. One such organization is the Directorate of Handloom, State Government of Kerala who has proposed for an upgradation of weaving facilities. Indian Institute of Handloom Technology is a central government initiative to educate about the fundamentals of weavings and facilitate research in the field. In Kerala, the main campus is in Kannur and an annex in Thiruvananthapuram which is no more functional. The Directorate of Handloom has put forward an idea to build a new annex campus along with weavers help center.

This thesis is an extended brief of the same.

The main reasons for the decline of the industry are the lack of infrastructure, organizations, upgradation and low wages. All the present weaving facilities are cramped, stuffy and ill maintained. Also, the absence of a common point for the stakeholders of the industry such as weavers, designers, marketing agents, retailers and students have resulted in the fragmentation of these activities. After detailed study of other cases of industry revival (Fabindia, Grassroots and Maheshwar), it is inferred that the industry will be greatly benefited from the intervention of designers, researchers and weavers. In order to catch up with the fast-moving world, it is necessary to upgrade the traditional methods of weaving and break the monotony of the designs produced.

The aim of this project is to design an Integrated Handloom Center that will bring together these operations in a seamless manner. The different spaces necessary for creating an integrated program are – production unit including space for weavers, storage, and package, an annex of Indian Institute of Handloom Design, an administration building, designer studios and exhibition space. This project is expected to breathe new life to the handloom industry which is in much needed revival.

N. Neha, Thesis, B.Arch., Department of Architecture and Planning, NITC

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Abstract

Thiruvananthapuram, the home of handloom in Kerala, serves as the perfect location for a project of this stature.

Other similar project, which includes weaving facilities and heritage settlements, both national and international, has been selected to understand the processes involved, the spaces necessary for production, the quality of the spaces and flow of activities. The data is analyzed to understand some key lessons that is used in the design process.

The masterplan is done based on the different privacy levels that the campus will need.

The exhibition space being the most public is kept near the entrance of the site. The semi-public place such as the administration and academic campus is towards the center of the site while the private living quarters are at the far end of the site. The campus building designs are based on the same principles of the Chaliyar street. The production spaces are designed such that it mimics the effect of row houses from the street.

The outcome of the thesis is a space that can be used by all the stakeholders of the industry throughout the year and to host annual exhibitions thus adding a new dimension to this dying small scale occupation.

Keywords: Handloom industry, Kerala, Balaramapuram, integrated, weavers, designers, IIHT, designer studio design, exhibition, handloom center design, weaving unit design, architecture

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PART 1 [This part contains the study of condition of handloom industry and understanding the necessity for its revival.]

N. Neha, Thesis, B.Arch., Department of Architecture and Planning, NITC

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Integrated Handloom Center, Thiruvananthapuram

Chapter 1

CHAPTER 1 INTRODUCTION The textile industry is one of the largest industries in India. It encompasses a vast variety of stakeholders from the cotton growers and the weavers to the designers. The rich handwoven materials are preferred worldwide. But the state of its primary stakeholder- the weavers are at risk. The handloom industry is heavily suffering from globalization and lack of upgradation. In order to formulate an architectural solution, it is important to first understand the trend of the occupation and issues that the industry faces today. This is done through various literature studies and first-hand observations.

1.1 Aim of the project The aim of the project is to study the issues faced by the Handloom Industry in Thiruvananthapuram and prepare a project proposal that will uplift the face of the industry.

1.2 Objectives of the project The three broad objectives that this study intends to meet include: Identify -To study the industry and identify the issues that can be addressed through the scopes of architecture.

Formulate -To formulate a project brief with a solution for the identified issues.

Design -To design a space that stays within the spirit of the occupation but uplifts the face of the industry.

1.3 Methodology The methodology adopted is divided into eight stages. The initial stages are aimed at understanding the industry to formulate a solution while the later stages concentrate on the design process and outcome.

N. Neha, Thesis, B.Arch., Department of Architecture and Planning, NITC

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Integrated Handloom Center, Thiruvananthapuram

Chapter 1

Figure 1 - Methodology

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Chapter 2

CHAPTER 2 BACKGROUND STUDY This chapter is a detailed understanding of the industry and its shortcomings. Various books, articles and papers are referred to achieve this.

2.1 Small Scale Traditional Industry Small Scale Industries (under VSI Sector) encompasses of a variety of industries ranging from handicrafts, silk, khadi and handloom. These are broadly classified into two- traditional and modern small scale industries.[1] Traditional industry uses locally available material and skill set and production takes place at an individual level. Hence the industries are highly scattered and unorganized.

The industry uses very less hired labor and most of the work is done at a household level. The skill set is passed down generations through on job training.[1] The modern small scale industry stands closer to large scale industries in terms of production and labor hiring but is closer to traditional industry in terms of organization.

[1] Due to this organizational structure, the industry tends to be invisible and thus allowing globalization to engulf it.[1] The new generations are always looking for more upgraded and respected occupations. Hence the employment opportunities in such industries are overlooked. This has resulted in the slow decline of the number of artisans in these industries. Also, the lack of proper marketing of these products results in its low demand and thus low income for the stakeholders.

2.2 Handloom Industry in India Clothing is one of the primary human needs.

This has led to the invention and

development of the traditional Handloom Industry. The traditional handloom industry in India dates back to the 5th century. Today it meets 1/3rd of the country’s total textile requirement.[2]

N. Neha, Thesis, B.Arch., Department of Architecture and Planning, NITC

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Chapter 2

Handloom industry is one of the most important industries among all the cottage industries in India. It is the second largest employing sector, right after agriculture sector. The industry owns a special place in the country’s economy due to its employment potential and production and export capacity. [2] The textiles produced are either through power loom or handloom weaving.

Table 1 Growth rates of textiles and clothing exports to the world exports

Around 27.83 lakh households are engaged in weaving activities (87% in rural households and 13% in urban households). India produces 3% of the total world exports and 5% of the total textile production. In India the state leading in production is Assam and Kerala stands twelfth in position with producing less than 0.12% of the total production in India.[3] Out of the total textiles produced, we see that power loom takes the center stage with 61% while handloom contributes to only 11.5% of the total export. This is due to the slower production of handloom material and lesser number of people employed as compared to power loom. But the final product produced using a power loom is not as soft or rich as the one produced in handloom.

Therefore, the handloom industry needs new

Figure 2 Textile production percentage

technology and marketing to catch up with its competitors.

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Chapter 2

2.3 Handloom Industry in Kerala Handloom Industry in Kerala took off during the 15th century when the British, French and Portuguese started trade with Kerala. They were impressed by the Kerala Kasavu, the traditional white and gold hand loom material and exported this in large amounts.

Later, the Germans through “Basel Mission� industrialized this sector in northern Kerala.[4] Today, Handloom Sector is the second largest employment generator, after the coir industry. According to the 2009-2010 textile department report, 1.75 lakh people were employed by the industry.[4]

Table 2 Number of societies and members surveyed in Kerala[5]

According to this table we see that Thiruvananthapuram has the most number of weavers presently employed while Wayanad has the least. Closely behind Thiruvananthapuram is Kollam and then Kannur.

The reason for the presence of more weavers in Thiruvananthapuram is due to the popularity of co-operative weaving societies. These are government subsidized and hence any government textile projects that is introduced is awarded to them. This ensures constant work flow for the weavers. The negative effect of such an initiative is

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Chapter 2

the lack of such opportunities for individually practicing weavers. They must depend on small retailers to get raw materials and market their products which has resulted in higher investment and lower returns.

2.3.1 Key locations of the industry Weaving has been prominent in Kerala since the 15th century. Most of the initial weaving communities are weavers who migrated from Tamil Nadu to serve the Travancore royal family. The most important centers are-

Kannur

Kuthampalli

Chendamangalam

Balaramapuram

Figure 3 Important places in Kerala of the Handloom Industry

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Chapter 2

2.3.1.1 Balaramapuram Balaramapuram, in Thiruvananthapuram district is one of the most historically important places for the handloom industry in Kerala. The weavers belong to the Chaliyar community who migrated from Nagercoil and Thirunellveli from present Tamil Nadu. They produced super fine 'Mundum Neriyathum’ for the need of the Travancore royal family.

Figure 4 Balaramapuram handlooms

2.3.1.2 Chendamangalam In the district of Ernakulum, this place is famous for its dyed sarees and dhotis. The check pattern is also included in most of the designs. The place is famous for sarees, mundu, furnishings and towels. The history of Chendamangalam weaving weaves around the feudal family of palliath for whom weavers were bought in from Tamil Nadu and Karnataka to weave

Figure 5 Chendamangalam handlooms

clothes for the royal family members.

2.3.1.3 Kuthampalli In the district of Thrissur, this heritage village is famous for its intricately worked Kerala handloom sarees. The weavers here came and settled from Mysore. Other products produced here are dhoti and towels. The sarees are also heavily influenced by temple motifs from Tamil Nadu.

Figure 7 Kuthampalli handlooms

2.3.1.4 Kannur Kannur is known as the land of looms and lores. The district is famous for its pure cotton furnishings and colored bed spreads. Many leading stores such as cooptex order their products here. Weaving was introduced in Kannur by missionaries. It was first Figure 6 Kannur handlooms

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Chapter 2

started as cottage industry settlement but later shifted to factory system for better work division. This makes Kannur one of the most efficient producers of Handloom. The societies mainly produced khakis for the missionaries initially but later took to weaving furnishings too.

2.3.2 Weaver satisfaction rates The weavers of Kerala are reluctant to stay in the industry due to the working conditions and wages. Survey of 2001-2002 showed Kannur and Kozhikode are the districts where the weavers are most paid with an average annual income of Rs.9000.

This is due to the factory system that has been set up by the Basal Mission here. The weavers of Thiruvananthapuram are underpaid, with an average income of Rs.8000 despite the historical importance of the place and quality of the products. [5] Over the years this figure has reduced even more. The work places are unfit for female workers and even necessities such as toilets are not present.

These issues have

discouraged the new generation to take up jobs in this sector.

Table 3 Average wages for handloom sector employees[5]

From the table, we can infer that the average wages of the weavers are steadily declining over the years. In the year 2000 it was Rs.8736, but in the year 2002 it dropped to Rs.8252. [5] Also according to the 2002 report, out of 21,000 weavers in Kerala 11,000 weavers were not satisfied with wither the wages or the job conditions whereas only 3000 weavers were satisfied with both.

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Chapter 2

Table 4 Satisfactory scale of members - district wise[5]

2.4 Handloom Industry in Thiruvananthapuram As the Directorate of Handloom have already proposed for a IIHT annex campus in Thiruvananthapuram and also because number of weavers are the highest in the district, it is only apt that the project site is chosen in this district. A detailed study into present condition of the industry and reasons for decline is done for the district, especially Balaramapuram.

2.4.1 History It was during the rule of His Highness Maharaja Balarama Varma, which dates back from 1790 to 1800 that the handloom weaving industry was first introduced in Balaramapuram. The Maharaja and his Chief Minister, Ummini Thampi jointly decided to convert Balaramapuram and its surrounding places in to an agro-based industrial belt with various traditional industries by the development of paddy and coconut cultivation, fishing, weaving, oil extraction, etc. Market places were opened at convenient locations to make the marketing of products easier .The Maharaja brought seven weaver families (Chaliyars) from Tamil Nadu and made them settle in Balaramapuram in a separate location now called "Chaliyar Street".[6] The other major sects brought in by the Maharaja include the following-

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Chapter 2

Vaniyar

Muslims

Chaliyars

Mukkuvar

Ezhavas Figure 8 Structure of Balaramapuram Town

The town still sustains through these different communities. Due to the presence of many Tamil communities, the culture of the place is also a mixture of Malayalam and Tamil communities.

The Vaniyar: They are traditional oil makers who migrated from Tamil Nadu. They own mills that extract oil out of dried coconut.

The Muslims: The Muslims were brought and settled here for trade. They owned shops in the center of town. They are natives of Thakkalai, a town on Kerala Tamil Nadu border.

The Mukkuvar: They are Christian communities who are engaged in the fisheries business. They purchase fish from the fishermen in Kovalam and sell it at the town market in Balaramapuram.

The Ezhavas: They were primarily farmers who owned small plots of land in the outskirts of the town where they cultivated coconut, rice and tapioca.

The Saliyas: Also known as Chaliyars, they are primarily the weaving community.

They are traditionally Tamil speaking and engage in production and retail of traditional Kerala Handloom materials.

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2.4.2 Present centers of the Industry The map below indicates the locations of two different types of establishments in the district. The red dots represent positions of cooperative society and the purple dots specify the different government offices. From this map, we can understand that most of the centers are established at different places in the district, thus proving fragmentation of the activities.

Also, most of the co-operative societies in the district is near Balaramapuram and in close proximity to Chaliyar Street.

Figure 9 Important centers of Handloom Industry in Trivandrum

The other important offices and centers of the industry are1. Directorate of Handloom, Government of Kerala situated at Secretariat in the Trivandrum City.

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2. Nemom Handloom Warehouse where finished products are stored, and raw materials can be purchased at government subsidized rate by weavers.

3. Balaramapuram Chaliyar Street is an important commercial center for purchasing Kerala Handloom sarees and materials. The products used to be made there but now they are brought in from other societies around.

4. Hantex co-operative office is situated near the power loom factory as a center for collection of products.

5. Neyyantinkara co-operative society acts as the governing society and all others are branches of the same.

6. Annex of Indian Institute of Handloom Technology was started in Balaramapuram to train weavers but had to be discontinued due to lack of infrastructure.

2.5 Downfall of the Industry Despite the importance of the industry it is one of the fast-declining industries. The reasons are many and the government is introducing many policies to save the industry.

2.5.1 Reasons for the downfall of the industry To formulate a solution, first the shortcoming of the industry should be studied.

Lack of proper infrastructure The present weaving centers do not have safe a sufficient infrastructure. This creates bad work environment for the weavers especially women. This also causes health hazards such as sight loss and breathing trouble.

Presence of middlemen between weavers and market The products weaved used to be directly sold by the weavers in the market. But now there are many men that buy these products for very low rate from weavers and sell in market for higher rates.

Low wages for the weavers The weavers get paid or earn very less due to low demand for the product and industry.

There are many government schemes trying to better the situation.

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Need for better technology The industry does not have any product development technique or production speeding technique research work going on. This slows down the industry and allows it to be engulfed by globalization.

Need for innovative design The products produced have not been upgraded since its introduction. So, the newer generation might find the collection of designs monotonous and boring. So, it is important to bring designers into the scenario and improve the products.

Lack of new people in the field There are lesser and lesser people taking employment in this field due to all these mentioned issues. Also, youngsters tend to look for established industries to work in.

Hence it is very important to create an established center for the industry.

Scattering of the administrative infrastructure The industry has many different government and non-government bodies working to better the cases. But these are scattered throughout the state and district making it difficult for the weavers and the organization to collaborate. Also, the weavers find it difficult to directly approach such centers for help.

2.5.2 Project Rationale From the above study, we understand the industry is in immediate need for a facelift.

Therefore, this project is an attempt to find a viable architectural solution for the same.

The idea is to create a single space for the different activities thus reducing fragmentation and creating opportunities for research and testing. This will in

2.6 Reviving the Industry To arrive at a clear-cut vision, it is important to study similar cases of textile industry revival. The textile industry throughout India has been facing the same issues and many individuals as well as groups have come forward to provide assistance in reviving the sector.

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2.6.1 Case studies Three case studies of different scenarios are chosen here. The case study on Maheshwar tells the story of how a historic weaving town was revived through intervention by NGOs. Fabindia and its franchise is studied on how thoughtful design of a space can market simple products to a wide range of customers. Grassroots is a brand name created by the sustainable textile designer Anita Dongre. The brand aims at marketing products weaved in the rural parts of Gujarat and Rajasthan. Ganga Maki studio is a designer studio set up by Japanese designer Chia Maki in Dehradun to explore the traditional weaving techniques and translate them into new age designs.

2.6.1.1 Story of Maheshwar Maheshwar has been a center of handloom weaving since the 5th century. Maheshwar is noted as a center for weaving colorful Maheshwari saris and its historical forts. These cotton saris are weaved with distinctive designs involving stripes, checks and floral borders inspired from Narmada River and forests.

Figure 11 Maheshwar Handloom sarees

Figure 10 Maheshwar forts

Due to low demand for such products the craft has declined over the years. There are many designers and organization working towards saving the craft and one such organization is Women Weave with their initiative of The Handloom School.

The creation of a unique Handloom School specifically designed for young weavers in Maheshwar, Central India, is an innovative initiative launched by Women Weave. Its intent is to provide a rigorous, nontraditional education for students who possess traditional weaving skills but no access to a conventional academic education.[7]

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Women Weave through The Handloom School (THS) initiative is nurturing young weavers to make the most of their heritage, to deal directly with the market, to understand market trends and to value their rich heritage and to be very proud of themselves.[7] 2.6.1.2 Fabindia – Brand Creation Founded in 1960 by John Bissell to market the diverse craft traditions of India, Fabindia started out as a company exporting home furnishings.[8] Today, with a panIndia presence, Fabindia is the largest private platform for products that derive from traditional crafts and knowledge. A large proportion of these are sourced from villages across India where the company works closely with the artisans, providing various inputs including design, quality control, access to finance and raw materials.[8] Fabindia’s endeavor is to bring customers a choice of products – and lifestyle – that offers an alternative to the mass-produced, while creating sustainable livelihoods in the rural sector.

Figure 12 Fabindia advertisement posters

Fabindia flagship stores are usually at handpicked heritage spots throughout India, thus creating the maximum user experience for the customers. One such example is the Fabindia Mumbai flagship store at Kalaghoda Fort. The store is in an old colonial building which was built in 1850’s. The place was redesigned by SJK Architects to meet the stores requirements and keeping the essence of the colonial structure.[9]

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Figure 13 Fabindia - Mumbai Kalaghoda

2.6.1.3 Grassroot by Anita Dongre Grassroot by Anita Dongre is a sustainable luxury brand born to revive, sustain and empower India's crafts and artisans. They translate the skills of rural artisans into design for the globetrotting woman and showcase the handcrafted traditions of India in their contemporary collections.[10]

Figure 14 Anita Dongre and her designs

The brand employs rural weavers, especially women, to weave custom material. This direct connection between the designers and weavers has resulted in an amazing collection of affordable and stylish fashion that keeps changing with every new season.

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Grassroot is an initiative by her to revive India’s dying craft, sustaining livelihoods in rural villages and empowering women through a means to financial independence. The materials produced are eco-friendly and cruelty free. The designer and her group travel throughout India looking for artisans to weave custom made materials and design. This has resulted in improved opportunities for the artisan especially in parts of Gujarat and Rajasthan.

Figure 15 Grassroot designs

2.6.1.4 Chia Maki Intervention Gallery Ganga Maki is resting in the mango grove in the foot-hill of Himalayas, 6kms east from Dehradun airport. It is a part of Ganga Maki workshop, where yarns are dyed naturally and hand woven, garments are made, and materials are home grown as much as possible under the guidance of Chiaki Maki, the textile designer from Japan. The endeavor of the Studio is to embody and cultivate this cyclical relationship between work and life, the sun and the moon – bringing together the past, present and future.[11]

Figure 16 Chia Maki and her studio

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Figure 17 Chia Maki Products

The designer recently decided to build a studio and gallery set up to incorporate the weavers’ maximum into her designs. Her studio includes designing and weaving spaces. This has resulted in the production of amazing designer wear by the weavers themselves at a much faster rate than collaborating through other means with them.[11] 2.6.2 Key lessons learned •

We understand from The Handloom School in Maheshwar that for bringing more trained youths into the industry, an institution for the same purpose can be built. This results in more employees which would result in more return.

•

From Fabindia, we learn the important lesson of brand creation and the role of fine architecture in it. The brand has been able to market these local products to high end customers by providing luxury stores and brand-new designs.

•

From Grassroots, we understand that through designer weaver integration we can bring a global voice to the work of these weavers. The only factor missing in this case study is an infrastructure union which is addressed in the next case study.

•

Through Ganga Maki Studio, we see the perfect example of how a designer studio built by keeping both the designers and weavers in mind can entirely change the way a product is made.

So, from the understanding of the issues and the above-mentioned case studies, we understand that by creating a space that •

The weavers can get better wages by eliminating middle men from the process.

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The weavers can produce better designs by the integration of designers into the process.

•

The overall speed of the industry can be improved by testing out new technology on the process.

•

The industry can be made more integrated by creating a single space for all this, thus making implementation and change much easier and faster.

2.6.3 Solution The idea is to create a single space for all the different activities thus reducing fragmentation and creating opportunities for research and testing. This will in turn help the industry apply more technologies and new age designs into the production process.

The ultimate goal is to help the industry survive in the fast-changing world.

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PART 2 [This part contains the design brief and the data collection and analysis required specifically for the design development.]

N. Neha, Thesis, B.Arch., Department of Architecture and Planning, NITC

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

3.2 Objectives and goals Objective To study the history, different processes and present condition of the handloom industry in Kerala, particularly Trivandrum.

To design a formal space for the weavers, artisans and government offices related to handloom, to practice, produce, teach and market the products.

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

To design an annex campus for Indian Institute of Handloom Technology in Trivandrum with facilities for teaching and research in textile industry.

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

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

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

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

3.3 Design Methodology The steps taken to complete the design process is as the following flowchart-

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Figure 18 Design Methodology

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3.4 Design Principles Pride of the place The space designed should be an iconic campus for the industry and change the way people think of the industry. In turn it would positively affect the face of the industry.

Experience The experience created by the space should be an inspiring and uplifting space for the designers and weavers and aid in the creation of new products and designs.

Integration The space is supposed to integrate the needs of all its stake holders and users for maximum outcome for the industry.

Architecture The planning and detailing should be in accordance with the spirit of the place and the spatial quality necessary for weavers.

3.5 Scope The growth of the handloom industry has drastically reduced due to lack of infrastructure and organization for the control and production of products. With the proposal of the right infrastructure and program, the disappearing industry can be revived.

3.6 Limitations The retail of handloom products, especially the handloom saree with zari is mostly done by the Chaliyar community in their area. Therefore, retail cannot be included as a program in the design brief.

3.7 Principle activities and user groups To achieve integration, the different activities that are to be included in the project are production, teaching, administration and exhibition. Hence the main stakeholders of the place will be the weavers, government, design students and designers.

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IIHT Students Academic Program

Design Interns

Integrated Center

Faculty Weavers Production Program and Designer Intervention

Designers Other employees Directorate of Handloom

Administration and Marketing

Government Marketing Group Public Exibition Viewers

Figure 19 User Group of the Program

The space will not only cater to the weavers that will be working in the center, but also to the weavers from around who can use the space to purchase yarn and zari, sell their products to the government and use the designer collaboration opportunities.

Annual or bi-annual exhibition can be held at the center for the public to come and experience the new designs and developments in the industry. This will also provide opportunities for upcoming designers to showcase their products.

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CHAPTER 4 CASE STUDY This chapter explains the different case studies that was studied to help with the design process. As there is no single space that can be studied for this project, the case studies are divided into four categories – Production unit, Academic Unit, Exhibition unit and designer unit.

4.1 Understanding Production Unit In order to design spaces for handloom weaving industry, the process and its subsequent spaces should be thoroughly understood. For this purpose, two different types of handloom production organizations are studied- the Chaliyar street which is a traditional small-scale industry and Payattuvila Cooperative society which is a more modern small-scale industry.

4.1.1 Chaliyar Street, Balaramapuram The Chaliyar street in Balaramapuram is a historically renowned street for weaving.

The history of the place was discussed in Chapter 2 section 2.4.1.

4.1.1.1 Location The street is in a town called Balaramapuram in Thiruvananthapuram, Kerala, India. It is a 13-acre land completely occupied by the Chaliyar community. The street is very close to the town center and hence an apt position for retail of handloom products. The main entry is from the State Highway and expects a lot of traffic from this side. The community have their own space for marriages and cremation.

Figure 20 Location of Balaramapuram

N. Neha, Thesis, B.Arch., Department of Architecture and Planning, NITC

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4.1.1.2 Understanding the site The street consists of three temples, and the main temple is situated on the Single street.

This is the also the main commercial street. The people are primarily Tamilians and follow their traditions. There are four streets – Single, Double, new and Vinayagar street. The double street and the single street are the oldest. Single street was used for retails and double street for weaving activities.

Figure 21 Site Plan of Chaliyar street

1. This is the main area where weaving activities are presently concentrated. This is also the poorest part of the community. The families will have more than one way of living, usually smaller businesses elsewhere.

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2. This is the most modern part of the community as well as the richest part of the place. The houses are modern flat roofed buildings and most of the occupants are government employees.

Figure 22 Chaliyar street

Before the place was modernized, most of the families were engaged in the handloom activities. Women took part in pre-weaving activities like winding and beaming while men were involved in weaving. The richer families were businessmen and took care of the retail of the products. They owned bigger houses and hence were able to accommodate retail in their own residence. The streets were designed in-order to accommodate pre-weaving activities like sizing. Vehicles were not allowed on the double street during the day time for the same. The houses had small verandahs called “thinnai� which is used as a relaxing space in the evening. During the temple festivals, the streets are completely covered and decorated.

Figure 23 Section of double street

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But over the past few years, as the returns of weaving have reduced, many families have opted out of the occupation. The younger generations have found alternate jobs that pay better. This has also led to the families tearing down their traditional houses and building new concrete ones in its place. Thus, the character of the place is slowly disappearing.

4.1.1.3 Inference The most important takeaway from this case study is the traditional handloom weaving process and the spirit of the weaving spaces. The weavers are more productive and concentrated in spaces where there are less than 5 looms. This concept can be used for the design of production area.

4.1.2 Payattuvila Co-operative Society Payattuvila cooperative society is one of the biggest societies in the Trivandrum District.

What is a Handloom cooperative society?

Societies are usually owned by the master weavers who employ many other weavers under him for wages. They produce for market sale as well as government policies. The raw material is purchased from yarn banks owned by HANVEEV or HANTEX. 4.1.2.1 Location It is located at Payattuvila 6 km from Balaramapuram in Thiruvananthapuram district in Kerala, India.

Figure 24 Payattuvila cooperative society

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4.1.2.2 Site plan There are approximately 50 looms but only 13 trained weavers are employed there. The smaller works such as winding, spinning and beaming are done by women and younger men. Few handicapped people are employed to do smaller works like zari spinning that require lesser movement. The site is a 1-acre land with a small house in the center of the plot. The surrounding land and the terrace of the house is used for the weaving production.

1. Area for Spinning 2. Area for Beaming 3. House used for storage 4. Shed for preparing dyes and silks 5. Shed for dyeing 6. Shed with 30 looms (17 functioning) 7. Shed with 6 pit looms and 4 Jacquard looms 8. Terrace of the house -16 looms

Figure 25 Payattuvila site plan

4.1.2.3 Working structure They society produces up to 500 sarees a year. This is sold either to the retailers in Chaliyar street or to HANVEEV and HANTEX. The maximum sale is during the Onam season. The raw materials are sourced from the government through yarn banks at a subsidized rate.

Near the entrance of the site, trained women will be working on winding and yarn inspection. Adjacent to this area, large machines for the process of beaming and multiple winding is kept. This is not used unless the order is huge and time bound. The storage of raw materials and finished products is inside the house. Behind the house, adjacent to the kitchen a small semi open area for dying of silk is present. The weavers shed, and the terrace of the house are the main weaving areas. A part of the terrace is also used to dry the materials after weaving.

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The space is very informal, unkept and cramped. The weavers do not have a comfortable working space. The working space is covered by blue tarpol which creates uncomfortable lighting in the weaving space. The dyeing process is done behind the houses in the work area and the fumes settled around the area.

The space is difficult to use during the monsoon season due to the lack of permanent infrastructure. The weaving process is not at its maximum efficiency due to the lack of space.

Table 5 Area statement of Payattuvila Handloom Society

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Figure 26 Payattuvila Co-operative society

4.1.2.3 Inference The society has an ideal working structure. This can be adopted for the working of the design program.

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4.2 Understanding Designer Intervention One of the most important stake holder of the industry that can bring a massive upgrade to the handloom industry are the designers. Presently, in none of the weaving facilities, designer accommodations are provided. This makes it difficult for them to collaborate with the weavers. The following case studies explore facilities that provide scopes for such intervention and how they have positively affected the industry4.2.1 The Handloom School, Maheshwar The Handloom School in Maheshwar is an initiative launched by Women weave in the year 2015 to help revive the handloom industry of the town. They program concentrates on the younger generations, particularly youth between the age of 18 and 25. The program provides the students with training is weaving and pre-weaving activities.

They are also encouraged to produce their own innovative designs. Both 4-month and 1-month courses offered.

4.2.1.1 The location The Handloom School is in Maheshwar, which is a small town in Khargone district in the state of Madhya Pradesh famous for its forts and Maheshwar sarees. It lies in the banks of Narmada River. The site is little away from the center of the town. The main access to the site is from NH 38.

Figure 27 The handloom School- location[12]

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Figure 28 The Handloom School- Site plan[12]

The site overlooks the Narmada river. The main academic building is at the entrance of the site as it’s the most public accessed building. The dye house is located behind the academic building but detached. The more private areas such as the amphitheater and the residential block is towards the rear side of the side overlooking the river.

The main building has 4 weaving studios that is used as classrooms. These rooms are connected by street like corridors. The building is made with locally available burnt bricks and the aesthetics are inspired from the forts of Maheshwar.

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Figure 29 Plan of the academic building

The building is carefully planned based on the amount of light necessary for the studios and the ambience it creates for the users.

Figure 30 Design development of The Handloom School

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Figure 31 Elevation of the Handloom School[12]

Inference •

The weaving studios should have openings only on the North and South walls to allow only diffused light to enter the space. Harsh light makes it had to weave.

•

The studios can be designed such as to imitate their local clusters, so the weavers feel at home in the studio.

•

Natural ventilation is must for the studios, also constant air flow is necessary to remove any thread particles from the air.

•

The dyeing unit should be kept separately to avoid heating and harmful fumes from entering other spaces.

•

Administration --- Classrooms --- Rest area---- dyeing unit --- Amphitheater----Residential block.

4.2.2 Ganga Maki Studio, Uttarakhand The Ganga Maki Textile Studio in Uttarakhand is a collaborative project undertaken by the Maki Textile Studio from Japan and commissioned to one of India’s leading architecture firms, Studio Mumbai. Beautifully built, innovative in design and sensitive to the human condition, this project is a good example of progressive craft industry solutions. The 1300 sq. m complex to 4 years to complete. It was designed by architect Jain and the time was used to carefully design and source local materials.

The studio is a venture by a leading Japanese textile designer, Chia Maki and entrepreneur Rakesh Singh. The site consists of 4 L-Shaped designer studios, a guest house, a small exhibition space, dye house and a canteen. The complex is completely hand built and made of only locally available materials.[13]

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The majority is built with bricks and plastered with lime. The floors are paved with stones. The studio is built with a bamboo frame work and plastered with mud mixed with dung. The areas are landscaped with local plants. The roof of the gallery is covered by translucent white marble. All the building work were done by local craftsmen after being trained by Swiss and Japanese artisans.

Guest Houses

Designer studio

Canteen and dye house

Residence

Gallery

Figure 32 Site Plan of Ganga Maki Studio[14]

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Figure 33 Ganga Maki Studio- The raised platform is for women who knit threads etc. while men use looms on the area below that.

Figure 34 Ganga Maki Studio- This is the designer’s studio. To create diffused light in the studio, semitransparent roofs with bamboo is made.

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Figure 35 Ganga Maki Studio- This is the area used by other weavers. The space is detached from the designer studio but kept nearby for accessibility.

Figure 36 Ganga Maki Studio- This is another example for semitransparent roof. Bamboo frame work is done, and polycarbonate sheets are laid on top.

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Inference •

The studio design shows how to incorporate the designer and the weavers in the same space while giving importance to both.

•

The design is completely built taking into consideration the local environment of the weavers.

•

The lighting of the space is diffused (optimum for weaving). Innovative roofing techniques are used for the building.

•

The space is centered on a courtyard thus giving an inclusive feeling to the people working in the studio.

•

The dye house is places separately to avoid the fumes and heating.

•

Other amenities provided are canteen, guest house, gallery, administration room, stores, wash area.

•

The site contours are used for the design.

•

Locally available materials are innovatively used for the building.

•

The studio provides space for 16 looms in 4 separate rooms to avoid overcrowding.

4.3 Understanding Academic Block For providing opportunities to the upcoming generations, it is important to educate them of the technology presently used and provide opportunities to upgrade these technologies. The structure of IIHT campus is studied to understand the spaces necessary and NIFT Kannur is studied to understand the area requirements of the space.

4.3.1 Indian Institute of Handloom Technology The Indian Institutes of Handloom Technology are a group of government run public institutes of higher education in the handloom sector. There are six institutes in central sector and four in State sector. All IIHTs provide a three-year Diploma in Handloom and Textile Technology. The Varanasi and Salem campuses also offer a one and half year Post Diploma in Textile Processing.

VISION ” We at IIHT, Salem, will educate the students to become enlightened professionals to

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lead the Textile Industry and the Society. We will provide individual attention and world class quality education in Handloom and Textile Technology and inculcate the value of Character building”[15].

MISSION ” Our mission is to cater high quality technical and managerial man power for the Handloom and Textile industry and to undertake research and development programs for its sustainable growth and maintain close liaison with the industry to enable it to face the changing technological and environmental global challenges” [15].

Figure 37 Indian Institute of Handloom Technologies

Courses offered in the institute: -

Facilities offered in the institute: -

For diploma of handloom technology

-Classrooms equipped with LCD and

-75 seats available

Computers

-6semester course\

- Faculty rooms - Weaving Labs with at least 20 looms

For Post diploma of handloom technology

-Dyeing and printing lab

-10 seats

-Textile testing lab

- 3 semesters

-Computer Aided Textile Design Lab -Computer color matching lab

Bachelors in Handloom Technology

-Computer lab with 75 computers

-50 seats

- R & D lab for product developments

-8 semesters

- Library - Workshops

Research opportunities

- Display Halls

- Any

-Administrative wing with administrative office and examination cell

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4.3.2 National Institute of Fashion Technology, Kannur NIFT Kannur is in Dharamshala in Kannur district of Kerala. The campus is situated in 10 acres of land and was designed by Indigo Architects.

Figure 38 - NIFT Kannur campus

The campus building changes from low rise to high rise gradually through radial increase in floors. The main facilities are located around a 40 m courtyard.

Figure 39 NIFT Kannur Building Plans

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Table 6- Area study for academic building

Inference The main takeaways from this case study are the characters of the different studios and classrooms necessary for the academic building.

1. Textile testing laboratory Various tests are carried out on different types of textile fibers to determine strength and other properties.

Max. Capacity: 15 Students. Approx. Area: 55 sq.

Requirements: Tearing Tester, Per spirometer, Hot Air Oven, Shrinkage Scale, Count Tester, Fabric Thickness Tester, Stiffness Tester.

2.

CAD Laboratory

This Lab is equipped with Computers and Software that help in computer aided fashion design.

Max. Capacity: 30 Students Area Provided 60 Sq.

3. MAC Laboratory This Lab also functions like CAD Lab except that the Systems used have higher specification and performance.

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Max. Capacity: 30 Students Area Provided 60 Sq.

4. Surface dyeing and printing laboratory This lab provides the student with the skills of adding aesthetic value to textile material and develops the sense of color. The equipment’s provided cover the range of chemical finishing lab processes such as scouring, bleaching, dyeing, printing etc. These labs require an adjacent terrace or drying area.

Max. Capacity: 30 Students Area Provided :124 Sq. Requirements: Printing Machine, Absorbency Tester, Oscillating Dyeing Machine, Horizontal Paddle Mangle.

5. Weaving laboratory The Weaving laboratory contains hand weaving machines on which students have to work out various knitting patterns manually and produce a variety of handwoven products.

Max. Capacity: 30 Area Provided: 124 sq.

Requirements: Weaving looms.

4.4 Understanding Exhibition Space This design aims at opportunities to disseminate the working of the industry to the public. To understand how this can be done, the Kerala Handicraft village, Sargaalaya in Vadakara has been studied. The main aspects studied were how they channel the crowd during the annual exhibitions held.

4.4.1 Sargaalaya, Vadakara 4.4.1.1 About Sargaalaya Sargaalaya is a permanent exhibition set up tagged as an arts and crafts village. It was established in the year 2011. The organization provides provisions for tourists to visit and mingle with artisans and also place order as per their need. It is an initiative by the Department of Tourism, Government of Kerala and managed by ULCCS Ltd. It was developed as a part of responsible tourism movement. The initiative is to promote traditional handicrafts of Kerala.[16]

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Figure 40 Sargaalaya arts and crafts village [16]

4.4.1.2 Concept of responsible tourism Responsible tourism was introduced in Cape Town Declaration of 2002. It aims at minimizing negative economic, environmental and social impact of tourism. It aims at uplifting local communities through tourism. It follows the “triple-bottom line concept” – economic responsibility, social responsibility and environmental responsibility.[17] 4.4.1.3 Location and site Set in 20 acres of land on the banks of the Moorad River, Vadakara, it has 27 exhibition cottages, which employ more than 100 artisans. Apart from showcasing traditional handicrafts, they also have a Technology Development Center that provide training for craftsmen and encourage them to come up with new and innovative technology and products.[16] The site has craft cottages, an open-air theater, a semi-open auditorium, parking spaces, a canteen and its adjacent dining hall, children’s park and a newly built guest accommodation center. The site was a quarry land and has a lake with cut rocks in the center. This is used as a part of landscaping near the entrance. The auditorium overlooks the estuary. They have plan to add water boating facilities and expand the craft trail to a nearby island.

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Figure 41 - Sargaalaya site plan

4.4.1.4 Project Analysis Site Zoning

Figure 42 - Sargaalaya site zoning analysis

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Vehicle Movement and Parking The parking provided is for around 20 two wheelers and 30 four wheelers. But this is not sufficient while considering the footfall of 2000.

Hence,

they

are

expanding parking to 110 now. There is no separate footpath for pedestrians.

The road provided is 7m wide providing two-way movement.

Figure 43 Sargaalaya - Vehicle Movement and parking

Built form analysis

More than 63 crafts are housed in the 27 craft cottages in the site. Each cottage is 5x3 m. In some cases, the cottages are shared between two crafts.

All

these

cottages

are

connected by open corridors. The present admin area is housed in the craft emporium. The guest house is being upgraded to admin block.

The cafeteria initially built could Figure 44 Sargaalaya - Built form analysis

house only 50 people. They have a new temporary structure that can house more than 200 people. The craft emporium and textile emporium houses crafts brought from craftsmen outside Sargaalaya. The design

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is such that all rooms get ample light and ventilation. There are two toilet blocks on the site, one set for artisans and other for the visitors.

Building Material and Construction The complete project is built using cut exposed laterite blocks. To keep the traditional Kerala, feel sloping roofs are used for all structures. These roof structures are built from metal framework with tin sheet on top to reduce heating inside the building. Mangalore tiles are added on top of it to further reduce the heating. Certain walls are plastered and given white accents to compliment the red.

4.4.1.5 Inference From this project the following are the inference: Positives •

The project is a new approach in the field of crafts. It aims at bringing the craftsmen directly into business and production and eliminating the middle-men.

•

The craft cottages are well ventilated and well lit. Each craft cottages provides enough space for each craft (15 sq. m).

•

The project emphasizes on corridors that are open and taken in the maximum view of the water bodies around the building.

•

The buildings are modelled based on traditional Kerala architecture and it can be felt as one moves through the buildings.

Negatives •

Ample parking spaces are not provided.

•

The first building one sees as they enter is the toilet block and this creates a negative image of the space. Also, only 3 toilets for females and 3 toilets for men provided for the artisans. This is not catering to the growing groups of artisans in the area.

•

The buildings added later such as extended cafeteria and the auditorium does not follow the aesthetics of the existing buildings.

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•

Chapter 4

The place does not provide stay facilities for the artisan or tourists. But the upcoming building has 8 air-conditioned rooms for the tourists.

•

The administration block is not well designed. There are no lounges, meeting rooms or record rooms. The staff find it difficult to manage them.

Area statement •

Area for one artisan to sell and produce (with loom)- 5 x 3m - 15 sq. m Area for canteen of 200 people- 9 x 15 m - 135 sq. m

•

Area for auditorium of 2000 people - 12 x 24 sq. m

•

Present Admin area - 50 sq. m

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CHAPTER 5 DATA COLLECTION AND COMPARATIVE ANALYSIS 5.1 Data Collection This chapter contains the information collected to understand the different processes in weaving, the standards regarding design of spaces and comparative analysis between these standards and the information collected through the case studies.

5.1.1 Production Unit The production unit consists of spaces that include the space for weaving and all its ancillary activities. To understand the necessary spaces, first the process must be studied.

5.1.1.1 Process Process sequence The following image shows the different steps involved in producing a handloom product: Winding

Sizing

Beaming

Drafting and twisting

Weaving

Drying

packing

Purchase of raw materials The first step is to purchase raw materials from the market.

This includes yarns, zari and dyed yarn (in some cases). As Kerala cannot naturally grow cotton, most of the yarn is purchased from other states which are already processed into cotton threads. It is sold as rolls of thread. These threads are divided based on counts. The higher the count, the finer the threads. Threads with count 6s and 10s are used for upholstery, 20s for towels, 40s for kaavi mund and 100s for

Figure 45 Cotton thread

sarees.[18] Different qualities of threads are available. The zari is purchased from Surat and sold at the local markets.

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Dyeing It is the process of changing color of the yarn to be used in the weaving process. In Kerala Handloom products, dyed yarn is used to create the border or sometimes small motifs throughout the sarees. For the process, a boiler, dye and water are necessary.

After the yarn is dyed, it is hung for drying in a semi shaded area. The water after dyeing is collected in a tank and purified using slaked lime. The purified water is then used for landscaping purposes or released into a nearby water body.[18]

Winding The yarn is usually bought in hank form. To convert them into bobbins, winding is done. It is traditionally done manually using charkas. But presently it is mechanized using winding motors to speed up the process. The yarn used for weft is wound into smaller bobbins and yarn for further process of warping is

Figure 46 Winding process

wound on larger bobbins.[4]

Warping It is the process of making thread of the required length by combining many threads together. The final product is called warp which forms the vertical length of the cloth. The process can be done many ways. For very long threads, vertical sectional warping is done. A bobbin creel is used hold all the bobbins together. The

Figure 47 Warping process

warped threads are then taken for the next process.[4]

Sizing It is the process strengthening the warped threads so that it won’t break during the process of weaving.

Natural adhesives like rice starch and gruel is used for the purpose. The traditional way is stretching out the Figure 48 Sizing process

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warp along the length of the streets on a frame and using a sizing brush, the adhesives are applied on the warp. While stretching it is taken care that the threads are not entangled or very close to one another so that, they don’t stick together.[4]

Beaming The warp sheets after being dried, is transferred into huge rolls which is then mounted into the frame loom for the process of weaving. Beaming can also be done mechanically.[4] Figure 49 Beaming process

Drafting and twisting The beamed thread is then mounted in the loom. It is passed through the heald of the loom as per the design of the product. This keeps the yarn parallel to one another.[4]

Weaving Pit looms and frame looms are the most common looms used for weaving in Kerala. The frame is constructed using wood and bamboo to keep the structure light. The throw shuttle looms are used for mass production. For products with very intricate patterns, jacquard looms are used. Special punch

Figure 50 Weaving process

cards are used for creating different designs.[4]

Checking for defects The finished products are carefully checked for defects such as double ends, snarls, knots and reed marks. It is then graded according to the number of defects.[19]

Drying, Packing and storing The product is hung for drying in semi shaded areas. After completely drying, it is folded in a special manner and then packed in plastic wraps which is then stored in a dry space until transportation to the market.

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5.1.1.2 Spatial Quality for Weavers The weavers prefer to work in an environment with dispersed lighting. This is so that they are not straining their eyes. For very concentrated works they tend to light a bulb hanging from their looms. This is mainly used to looks for breakages or other defects while weaving. “The Indian Standard 3646-Part-II (1966) suggests that an illumination level of 200 lux should be maintained for weaving plain 'grey' cloth, provided day light is also available. In the absence of the latter, the standard should be increased by one and a half times the mentioned value, which is to 300 lux. The Indian values are much too low in comparison to the IES (Illuminating Engineering Society, 1973) standard which has recommended an illumination level of 750 lux for the same type of cloth�[20].

Also, the rooms should be well ventilated. Small thread particles tend to be present in air during the process of weaving. Cross ventilation clears the room of such particles.

The walls should be of a dull color to create the dispersed light effect.

5.1.1.3 Area Calculations The area calculation is based on the standards given by ILO publications- Small Scale Weaving which gives details on the different types of looms that can be used and its efficiency.[21] No calculate the total area necessary, first the number of looms required is calculatedđ?‘ đ?‘˘đ?‘šđ?‘?đ?‘’đ?‘&#x; đ?‘œđ?‘“ đ?‘™đ?‘œđ?‘œđ?‘šđ?‘ =

đ?‘…đ?‘’đ?‘žđ?‘˘đ?‘–đ?‘&#x;đ?‘’đ?‘‘ đ??´đ?‘›đ?‘›đ?‘˘đ?‘Žđ?‘™ đ?‘ƒđ?‘&#x;đ?‘œđ?‘‘đ?‘˘đ?‘?đ?‘Ąđ?‘–đ?‘œđ?‘› đ??´đ?‘›đ?‘›đ?‘˘đ?‘Žđ?‘™ đ?‘Šđ?‘œđ?‘&#x;đ?‘˜đ?‘–đ?‘›đ?‘” â„Žđ?‘œđ?‘˘đ?‘&#x;đ?‘ Ă— â„Žđ?‘œđ?‘˘đ?‘&#x;đ?‘™đ?‘Ś đ?‘?đ?‘&#x;đ?‘œđ?‘‘đ?‘˘đ?‘?đ?‘Ąđ?‘–đ?‘œđ?‘› đ?‘?đ?‘’đ?‘&#x; đ?‘™đ?‘œđ?‘œđ?‘š

The weavers in Kerala are most accustomed to treadle operated looms and fly shuttle looms. As pit looms are not used anymore, for this project we shall consider the use of fly shuttle looms. The average hourly production per fly shuttle loom is 0.48m and 1,44 for treadle operated looms. The total number of annual working hours is 2080 hours.

And the required annual production necessary is taken as 5,00,000 m. The area required for both types of looms remains the same – 8.4 sq. m.[21] Substituting these values in the formula-

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Case 1 – All fly shuttle looms: 500 looms will be necessary to produce required annual production Case 2 – All treadle operated looms: 160 looms will be necessary to produce required annual production.

Case 3 – 3 lakh meters by treadle looms and 2 lakh meters by fly shuttle looms: 100 fly shuttle looms and 200 fly shuttle looms.

The maximum production with minimum area used is in case 2, where 160 treadle looms are used for operation. Therefore, the total area required for the same is 1344 sq. m.

According to the standards specified in the book, the total area required to produce 1 lakh m per year with 3000 working hours is 368 sq. m.

Table 7- Floor area requirement for the production unit [21]

Based on this data, to produce 5 lakh m, an area of 2000 sq. m is necessary. Hence, the production area activities will take an area between 1500 sq. m to 2500 sq. m.

5.1.2 Standards As the site is in Kerala, the Kerala Municipality Building Rules are followed to get standards for parking, toilets and other standard spaces. The design would fall under the category Group B (educational), Group E (office), Group G2 (Small Industrial) and hostels would come under the category Group A2 (special residential)

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5.1.2.1 Floor Area Ratio and plot coverage standards The FAR for the project is taken as 2.5 and coverage as 35%.

Sl No: 1 2 3 4

Building use/ occupancy

Maximum permissible coverage

Maximum permissible FAR (without fees)

Maximum permissible FAR (with additional fees)

65

2.5

4

35 40

2.5 2

3 3

60

2.5

3

Special residential A2 Educational B Office E Small Industrial G2

Table 8 - Floor area ratio and coverage standards

5.1.2.2 Off-street parking The parking standards according to KMBR is as followingSl No:

Occupancy

1

Group A2- Special Residential, Lodging and Rooming Houses, Tourist homes and hostels, Dormitories without any attached eating facility

2 3 4

Group B-Educational Higher educational institutes.

Group EBusiness/Office Building Group G2- Small Industrial exceeding 100 sq. meters of carpet area.

One parking space for every or fraction of 12 rooms (with each room above 5 sq. meters and upto12 sq. meters carpet area) Note: - At the rate of one parking space for every 30 sq. meters carpet area of dining space/20 seats of dining accommodation shall be provided in addition to the above, in case of Special Residential. Buildings attached with eating facility.[22] 200 sq. meters of carpet area.

100 sq. meters of carpet area.

200 sq. meters of carpet area.

Table 9 Off -street parking standards according to KMBR[22]

5.1.2.3 Set backs The setbacks to be left for a campus with multiple buildings areAll buildings up to 10 meters height under educational, medical/ hospital or office/ business or storage occupancy with more than 300 sq. meters built up area and shall have the minimum open (yards) spaces as shown below: -

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Chapter 5

(i)

front yard-average 6 meters with minimum 4.5 meters

(ii)

side yards-average 2 meters with minimum 1.5 meters (each side).

(iii)

rear yard-average 3 meters with minimum 1.5 meters:

Provided that where more than one building is proposed to be constructed in the same plot it shall suffice if the open spaces under this sub rule are provided from the plot boundaries with open yards (space) between two buildings not less than 1.5 meters for buildings up to 10 meters height and three meters exceeding that height.[22] 5.1.2.4 Sanitation facilities The number of toilets to be provided in the different occupancies areWater closets

Auditorium

Boarding Institution

Office and mercantile

1 per 200 males or part thereof and 1 per 100 females or part thereof 1 per 10 boys and 1 per every 8 girls 1 for every 25 males or part thereof and 1 for every15 females or part thereof

Urinals

Wash Basin

Bath

1 per 50 person or part thereof

1 for every 200 males and 1 for every 200 females

-

1 per every 25 boys

1 per 10 boys and 1 per every 10 girls

1 per 10 boys and 1 per every 8 girls

1 for every 25 person or part thereof

Preferably one on each floor

Table 10 - Standards for sanitation facilities according to KMBR

5.2 Comparative Analysis To identify the most beneficial program flow that integrates the weavers well into the system, the different production systems studied in the case studies before has to be compared and analyzed.

5.2.1 Production Process Flow Chart This part studies the advantages and disadvantages of production process in traditional and modern small-scale handloom industry.

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5.2.1.1 Traditional Handloom Industry

Figure 51 Process Flow Chart - Traditional Society

Key Points- cons

Key Points- pros

•

Process flow is not integrated

•

Too many middlemen and material

opportunities

handling due to decentralization of

collaborate with them

system •

•

Weavers are self-employed, giving for

designers

to

The process happens inside the village itself reducing transportation cost

Individualization of process minimizes scope for applying new technologies

•

•

•

Opportunities for household women to participate in the production

Below average working environments •

Rich history for the site

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5.2.1.2 Co-operative Society

Figure 52 Process Flow Chart - Co-operative Society

Key Points 5.2.2 Data Comparisons • Production All the areas are categorized neatly into the different spaces necessary for the 5.2.2.1 Unit process.

5.2.2.2 Academic Block • The spaces are very ill maintained.

•

The lighting is very dim, and the looms are much cluttered.

•

The working environment is not apart for women.

•

The dyeing unit is not separated from the rest due to space constraints.

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5.3 Conclusion Based on the analysis of the different types of handloom process on both traditional community level and modern society level, a new program is made taking the advantageous points from both these processes.

A detailed area statement is also prepared based on the special study from case studies.

This program and area statement will be the base of the design process.

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Chapter 6

CHAPTER 6 PROJECT BRIEF 6.1 Program Flow After studying the process flow of traditional small-scale handloom industry and modern small-scale handloom industry, and also understanding the different programs that need to be integrated into the space, the following program chart has been prepared.

Figure 53 Final Program Flow

N. Neha, Thesis, B.Arch., Department of Architecture and Planning, NITC

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6.2 Area Statement MAIN ACTIVITIES

CORE ACTIVITIES

PRODUCTION UNIT

SUBREFERENCE NO: OF ACTIVITIES AREA USERS Warping 34 sq. m for Aiming 1,00,00 m per to make year 5,00,000 m per Warp sizing 68 sq. m for 1,00,00 m per year with 160 year looms Pirn winding 4 sq. m for machines 1,00,00 m per year Looming 30 sq. m for 1,00,00 m per year Looms 588 sq. m for 1,00,00 m per year Cloth 30 sq. m for inspection 1,00,00 m per year Other areas 25% of the that include sum of above offices, areas storage, circulation Classrooms 1.5 sq. m per 75 per person classroom Weaving lab

IIHT

Textile testing lab Dyeing and Printing CAD Lab Design Studio Library

Faculty and research students Hanveev ADMINSTRATION Office

6 sq. m per person 3 sq. m per person 4.5 sq. m per person 1.5 sq. m per person 3.5 sq. m per person 1.5 sq. m per person 12 sq. m per person 30 sq. m

For 75 people For 75 people For 75 people For 75 people For 75 people For 75 people For 15 people

AREA

TOTAL AREA

754 sq. m

3770 sq. m

190 sq. m

1000 sq. m

110 sq. m x6 classrooms

660 sq. m

2 design studios

450 sq. m 225 sq. m 340 sq. m 110 sq. m 520 sq. m 110 sq. m 180 sq. m 130 sq. m

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Hantex Office Hornbill Office Office of the Directorate Weavers Service Center Reception VIP Lounge Conference Room Presentation Room Record Section Staff Rest Area

SUPPORTING ACTIVITIES

GALLERY

30 sq. m 20 sq. m 50 sq. m 15 sq. m per person

For 20 people

300 sq. m

10 sq. m 20 sq. m 100 sq. m

220 sq. m

30 sq. m 30 sq. m 30 sq. m 1 sq. m per person Employing 2 people at a time

INFORMATION CENTER

Chapter 6

For 200 people

200 sq. m 15 sq. m

OUTLET HOSTEL AUDITORIUM GUEST HOUSE

PARKING

ALLIED FACILITY

1 parking per 200 sq. m

CAFETERIA

1.3 sq. m per person

SECURITY

TOTAL

For 300 people For 1000 people For 5 people at a time 15 sq. m per person For 500 people

30 sq. m 7000 sq. m 700 sq. m 500 sq. m 470 Parking

2250 sq. m

650 sq. m 15 sq. m 30,000 sq. m + 2250 sq. m -

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6.3 Conclusion

Based on the area calculations, a total of 30,000 sq. m will be the built-up area.

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PART 3 [This part explains site analysis and design process. The final design outcome is also detailed out in this part]

N. Neha, Thesis, B.Arch., Department of Architecture and Planning, NITC

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Chapter 7

CHAPTER 7 SITE ANALYSIS This chapter gives a detailed look into the site chosen and its aspects. The analysis is used to arrive at a site zoning.

7.1 Location The site is 20.5 acres and located at Kanyakumari - Pazhaya Uchakkada Rd, Uchakkada, Kulathoor, Kerala ,695506 in India.

Figure 54 Site Location Map

7.1.1 Ownership The site belongs to the Neyyantinkara Power loom corporation. The site in the year 2002 was being used for small vegetable cultivation. Later a power loom plant was proposed here for up gradation of the surrounding area. But it was terminated due to fund issues. Presently the site remains unutilized.

7.1.2 Site Accessibility Trivandrum

Uchakkada Junction

Trivandrum Central

International Airport

Bus Stand - Local

Railway Station

35 Km

1 Km

30 Km

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7.1.3 Catchment Area The site is easily accessible from all major handloom co-operative society. The main catchment area is the ones marked in the map. These are semi-urban centers with good transportation connections and other facilities. The site is also near to Poovar Beach which is a major tourist attraction. As tourists are one of the user groups of the project, this is an added advantage.

From the map below, we see that most of the co-operative societies lie in a radius of 15 km from the site. Also, the site is 12 km away from Balaramapuram, the main retail center of the Kerala saree. The city and government offices are further away at 30 kms from the site.

Figure 55 Site user group catchment area.

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7.1.4 Site Surrounding Surrounding Land Type The

surrounding

land

use

comprises mostly of mixed use and residential use. The areas near the site boundary are largely vacant and covered in vegetation.

General feedback to the Project The surrounding region have positive feed backs for the project as the surroundings will benefit from the presence of such an institution in the area.

Public Amenities Nearby There are banks, hospitals and bus stands nearby.

Figure 56 Plan of site surroundings

Figure 57 Photos of the site

7.1.5 Feasibility The site is in close proximity to all the major co-operative society in the Trivandrum District and also a major tourist spot Poovar Beach. It is also one of the biggest parcels of land owned by the Neyyatinkara Power loom Corporation making it apt for a project proposal. The site is presently unused and hence such a project proposal will benefit for the site itself and its surroundings.

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7.2 Site Drawings

Figure 58 Site Plan (Scale 1:4000)

Figure 59 Site Section (Scale 1:4000)

7.3 Site over the years The site was used for vegetable cultivation back in 2002, and hence the terraced contours. After the site had been taken over by the government, it was left unused mostly and so short vegetation grew and covered the site.

Figure 60 Site over the years

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Chapter 7

7.4 Site regulations The site constraints are according to the Kerala Municipality Building Rules. The project belongs to two categories- institutional and industrial.

Figure 61 Site Constraints

7.5 Climate 7.5.1 Macro- climate Trivandrum has a tropical humid climate. The hottest months are March, April and May. The monsoon season is from June to September and the average rainfall received by the district is 1500 mm per annum.

Figure 62 Average minimum and maximum temperature in Trivandrum

Figure 63 Average rainy days in Trivandrum

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7.5.2 Micro- climate 7.5.2.1 Sun path analysis As the site lies on the northern hemisphere, the maximum heating is from the southern and western side. The hottest time of the day is afternoon (from 12am to 3pm). March, April and may are the hottest months in a year. The longest day Figure 64 2D sun path analysis

Figure 65 Sun Path Analyses on 3D Model

Inference •

The harsh lighting is during the time 10 am to 3 pm on the east and west walls which can be shaded using large over hangs.

•

Open spaces should be shaded either by vegetation or by light material to reduce heating during afternoon sun.

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•

All the studios must have diffused sunlight.

•

Semi-shaded areas necessary to be included in the plan to be used for drying weaved and dyed material.

•

Pedestrian paths must be tree lined to protect from the sun.

•

The peak of summer is during the months March, April, May and sun is over head the site at noon during these months.

•

Living accommodations must be oriented such that shorter wall faces the sun side, that is the west side and east side.

•

The dye house must be positioned such that the fumes are blown away from other buildings on site.

7.6 SWOT Analysis STRENGTH

WEAKNESS

•

No present uses of the site.

•

Narrow entry into the site.

•

Ownership by government.

•

Sudden deep contours

•

Good view into the site.

•

Far away from the city center

•

Thick vegetation on site.

OPPORTUNITY

•

Site near handloom societies and

THREAT •

tourist spot • •

Movement of vehicles on the sudden contours

Large flat contours that can be

•

Not abutting a main road

used for buildings

•

Water logging in certain parts of

Development of the surrounding

the site

area due to the project

7.7Grid Analysis The site is divided into a grid of 20 m by 20m to analyze the different aspects of the site. This analysis is used arrive at a site zoning.

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7.7.1 Site Drainage and vegetation

Figure 66 Grid Analyses - Site Drainage

The lowest contour on the site acts as catchment area for the site and the surrounding.

These low contours, due to the presence of moisture also has wide variety of plants growing. The site also has a few teak trees that cannot be cut down.

7.7.2 Slope Analysis

Figure 67 Grid Analyses - Slope Analysis

The site is terraced due to its previous use for vegetable cultivation. The lighter color shows the areas that can be built on without any cutting and filling of contours.

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Chapter 7

7.7.3 Site Views

Figure 68 Grid Analyses - Site views

The sites lie lower to the road level. So, from the road level, one can see the catchment area. From inside the site, the arrows on the image show the viewpoints.

7.7.4 Site Activity and Circulation Zoning

Figure 69 Grid Analyses - Site Privacy

Based on the distance from the entrance, the site is divided into three zones.

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Chapter 7

Figure 70 Grid Analyses - Site Access

The different types of circulations into the site based on the different users is analyzed to find the best possible site circulation.

Color

Type of Space

Characteristics

Design Elements

Public

Closest to the entry, narrow area lesser vegetation

Entry gate, Security cabin, pedestrian entries, parking, view point to pavilion

Green Zone

Lowest contours, marshy land, dense vegetation, micro climate

Gardens, semi open areas and entrances into the buildings

Semi-Public Zone

Large buildable land, not dense vegetation, not very close to the entrance

Administration, production zone and academic zone

Service Zone

Directly accessible from service lane, remote nook, flat area

Loading and unloading zone, truck parking

Private Zone

Farthest from entrance, not easy access, smaller flat contours

Dormitories, guest house, dye house, designer studio

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Chapter 7

7.9 Site Zoning

Figure 71 Grid Analyses overlapped

By overlapping all the different grid analyses, possible areas of built up and its different uses can be identified.

7.9.1 Zoning Strategies 1. Extent of access into the site for different user groups-

Figure 72 Extent of access into the site for different user groups

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Chapter 7

1. Inter-relation of activities

Figure 73 Inter-relation of activities

7.10 Conclusion The following site zoning is arrived based on the site analysis so far. This is based on the distance from the entrance, the privacy levels necessary for different activities and the inter-relation between the different uses.

Figure 74 Site Zoning

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Chapter 8

CHAPTER 8 DESIGN The design of a space always starts with an idea. This is then developed through many trial and errors. After trying different permutation and combination of space arrangement, structure and plans, finally we arrive at the most optimum design to achieve the objectives and goals discussed before. This chapter looks at the different ideas used for the design and the final design outcome.

8.1 Conceptual Ideas After understanding of the site and arriving at the basic zoning, these are the conceptual ideas that help create the design.

Master Plan -Street Concept The movement of vehicles on the site is a challenging problem to solve due to the terraced contours. Hence, the vehicular movement is based on Chaliyar street arrangement where the central temple structure acts as a roundabout. In the figure here, the red structure is the temple. We can see that the vehicles move around and spread into the direction of intent.

Figure 75- Concept for Vehicular access

Massing Concept- Temple and the houses While moving along a straight narrow road, the presence of an anchor point at the end channels the movement to that central point. In the Chaliyar street, as one enters from the state highway, the central position of the temple acts as the anchor point. The same concept can be used in the design to channelize the visitors to one single point.

N. Neha, Thesis, B.Arch., Department of Architecture and Planning, NITC

Figure 76 Massing concept

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Weaving Spaces The weaving should not feel like a big factory space.

Hence the production units were designed based on traditional houses in Chaliyar street. While the men weave in small weaving huts, the women sit on a raised verandah and do pre-weaving activities like spinning and Figure 77- Production unit concept

winding.

Creating pocket spaces As for the academic spaces and informal activities in the campus, small pocket spaces can be provided in the landscaped area behind the buildings (like the backyard in the houses in Chaliyar street) and green park spaces in the lower contour pockets. These will act as collection spaces for the users. The canteen, exhibition spaces and student informal space can be in such areas.

Figure 78- Informal space concept

8.3 Design Development Site Contours This is an image of the actual site contours. The marked area are the contours that will undergo major cutting and filling. The contours at the entrance of the site has to be levelled to accommodate the 1:12 slope roads leading into the site.

Figure 79 Original site contours

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Site contours after site development After the modifications of the site, we get a 1:12 entry road into the site, a major flat land portion for the main building and the 8m dip can be used to make a basement parking to be used during traffic surge.

Figure 80 Site contours after site development

Initial Massing The initial massing idea was to create a stepped building to create the necessary height in the center and connect different contours through building masses. This massing did not for creating spaces with enough natural light and necessary privacy.

Figure 81 Initial massing idea

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Conceptual Massing After the previous massing, a new approach was adopted. By creating the same kind of elevation as made by the different sized houses on either side of the temple in Chaliyar street, the required movement of vehicles and pedestrians were achieved.

Figure 82 First conceptual massing

Final Conceptual Massing

Figure 83 Final conceptual massing

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8.5 Site Plan The master plan is arrived at after considering the massing and site activities.

Figure 84 Final site plan with all building ground floor plans

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8.5.1 Analysis The following images show circulation of different user groups on the site.

The red line in image 1 shows circulation into the site while the blue represents vehicle circulation exiting from the site. Image 2 shows circulation of visitors and workers throughout the site on a typical working day and image 3 shows circulation of visitors during exhibition times.

Figure 85 Masterplan circulation analysis

8.6 Building Design The building designs have been done based on the usages it is integrating and keeping the concepts in mind.

8.6.1 Parking structure

Figure 86 Basement parking plans

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The basement parking consists of 300 parking and this structure is to be used for parking to control surge in number of visitors during the exhibition times. During other times, the space can be used for planning exhibition structures and exhibits.

8.6.2 Main Block- Academic, administration and production The building includes the three main uses – academic, production and administration.

The right wing of the main building is used for production unit as it has the most area.

The ground floor is used as parking for the employees. Above the parking the space for pre-weaving activities and post weaving activities are provided. The second floor also includes weaving activities.

Figure 87 First floor plan of main building

The academic block is the left wing of the building. It includes presentation classroom spaces, weaving lab, textile testing lab, design studio, printing and dyeing lab, and academic office. The building has a lot of small back yard spaces that can be used by students for informal activities. At the starting of the left wing is the auditorium with a round the year open craft emporium in the first floor. The auditorium can accommodate 1000 people at a time. Just behind the auditorium is sanitation facilities for visitors during the exhibition time. The academic block creates a long south facing facades.

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There are very less rooms given on this side and the façade is covered in vertical louvres to provide shade from the south west heat.

Figure 88 Second floor plan of main building

The administration building forms the central taller structure and it contains the main offices such as marketing offices, finance, record keeping, administration, director’s office, office for public relations, purchase office and yarn bank.

8.6.3 Canteen The canteen is situated in the tree park which is an informal gathering space for the users. In order to mimic the straight trees in the surrounding, the structure is made of steel circular supports affixed to thick concrete columns. The columns are covered in bamboo panels to make them look like tree trunks.

The metal structures for larges circles have additional support from thinner columns.

The space underneath the canteen can be used as a semi shaded area. The circular structure is covered in thin metal members to create the effect of foliage. These members are hollow and hence light weight. They are places at 30 cm between them.

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Figure 89 Canteen plan and structure

6.4 Designer studio and dye house The designer studio includes the workspace for three designers and a set of four weavers for each of these designers. Adjacent to the studio is a small dye house that can be used by the designers to custom dye small amounts of yarn.

Figure 90 Plan of designer studio and dye house

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8.6.5 Hostel and Mess block and other stay facilities The mess block includes a 150-capacity mess and its kitchen, 2 dormitories, gym, gathering hall and main hostel office. Beside this building, we have a 9-room capacity guest house and the directors house with car parking.

Figure 91 Mess block and Guest house plan

Figure 92 Mess block first floor and hostel ground floor plan

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Figure 93 Mess block second floor and hostel block first floor plan

The hostel block has 150 rooms, accommodating 150 girls and 150 boys. It is a single block segregated at two wings with a large central courtyard. To access the mess block, the students can take the bridge connecting from hostel first floor to mess block second floor terrace.

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Chapter 9

CHAPTER 9 CONCLUSION The aim of this project was to formulate an architectural solution for the fast-declining handloom industry in the district of Thiruvananthapuram, Kerala. After understanding the shortcomings of the industry, it is realized that fragmentation of the industry is one of the main issues that can be solved through architectural influence.

Hence, the design aim of the project was to integrate the different activities of the handloom industry in a single space for the betterment of the industry. The campus designed provides the scope for research studies in the field and implementing it first hand on the weavers to test the findings. In case of satisfactory report, the upgrade can be implemented throughout the weaving industry.

The campus also provides opportunities for designers to stay in campus and collaborate with weavers and design students. The IIHT annex campus provides students with opportunities to study the trade first hand from experienced weavers of Balaramapuram.

Most importantly, the project aims at providing a space for weavers to weave and sell their products directly to government marketing companies such as HANVEEV and HANTEX without the involvement of middlemen. This provides better income conditions for the weavers. The campus can be used to organize annual or bi-annual exhibitions to promote the industry. The design encompasses space to hold such events.

Hence through this campus, the working of the handloom industry can be altered to suit the best interest of its actual stake holders, which is the weavers. An established center for an industry attracts un-employed youths. This will ensure more employment opportunities in the sector and thus increasing the importance of the industry.

This in turn affects the mindset of people especially in Chaliyar street. When they realize that the industry is fast growing, they themselves would want to go back to producing handloom thus saving the weaving in the community from going extinct.

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Chapter 10

CHAPTER 10 REFERENCE

1.

T. A. Bhavani, Globalisation & Indian Small Scale Industries: Technology & Competitiveness (Ane Books Pvt Ltd, 2006).

2.

M. L. Narasaiah & C. . T. Krishna, Crisis of Handloom Industry (New Delhi: Discovery Publishing House, 1999).

3.

A. S. Rajesh Shukla, K.A. Siddiqui, P.K Roy, Prabir Kumar Ghosh, Rakesh Kumar Srivastava, Rachna Sharma, Preeti Kakkar, Om Prakash Sharma, K.J. Khan, Sandeep Mishra, Lokesh Dwivedi, Handloom Census of India 2009-10 (2010).

4.

T. Committee, Study & Documentation of Balaramapuram Sarees & Fine Cotton fabrics : The Pride of God ’ s Own Country.

5.

Handloom Sector in Kerala . (2009).

6.

World Heritage Encyclopedia, BALARAMAPURAM. Encyclopedia, (n.d.). https://doi.org/WHEBN0003193036.

7.

The Handloom School. (n.d.). http://www.thehandloomschool.org/.

8.

Fabindia. (n.d.).

1124116.aspx.

9.

SJK Architects, Fabindia Store. (n.d.). https://www.sjkarchitect.com/fabindia.

10.

A. Dongre, Grassroot. (n.d.). https://www.anitadongregrassroot.com/.

11.

Ganga Maki. (n.d.). http://www.gangamaki.com/ganga-maki.html.

12.

SJK Architects, The Handloom School. SJK https://www.sjkarchitect.com/the-handloom-school.

13.

A. SRIVATHSAN, Ganga Maki Textile Studio by Studio Mumbai: “Craft is not a story of stagnation but of sensible emergence.” (n.d.). https://www.architectural-review.com/buildings/ganga-maki-textile-studio-bystudio-mumbai-craft-is-not-a-story-of-stagnation-but-of-sensibleemergence/10016442.article.

14.

Border and Fall, Ganga Maki Studio. (n.d.). http://www.borderandfall.com/studio-mumbai-ganga-maki-progressive-weavingstudio.

15.

IIHT Salem, TECHNOLOGY CITIZEN ’ S CHARTER. (n.d.) 1–31.

World

Heritage

https://www.fabindia.com/pages/50-years-of-fabindia/pgid-

N. Neha, Thesis, B.Arch., Department of Architecture and Planning, NITC

Architects,

(n.d.).

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16.

Sargaalaya, About Sargaalaya. (n.d.). http://sargaalaya.in/shop/about-us/.

17.

government of K. Department of tourism, Responsible tourism. (n.d.). https://www.rtkerala.com/.

18.

D. Maheshan, G. M, & R. Nandhini, Chirakkal Weavers Society (2018).

19.

T. Committee, G. of India, & M. of Textiles, Hand loom Weaver (Frame Loom).

Course Mater. under ISDS.

20.

S. R. Tripathi, S. K. Bhattacharya, P. Chattopadhya, & S. K. Kasityap, EVALUATION OF LIGHTING CONDITIONS IN RELATION TO VISUAL COMFORT IN WORKPLACES OF WEAVERS IN A TEXTILE MILL. (1989) 191–198.

21.

ILO & UNIDO, Small scale weaving (ILO, FAO, 1983).

22.

Kmbr 1999 (1999).

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Index

Index Balaramapuram, 10

Payattuvila cooperative society, 28

Beaming, 49

Saliyas, 11

Chaliyar Street, 10

Sargaalaya, 41

Cooperative society, 28

Sizing, 48

Drafting, 49

Small Scale Industries, 4

Fabindia, 16

Vaniyar, 11

Ganga Maki, 18

Warping, 48

Grassroot, 17

Winding, 48

Mukkuvar, 11

zari, 47

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About the author

About the author

N. NEHA Architect

ADDRESS MEDAYIL VEED BALARAMAPURAM, THIRUVANANTHAPURAM, KERALA, INDIA- 695501

EMAIL ME NEHANOWSHATH@GMAIL.COM

2013 - 2018

BACHELORES DEGREE | B. ARCH National Institute of Technology, Calicut Department of Architecture and Planning

2011 - 2013

FACEBOOK FACEBOOK.COM/NEHANOWSHATH

Christ Nagar Senior Secondary School

2001 - 2010

10th Grade | CBSE Christ Nagar Senior Secondary School

INSTAGRAM T WIT TER.COM/NEHANOWSHATH LINKEDIN LINKEDIN.COM/USERNAME

12th Grade | CBSE

2017

INTERNSHIP AT HABITAT TECHNOLOGY Worked G R O U P on multiple school projects, residences and other civil projects

GOOGLE+ GOOGLE.COM/+NEHAN

2016

BEHANCE BEHANCE.COM/NEHANOWSHATH

2016

hospitals,

TOP 100 ENTRIES – ANDC 2016

The project VAAS is a space settlement designed to sustain life after the end of the world.

SHORTLISTED – CONVENTION TROPHY ZONASA 2016 The project NOVO looks at a vertical approach to waste management in highly populated urban centres

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Appendix 1

Appendix 1 This section contains the sheets presented during the jury.

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