RE-Frame : A participatory Framework of future design.

RE-Frame :

A participatory Framework of future design.

By Sushant Sudhir Samidha Nikharge Guided by Professor Rajratna Jadhav A Dissertation submitted in partial fulfillment Of the requirements for SEM-IX The Degree BACHELOR OF ARCHITECTURE Mumbai University Mumbai, Maharashtra.

5TH Year, Semester IX,BARD 911, December 2020 Conducted at: RACHANA SANSAD’S ACADEMY OF ARCHITECTURE, Rachana Sandsad, 278, Shankar Ghanekar Marg, Prabhadevi, Mumbai 400025

DECLARATION I hereby declare that this written submission entitled “RE-Frame : A participatory Framework of future design.” represents my ideas in my own words and has not been taken from the work of others (as from books, articles, essays, dissertations, other media and online); and where others’ ideas or words have been included, I have adequately cited and referenced the original sources. Direct quotations from books, journal articles, internet sources, other texts, or any other source whatsoever are acknowledged and the source cited are identified in the dissertation references.

No material other than that cited and listed has been used.

I have read and know the meaning of plagiarism* and I understand that plagiarism, collusion, and copying are grave and serious offences in the university and accept the consequences should I engage in plagiarism, collusion or copying.

I also declare that I have adhered to all principles of academic honesty and integrity and have not misrepresented or fabricated or falsified any idea/ data/fact source in my submission.

This work, or any part of it, has not been previously submitted by me or any other person for assessment on this or any other course of study.

Sushant Sudhir Samidha Nikharge Roll No: 25 Date : 18/12/2020

Place: Rachana Sansad’s Academy of Architecture

*The following defines plagiarism: “Plagiarism” occurs when a student misrepresents, as his/her own work, the work, written or otherwise, of any other person (including another student) or of any institution.

Examples of forms of plagiarism include: • the verbatim (word for word) copying of another’s work without appropriate and correctly presented acknowledgement; • the close paraphrasing of another’s work by simply changing a few words or altering the order of presentation, without appropriate and correctly presented acknowledgement; • unacknowledged quotation of phrases from another’s work; • the deliberate and detailed presentation of another’s concept as one’s own.

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APPROVAL CERTIFICATE The following Under-Graduate Design Dissertation Study is hereby approved as satisfactory work on the approved subject carried out and presented in a manner sufficiently satisfactory to warrant its acceptance as a prerequisite and partial fulfilment of requirement to the 5th Year Semester IX of Bachelor Of Architecture Degree for which it has been submitted.

This is to certify that this student Sushant Sudhir Samidha Nikharge is a bona_fide Final Year student of our institute and has completed this Design Dissertation under the guidance of the Guide as undersigned, adhering to the norms of the Mumbai University & our Institute Thesis Committee.

It is understood that by this approval and certification the Institute and the Thesis Guide do not necessarily endorse or approve any statement made, opinion expressed or conclusions drawn therein; but approves the study only for the purpose for which it has been submitted and satisfied the requirements laid down by our Thesis Committee.

Name of the Student: Sushant Sudhir Nikharge Date: 18 Dec 2020

Approved Principal

Thesis Guide

Examined By

Ar. Prof. Suresh Singh

Ar. Prof. Rajratna Jadhav

Examiner-1

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ACKNOWLEDGEMENT As I present this dissertation, I stay grateful to a number of people who have helped me at different stages of completion of this project.

First of all i would like to thank my college Academy of Architecture for conducting this year dissertation online. I would like to thank my Guide Ar. Rajratna Jadhav for his constant support and guidance. He was always very critical and clear which helped to build the argument strongly. I sincerely thank him for being available constantly through phone calls and video calls.

Also I would like to thank our Class Coordinator Ar. Yagnik Bhatija planing this year systematically even with the online lectures.

I would like to thank my classmates who were always available. Parth for always being available and listening to my ambiguous ideas. Aum for discussing new ideas, Mahima and Abhijeet who were just a call away.

Janhavi for helping to simplify things.

I am also grateful towards Riya and Tanmay for their critical view from outside architecture. I would like to thank senior Saurab Madan for his timely advice.

Lastly I would thank my family, My Mom and Dad for their constant support and love to my younger sister and thanks to anyone who i might have missed in the list.

RE-Frame A participatory Framework of future design.

ABSTRACT

In a world that is not predictable, improvisation, evolution, and innovation are more than a luxury: they are a necessity. The challenge of design is not a matter of getting rid of the emergent, but preferably of including it and making it an opportunity for more creative and more adequate solutions to problems.

These arguments have led to the discovery of various design field which has developed with a particular focus. One such design field is Meta-Design. Meta-design is an emerging conceptual framework aimed at defining and creating social and technical infrastructures in which new forms of collaborative design can take place. Aspects of Meta-design were initially realized by Software developers and web designers. The project aims at learning the benefits of Meta-design and how can they be converted to implement them in the field of Architecture.

Various Aspects of Meta-design such as Under-design, Design Time, and Use Time are reinterpreted with the lens of architecture design.

Further study is classified into four major parts to encompass the process of architecture within that framework. The Framework thus becomes a process of designing where the end-user becomes a Co-designer making the design more personal to them. To make the framework

workable and physical, there is a need for a medium, in today’s world of the internet everyone is connected through smart-phones. Thus, the idea of using a smartphone application to create and monitor this framework.

India is a developing nation, meaning there is a lot of infrastructure and architecture development yet to happen. Thus, the designer holds a lot of potential areas to design. But we see that due to lack of financial help a lot of areas never get the opportunity to be get designed by professional. Thus, the framework is an attempt to bridge this gap of Professional and designer where both works to solve the problem, by taking the user input the problem can be understood more appropriately.

Keywords: Participatory, Meta-Design, Underdesign, Co-designer, Framework

Chapter Index Chapter 1.0 - Introduction

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3

Chapter 2.0 - Literature Review

13

Chapter 3.0 - Determinants of Meta-Design

21

Chapter 4.0 - The Framework

33

Chapter 5.0 - Case Study

43

Chapter 6.0 - End-user Identification

53

Chapter 7.0 - Understanding the site

65

Chapter 8.0 - Site and Program Area

89

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Chapter Index Chapter 1.0 - Introduction 1.1 - Background

3

1.2 - Rise of Digital Era

5

1.3 - The Comparison

6

1.4 - A pattern language

7

1.5 - The detrimental growth

7

1.6 - The Futuristic Approach

8

1.7 - An Alternate perspective

9

1.8 - Aim

9

1.9 - Hypothesis

9

1.10 - Objectives

9

1.11 - Research Methodology

Figure 1

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RE-Frame - A Participatory framework for future.

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Chapter 1.0 - Introduction

1.1 - Background

Figure 2 - Diversity Illustration showing diversity within people of different Age,race,Country,Occupation etc.

From primitive times humans have evolved to adapt to the changes around; this is only possible because of our cognitive ability to think and to decide between which is the most suitable option. This ability differentiates one individual from the other.

We can see that with time our lifestyle has drastically changed, changing our needs and likings. With the beginning of the modern era, science and technology have made many things possible that were not easy to imagine in the past. Mass production brought one such change in human lifestyle through the inception of Industrialization.

With mass production, there has been a drastic change in people’s lifestyles. Products and commodities which were otherwise expensive and rare to get are now easily

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available. This mass production was observed in all fields from Food, Clothing, Furniture, Automobiles, Art, and Architecture, etc.

This Mass production makes it possible to produce in huge volume at a much faster pace. However, this also reduces the product’s relevance as the up-graded product is introduced in the market. This cycle of trends may vary from field to field. In terms of clothes and furniture, the trend cycle is much shorter compared to automobiles. Nevertheless, one such field where the trend cycle is longer is Architecture.

Architecture design execution is a long process. The built structure is also to sustain for a much longer period compared to other products and commodities.

If people’s needs are constantly varying, how can architecture build to be there for a

longer period be validated?

Before this industrial era, architecture was not limited to the mere shelter. It was used as an identity. Today, changing needs and ease of construction due to mass production architecture has become repetitive.

At first, architecture was more allencompassing and participatory. An architect has accomplished significantly as of late before the term Architect is authored; the structure, the procedure was conveyed by any person in need or knew about the structure innovation passed by their predecessor. Today we are in a complex world where every profession has a particular responsibility towards society. In this way, experts need to work in harmony with different specialists to get things going more efficiently and even-minded.

Today, architects have power and have

many decisions to make in the entire building construction process. With such power, their actions are equally responsible for society, the environment, and the nation.

They have to focus on many elements along with space and users for whom they are designing.

Designer’s decisions are valued as they are experts. Thus they are expected to have technical knowledge. They are often the decision-maker in the architectural process of a society.

Architecture influences many individuals, even if they are not directly linked with the context. Thus, one individual (Architect) or a group of people liable for shaping so many lives is not acceptable.

In a project where the user is in direct contact with the designer, all the decision is taken with both parties’ consent. Nevertheless, this is not the case where the designer has to design for a majority. Designers can study a few samples, but they cannot deliver everything that the users want, Designers have knowledge that is essential for problem-solving, but not all problems need quick fixes. Instead of fixing all issues, designers should make the user aware of these issues. “....There is nothing worse than, answering well, the wrong questions.”

Alejandro Aravena (TED, Nov 6, 2014)

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Figure 4 - Comparative analysis of Architecture and UX design.

This depict how the Digital arena is different from physical design yet the component and the masses for whom they design are the same

1.2 - Rise of Digital Era

After the industrial era of mass production, we have come to a new internet era where everything is connected through a digital platform. In this new era, there came a new type of designer. These designers had the same user group to cater to, but their field is typically new to that of the other. These are the Web Developers, Software developers,etc.

Constantly updating technology’s evolution.

The role of software developers is essential as they develop the mechanism through which the user communicates through digital media.

Essentially, they play the designer’s role as they design the interface through which they operate and fulfill their task. Virtual space through which all digital work is done is different from the physical world in almost all aspects; it is intangible and makes it unique. The developer entirely creates it, and its sole purpose is for user ease. Since it does not have any Pre-existing context, the developers’ only live background is the user. The virtual world is constantly getting updated as per the user’s needs and requirements. Developers make use of advanced coding and other computer languages to create such programs. However, equal freedom and creative flexibility are still given to the user for modification at his level.

We can see that this software and programs’ amount of customization makes them more users friendly and intimate to the user.

These developers and designers have successfully understood the user functions and their constantly evolving wants from it. By creating an instant feedback mechanism, they | 5­

1.3 - The Comparison

Figure 3 - Digital Network Comparative analysis of Architecture and UX design.

This depict how the Digital arena is different from physical design yet the component and the masses for whom they design are the same

are constantly correcting themselves and trying to make it more adaptive.

This is the reason we can see that from past years this field is flourishing. This domain’s flexibility and adaptive nature have attracted several services to shift their work nature from physical to digital. This, in turn, increases the time users spend on the digital platform. The UI/UX designer came into existence to design seamless connectivity between the user and the application. They design products after extensive study of user behavior and user habits.

Existence to design seamless connectivity between the user and the application. They design products after extensive study of user behavior and user habits.

When we compare both architecture and digital design, we understand that the architecture industry is currently at a stage driven by experts who have various beliefs and intentions behind the design. Whereas digital developers even, if they have a different belief, the entire industry has a human-centered approach. This is a humble way to go throughout the process.

Architecture and computer coding may not sound comparable, but when we see how Christopher Alexander has inspired computer developers, even the field of architecture can learn from program developers. The learning can begin by understanding architecture more humbly and start thinking from a bottom-up approach.

Even though pattern language has earned much respect in various fields, Its application in architecture remains confined. The process and evolution of architecture are primarily slow compared to other fields. However, this can be argued as the life span of architecture is more than other fields.

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1.4 - A pattern language Many architects from the past have worked along these terms to make architecture more lively and personal by involving users in architecture at various stages.

The work of architect Christopher Alexander and his team in a famous book “Pattern language” is considered as bases for many domains, Along with applications of patterns to architecture as depicted in the book, Since the 1990s, software design patterns in software engineering and, more generally, architectural patterns in computer science and interaction design patterns, and since the late 1990s, pedagogical patterns.

A pattern language is an organized and coherent set of patterns, each of which describes a problem and the core of a solution that can be used in many ways within a specific field of expertise.

A pattern language can also be an attempt to express the deeper wisdom of what brings aliveness within a particular field of human endeavor through a set of interconnected patterns. Aliveness is one place-holder term for “the quality that has no name”: a sense of wholeness that, while of varying form, is precise and empirically verifiable. Some advocates of this design approach claim that ordinary people can use it to solve substantial, complex design problems successfully.

1.5 - The detrimental growth These digital world benefits have made them accessible and useful at every level, and their dependability has increased. So along with benefits, this field has created an | 7­

Figure 5 - An illustration of Patten Language and different patterns and codes described in the book by Christopher Alexander..

equal disadvantage to the other fields. Many conventional systems are mainly based on interpersonal connections and the level of individual human communication. The concept of a virtual world is different. It is only about you and the software. Thus, architecture and building settings around the individual lose their value. For this decline of end-users interest in the physical surrounding, architects and designers are equally responsible.

Today we are in a phase where almost all aspects of our lives are connected through the digital domain, with the expectation of more dependability in the future with more advancement in technology. So even though we are aware of the harm, the reliability of technology will not be affected. Experts from various design fields should consider this a serious question and work together to bridge the user and architecture gap, increasing day by day. An architect should understand the users and their issues personally, ensuring more connectedness between them and space.

Architects and designers have to decide how they will respond to the ever-advancing

technology and user dependability. If most of the function goes virtual, what will be the relevance of the physical space? How should architects align themselves with this dilemma?

The introduction of virtual portals in the home –such as the television, the computer, or the smart-phone– has had considerable consequences in our day-to-day and has left architecture at home pretty much untouched.

The Venn Room by Space Popular depicts a series of possible cohabitation scenarios in which issues of integration, interface, exposure, overlap, representation, storage, and ownership in the augmented future for our domestic environments are put into perspective through everyday narratives.

Such exhibitions are the start point for the collaboration of Architects and Programme developers. This will create seamless connectivity between both the physical and virtual worlds. However, such interventions and experiments are still at an initial stage and require a lot of technological and financial backing. Streamlining of such an approach will take decades. The development in the world is not uniform. Thus, to adapt to such a way will need growth of many aspects for which the world together is not ready. So we can see such ideas are majority shown in futuristic books and movies.

1.6 - The Futuristic Approach We will be looking at two design approaches that try to understand this problem and provide a possible solution.

The first approach is to connect physical space with the virtual world, to create a network that is a union of both worlds aligned. Modern architecture and engineering firms are working together in this area.

One such example will be an exhibition by space popular – The Venn Room.

The Venn Room by Space Popular depicts a series of possible cohabitation scenarios of cohabitation. Issues of integration, interface, exposure, overlap, representation, storage, and ownership in the augmented future for our domestic environments are put into perspective through everyday narratives.

Figure 6 - Venn Room An render by the Space Popular of their exhibition of Venn room created to study future possibility of intersection of virtual and physical space 8 |

1.7 - An Alternate perspective

1.8 - Aim

Along with this digital method, we can derive one more method: an amalgamation of learning from both the traditional Design Knowledge and Software Developers. This method will be inspired by software developers on how they design by focusing more on the end-user and provide multiple flexibilities and customization, with an overlap of practical problems from the architecture field. Such a mix of methods has already begun to explore in the product design and website design domain; it is called “Meta design.”

Meta design in architecture will be a designing process where the designer is not the sole hero. A load of design and decision-making is decapitated among various minds, including experts and the end-user.

To create a framework that encourages public participation in the designing process and enduser flexibility to modify the design.

1.11 - Research Methodology

1.9 - Hypothesis

• Using the process such as Meta-design in architecture offers a framework of the designing process that includes user participation in planning and execution.

• To develop not solutions, but environments that allow the “owners of problems” to create the solutions themselves at use time

1.10 - Objectives

• To understand the concept of meta-design and transform its application in architecture.

• Build a system where the user and designer can co-exist and co-create.

• Study the generic architecture process outline and to recreate a participatory outline based on it.

• To create a medium through which the user and designer can communicate.

Figure 7 - Research Methodology | 9­

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Chapter Index Chapter 2.0 - Literature Review 2.1 Meta-Design

13

2.2 Comparison map

14

2.3 Towards an

Unselfconscious

Culture of Design

15

2.4 Meta-Design in Architecture

16

2.5

17

An evolving map of design

practice and design research

Figure 8

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RE-Frame - A Participatory framework for future.

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Chapter 2.0 - Literature Review

2.2 Comparison map

+ User ambiguity

=

Expert Formality

2.1 Meta-Design

A comparative analysis of meta-design and other design domain, When compared to upcoming design field we understand that meta-design is a holistic design domain which encampasses not of the attributes of a rooted design approach.

Meta-design is still in its initial stages and will undergo lot of progress with more exploration.

The 12 attributes in the diagram can be put into 4 major attribute Co-evolution - (Flexible, green, holarchic)

Option 1

In a not predictable world, improvisation, evolution, and innovation are more than a luxury: they are a necessity. The challenge of design is not a matter of getting rid of the emergent, but rather of including it and making it an opportunity for more creative and more adequate solutions to problems.

(Gerhard Fischer and Elisa Giaccardi, 2004) Meta-design is an emerging conceptual framework aimed at defining and creating social and technical infrastructures in which new forms of collaborative design can take place.

It extends the traditional notion of design beyond the original development of a design to include a co-adaptive process between users and design. The users become Co-developers or Co-designers.

It is grounded in the basic assumption that future uses and problems cannot be Completely anticipated at design time, when a system is developed. Users, at use time, will Discover mismatches between their needs and the support that an existing system can provide for Them. These mismatches will lead to breakdowns that serve as potential sources of new insights,New knowledge and new understanding.

Meta-design addresses the following three necessities for socio-technical environments: 1. They must be flexible and evolve because | 13­

Option 2

Co-creative - (self-creative,participate,socially inclusive) Meta-process - (emancipatory, entrepreneurial) Figure 10 - Schematic map

Option 3

Option 4

Figure 9 - Meta Design The square shape showing the formal design approach by expert.

The organic shape indicates the informal creative ideas from the user.

they cannot be completely designed before use.

2. They must evolve to some extent at the hands of the users.

3. They must be designed for evolution.

Making systems modifiable and evolvable by users does not imply transferring the responsibility of good system design to the user.

If the Design created by the Designer does not satisfy the needs or the tastes of the user (who knows best), then the user should be able to adapt the design without always requiring the assistance of the Designer. The designer does not satisfy the needs or the tastes of the user (who knows best), then the user should be able to adapt the design without always requiring the Designer’s assistance.

(Gerhard Fischer and Elisa Giaccardi, 2004)

Comparative table of other design and where Meta-design stand along with them.

Meta-experience emergence aware)

-

(bottom-up,affective,

2.2.1 Holarchic

2.2.2 Emancipatory

Holarchy is a combination between the Greek word ‘holos’ meaning whole and the word ‘hierarchy.’ It is a hierarchically organized structure of units or entities called ‘Holons.’

Each Holon could be regarded as either a whole or apart, depending on how one looks at it. A Holon will look as a whole to those parts beneath it in the hierarchy, but it will look as a part to the wholes above it. So, a Holarchy is then a whole that is also a structure of parts that are in themselves wholes.

1: to free from restraint, control, or the power of another especially: to free from bondage 2: to release from parental care and responsibility and make sui juris 3: to free from any controlling influence (such as traditional mores or beliefs) (merriam-webster, 1828) Here, the meaning suggests that the freedom design is solely under a single agency, and everyone is free to participate in the process 2.2.3 Participatory

Figure 11 - Holarchy chart Above diagram is a Holarchy of domains of life: from Single individual to All-that-is.

actively.

Based on the idea that things can be achieved more easily if everyone works together and is involved in making decisions.

Participation should be voluntary, and no individual should be forced to be part of the process. (merriam-webster, 1828).

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2.2.4 Social inclusion

2.2.10 Emergency Aware

The process of improving the terms on which individuals and groups take part in society— improving the ability, opportunity, and dignity of those disadvantaged based on their identity.

Something dangerous or serious, such as an accident that happens suddenly or unexpectedly and needs fast action in order to avoid harmful results.

2.2.5 Bottom-Up Considering the smaller or less important parts or details of a plan, organization, etc. first: Starting at the lowest levels or from the smallest details of an organization, system, plan, etc. (merriam-webster, 1828) 2.2.6 Top-Down Used to refer to a situation in which decisions are made by a few people in authority rather than by the people who are affected by the decisions: Starting from the highest levels or the most general ideas of an organization, system, plan, etc. (merriam-webster, 1828) 2.2.7 Green Relating to the protection of the environment. (merriam-webster, 1828) Sustainability is not a luxury but a need for the current society.

2.2.8 Flexible Able to change or be changed easily according to the situation. (merriam-webster, 1828) 2.2.9 Affective Connected with the emotions. (merriam-webster, 1828)

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2.3 Towards an Unselfconscious Culture of Design In an unselfconscious culture of design, the form’s failure or inadequacy leads directly to an action to change or improve it. This closeness of contact between designer and product allows constant rearrangement of unsatisfactory details. By putting owners of problems in charge, the positive elements of an unselfconscious culture of design can be exploited in meta-design approaches by creating media that support people in working on their tasks, rather than requiring them to focus their intellectual resources on the medium itself.

For instance, informed participation is a form of collaborative design in which participants from all walks of life (not just skilled professionals) transcend beyond the information given to acquire ownership in problems incrementally and contribute actively to their solutions. It addresses the challenges associated with openended and multidisciplinary design problems.

These problems, involving a combination of social and technological issues, do not have “right” answers, and the knowledge to understand and resolve them changes rapidly. To successfully cope with informed participation requires social changes and new interactive systems that provide the opportunity and resources for social debate and discussion rather than merely delivering pre-digested information to users.

(Gerhard Fischer and Elisa Giaccardi, 2004)

Self-conscious

Unselfconscious

Definition

An explicit, externalized description of a design exists (theoretical knowledge)

Process of slow adaptation and error reduction (situated knowledge)

Original Association

Professionally dominated design, design for others

Primitive societies, handmade things, design for self

Primary goal

Solve problems of others

Solve own problems

Examples

Designed cities: Brasilia, Canberra; Microsoft Windows

Naturally grown cities: London, Paris; Linux

Strengths

Activities can be delegated; division of labor becomes possible

Many small improvements; artifacts well suited to their function; copes with illdefined problems

Weaknesses

Many artifacts are ill-suited to the job expected of them

No general theories exist or can be studied (because the activity is not externalized)

Requirements

Externalized descriptions must exist

Owners of problems must be involved because they have relevant, unarticulated knowledge

Evaluation Criteria

High production value; efficient process; robust; reliable

Personally meaningful; pleasant and engaging experience; self-expression

Relation with Context

Context required for the framing of the problem

Both problem framing and solving take place within the bigger context

Figure 12 - Comparative table of Self conscious, Unselfconscious

2.4 Meta-Design Architecture Traditional Design Guidelines and rules Representation Content Object Perspective Certainty Planning Top-down Complete system Autonomous creation Autonomous mind Specific solutions Design-as-instrumental Accountability, know-what

in

Meta-Design

Meta-Design in Architecture Exceptions and Guidelines with selective negotiations Exceptions Construction Construction Context Contextual Content Process Production Immersion Perspective & Immersion Contingency Contingency Emergence Planing with emergency Bottom-up Bottom-up Seeding Seeding Co-creation Co-creation Distributed mind Distributed mind Solutions spaces Various solution Design-as-adaptive Adaptive Affective model, know-how Know - what , where , how Figure 13 - Comparative table of Traditional Design, Meta-design, Architecture.

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2.5 An evolving map of design practice and design research

Figure 14 - Base Map of evolution.

2.5.1 Research Map

2.5.3 Participatory Mindset

The design research map is defined and described by two intersecting dimensions: One is defined by approach and the other is defined by mind-set.

The research-led perspective has the longest history and has been driven by applied psychologists, anthropologists, sociologists, and engineers. The design-led perspective, on the other hand, has come into view more recently.

The right side of the map describes a culture characterized by a participatory mind-set.

Design researchers on this side design with people. They see the people as the true experts in domains of experience such as living, learning, working, etc. Design researchers who have a participatory mind-set value people as co-creators in the design process.

Base map with division of areas.

(Sander, n.d.)

2.5.2 Expert Mindset The left side of the map describes a culture characterized by an expert mind-set. Design researchers here are involved with designing for people. These design researchers consider themselves to be the experts, and they see and refer to people as “subjects,” “users,” “consumers,” etc. | 17­

Figure 15 - Evolved Map Bubble of various design fields overlay on base map

develop specifications or principles to guide or inform the design development of product and services. They also apply their tools and methods in the evaluation of concepts and prototypes. The three large areas of activity in the user-centered zone come from the applied social and behavioural sciences and/or from engineering: human factors/ ergonomics, applied ethnography, and usability testing.

There are also two smaller bubbles within the user-centered territory: contextual inquiry and lead-user innovation.

2.5.4 User Centric

2.5.5 Participatory

The largest and most developed of the areas on the map is the user-centered design zone.

Thousands of people in this zone work to help make new product and services better meet the needs of “users.”They use researchled approaches with an expert mindset to collect, analyse, and interpret data in order to

The participatory design zone spreads across both the research-led and designled approaches on the right side of the map.

Participatory design is an approach to design that attempts to actively involve the people who are being served through design in the process to help ensure that the designed product/

service meets their needs. Participatory design attempts to involve those who will become the “users” throughout the design development process to the extent that this is possible. A key characteristic of the participatory design zone is the use of physical artifacts as thinking tools throughout the process, common among the methods emanating from the research-led Scandinavian tradition.

2.5.6 Design and Emotion Conference in Delft, the Netherlands. It represents the coming together of research-led and design-led approaches to design research.

2.5.7 Critical design bubble This is design-led, with the designer playing the role of the expert. The emergence of this bubble came about as a reaction against the large user-centered zone, with its overwhelming focus on usability and utility.

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Chapter Index Chapter 3.0 -

Determinants of

Meta-Design

3.1 Design Time and Use Time.

21

3.2 Under-Design

21

3.3 Co-Designer

22

3.4 Co-evolution

23

3.5 Co-evolution

25

3.6 Meta-Production

27

3.8 Degree of participation

30

Figure 16

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Chapter 3.0 - Determinants of Meta-Design 3.1 Design Time and Use Time.

When a designer is designing, there exists an Imaginer time-line with 2 major time zone, Design Time and Use Time.

Design Time The period where the designer provides a suitable Design solution for the end-user. This includes the Concept stage, Schematic stage, Design Development, and Technical Design stages. During this stage, major decisions are made which govern the future utility of the design.

Use Time The design period is complete from the designer’s end and executes accordingly based on the user requirement. This depends on the quality, user, and life of the design. It is generally more than design time.

Architects and designers (with or without user involvement) create environments and spaces.

In conventional design approaches, they create complete space for the world-as-imagined.

At use time, users use the space but their needs, objectives, and situational contexts can only be anticipated at design time. Thus, the design often requires modification to fit the user’s needs. To accommodate unexpected issues at use time, architecture needs to be under-designed at design time while directly experiencing their world.

When we compare these two time zones, we see that Design time is way less than the use time. This also depends upon the permanence of the design.

The majority architecture project is designed to last for more than decades makes the use time exponentially more than the design time.

3.2 Under-Design Design is an outcome of a rigorous experiment and experience from the past. Thus design is considered as the exclusive domain

of experts where general mass is not actively involved. So Under design in this context does not mean less work and fewer demands for the design team, but it is fundamentally different from creating complete architecture.

The primary challenge of under design is in developing not solutions, but environments that allow the “owners of problems” to create the solutions themselves at use time.

This can be done by providing a context and a background against which situated cases, coming up later, can be interpreted. Under design is a defining activity for meta-design aimed at creating design spaces for others.

In Architecture, the scale of the project defines the difference between design time and user time. Also in architecture design, the user time is always more and lasts for a longer time as the amount of investment is huge and the life of the design is also for several decades depending upon the permanence of the design.

From the above, most of the factor can be considered and is mostly taken in to note while designing.

Thus if we acknowledge the importance of under-design we can say that design cannot be considered complete before its use, it must be modifiable to some extend at the hands of the user. This will ensure how a co-evolutionary process and co-creative behaviour can be sustained.

3.3 Co-Designer

Figure 17 - Design Time & Use Time | 21­

When the design is kept partially incomplete with a framework which simplifies for further design gives rise to a new group of designers.

These designers are the user of the designers who design and modify as per their needs. For these new designers to design there is a need for basic learning which is needed for this learning, the user should be included in the initial part of the designing process. This learning will help the user to understand the design solution properly, also making them aware of the core problems which exists. The user can understand problems such as lack of use of the sustainable solution.

Scenario A

Scenario B

Figure 18 - Under-design Designed by the Designer Kept incomplete for user to design

In the above illustration we see two scenario, In both scenario there are 9 squares which are further divided in to more 9 square showing the distribution of design.

In scenario-A all the under-design units are focused at one point. Which should not be the goal of under-design.

Under-design units should be distributed throughout the design giving user opportunity to customise at many levels Consumer

Designer

Passive consumer Well-Informed Consumer End-user Power user Domain Designer Meta-Designer

Figure 19 - Co-Designer In the above diagram we see that to be a passive consumer to a meta-designer is a binary choice for the user.

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room, HVAC system, and fixed equipment rooms.

Functions that are aligned as per their hierarchy should not undergo major shifts, for example, the first function for any office space includes admin, or some sought of inquiry desk, the position of such function should not fundamentally change as there function and position in the design are linked.

Core Design expert

by

Boundary of Design for core design

Design expert

finish

by

Design evolution beyond the expectation of designer

Exploration beyond design by user

3.4 Co-evolution

On a shorter scale, the meta-design in architecture is about space flexibility based on various users. | 23­

3.4.1 Flexibility.

In architecture refers to the ability of a building to continuously adapt its spacious layout and even its structure to evolving needs.

Metabolism architect tried structural flexibility in architecture during 1960; their idea to achieve absolute flexibility made it extremely difficult to implement. Thus learning from past mistakes, flexibility in meta-design revolves more around space and furniture flexibility rather than dynamic building structure.

The degree of flexibility of space will be determined by the amount of time the user spends in the space.

So the flexibility factor of space is inversely proportional to the time users spend in the space.

The percentage of fixes and flexible spaces will also vary based on the nature of the functions. The following are a few functions that should be firm.

Functions included in services such as Toilet, wash-room, service core, ducts, shafts, meter

After studying both the figures below we understand that the houses have evolved with time and many changes and alteration in done to the structure as per the needs and requirements.

Thus with time lot of factors change which cannot be considered at start. The design should be made to evolve with time under user to satisfy their needs. Evolution from both Designer and user makes the design Counterevolutionary.

Houses in Mexicali Architect Location Date Building Type Context

Figure 20 - Co-evolution

People’s lifestyle and needs are constantly evolving, so are the designs of objects they use.

Architecture is static, and its adaptability factor varies from type of design and methods used. An average concrete house can last for a minimum of 40 years under normal circumstances. Thus, architecture built with rigid material makes it difficult to adapt entirely.

Architecture should adapt and evolve with changing trends and needs of people.

Meta design encourages designers to design not only for present needs but also for the future scenario.

When designing for the future, rather than presenting users with the finished product, meta-design will provide them with opportunities, tools, and social reward structures to extend the design to fit their needs.

For architecture to evolve with the user, will take much time, as evolution is a slow and constant process(Architecture Design).

3.4.2 Case study

Under the sponsorship of the Governor of Baja California, This project was built, a small community of houses and community buildings.

The families built their own houses, assisted by students. The construction system and method were new — designed and invented on site.

The design was imagined as a small community housing around the corner with 6-7 houses. Design was created such that there are places for interaction and gathering with very few fenestration within the houses.

: Christopher Alexander : Mexicali, Mexico : 1976 : Houses : Rural

Immediately after design

After 7 years of design

Design where the housing modules are arranged in way to create open uninterrupted court.

Alteration done by the user,fenestration created for protection and security reason along with addition for increasing need.

Uninterrupted Courtyard

Addition of trees in courtyard

Partition families.

created

by

Offset kept open

Extending house an creating compound wall

Figure 21 - Design sketch just as designed.

Sun shade created

Figure 22 - Designed evolved by the user.

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3.5.2 Case study Eishin School Architect Location Date Building Type Context

Design

Creation designer

Design Extend

Under-design

3.5 Co-evolution Design is a creative field; the same problems have multiple solutions in design. A designer is an expert who takes decisions to get the best result for the user.

The architecture we build ends up building and shaping the type of person you are. Unlike any other design, architecture has a profound and significant impact on the primary user as well as the people living in the vicinity. In such scenarios, Designers, even if they are experts, should not be given the sole responsibility of shaping the area. The user should equally participate in the decision-making process.

In meta-design, the process of designing happens in a more holistic and on broader aspects; the decisions will be taken collectively by the user and designer 3.5.1 User Participatory method It is a type of bottom-up approach in architecture that is majority considered for lowcost building or post-disaster architecture.

User participation can be achieved in all types of architecture design. Extend of user participation will depend on the bases of the project. | 25­

by

Design by user

Fix Design done by expert prior

Figure 23 - Co-creative

The area where the user can participate will be decided before the process, based on various factors such as privacy, technology, climate, skill, etc.

Meta-design will shift some control from designers to users and empower users to create and contribute their visions and objectives.

Meta-design will try to introduce the designer and the end-user from the early stages of design and continue this connection throughout the process.

The number of user input is inversely proportionate to the number of the agency in the participatory design.

Thus, Meta-design will work with the motive to reduce the number of middle people between the designer and the end-use. . Co-designing/Co-creation requires creative initiative on the part of the entire team: researchers, designers, clients and the people who will ultimately benefit from the codesigning experience.

: Christopher Alexander : Tokyo, Japan : 1985 : High school/college : Campus

The intention behind the design progress might sometimes be far consequential and germane to scrutinize than its formalization practices. Eishin Campus designed by Christopher Alexander and built in Japan, carries such a meaning as not only being a part of interactive design decision mechanism together with its ultimate users but also with the concern of environmental awareness that is integrated with the vanishing cultural values of making in everyday life.

A new school which was to become a combination high-school and college, on a new site of 9 hectares, once tea bush land, outside Tokyo, in Iruma-shi, Saitama Prefecture.

The principle wanted the project to be done under conditions where faculty, staff, and students, were all taking part in the design process. And by this they meant, not the pablum of token “participation” and “charettes” that has become common in the last twenty years, but honest-to-goodness decision making by the people in the school, based on individual and group understanding.

The school, as a whole, wanted to rebuild their own culture, in such a way as to build deeper allegiance and practice to humane principles -and the physical layout and spiritual cooperation of the members of the school, would have this effect: the creation of a new culture.

Main Building Plan

Figure 26

Figure 24 Figure 27 - Section AA’

Figure 28- Section BB’ Figure 25 26 |

A1

A2

3.6.1 Case study Gando Teachers’ Housing

Production process done by designer

B1

Production process done by designer

B2

Production process done by User

Production process done by User

Figure 29 - Meta-Production In the figure A is the production done by expert. B is the production done by user.

The difference between both the scenario is, In scenario 1, small parts which are whole system in itself are kept for user to design.

3.6 Meta-Production Design till it is executed is just an idea or vision of a Designer; the process of execution makes this vision into an entity. Production is the physical part of the designing process.

Production can be termed as “The process is a series of actions or steps taken to achieve a particular end.”

The participatory approach of meta-design should not only be limited to designing, but also user should also be part of the design execution process.

To involve end-user in the process, the designer has to simplify the design process.

The process should be broken down into parts and explained to the user.

This learning of the process will be helpful for both users as well as the designer. The | 27­

In scenario 2. Small parts which are further part of another system are kept for the user to design.

designer can convey their thoughts and idea more vocally than directly imposing on them; the user, on the other hand, can question the designer and the process.

Meta-design focuses on having a sustainable approach throughout the process by having a deep understanding of the context and the user; even the production will be along with the nature of the site.

By introducing the user in the execution process, there will be an equal balance of user input and expert advice.

The amount of user input will be taken into consideration depending upon the type of project. A public project will have maximum user participation compared to a commercial project.

Meta-designer will sketch an order for the processes in designing before execution, to intervene the user wherever it is possible.

Whether the user physically wants to be part of the process or just using observation will depend upon the degree of participation of the project.

Architect Location Date Building Type Context

: Francis kere : Gando, Burkina Faso : 2004 : Housing : Village

The Gando Teachers’ Housing was conceived as a response to the challenge of attracting qualified teachers to join the staff at Gando Primary School, completed three years prior.

The provision of quality housing, for both teachers and their families, aims to act as an incentive to draw skilled individuals away from cities towards more remote, rural areas of the country.

The houses are made up of a series of adaptable modules, comparable in size to the surrounding vernacular typology, which can be combined in various ways into larger composites, depending on evolving needs. The six units are arranged in a wide arc to the south of the school complex.

This curvilinear layout is reminiscent of a traditional Burkinabè compound.

A key objective of the project was to involve the surrounding community in its construction.

The simplicity of the design and minimal use of purchased materials makes the model easily adoptable and adaptable by members of the community who plan on building or extending their own homes.

The interaction of the people in the process in-turns teaches the local different types of construction techniques and since they themselves do it they can try the same in their houses or workstations,

Figure 30 - Axonometry

Figure 31 28 |

3.7 Meta-Experience What if an architectural environment could change, learn, and adapt to help occupants as they live, work, heal, or play within a given space?

Furthermore, what if such an environment allowed visitors to leave their own “mark” within its design fabric, so future occupants could perceive what came before? Of course, there are times when this may not be desirable, but what about situations where an occupant can make a positive difference upon a space by leaving their “imprint”?

How can my architectural design help occupants to communicate better with each other (both in real-time and over long periods)? After all, architecture is not simply a container. It is a vehicle that helps us to transcend our physical experience into deeper, more meaningful, moments.

Immediate surroundings are one of the fundamental factors in stimulating positive and lively experiences within an individual.

In metropolitan regions, where most of the surroundings are human-made, it has become the duty of the designers to design humane spaces.

To re-address and review on how architecture impacts the human mind and how it stimulates emotions within him. For this, there is a need to take the bottom-up approach by giving more emphasis on human psychology & behaviour, with the prime focus to encourage METAmoods in the user who will, in turn, create a META- experience.

Meta-experience, when tried to understand or experience, may sound complex and theoretical, but when it is understood with the help of the initial process of Meta-design, it is much easier to comprehend.

In the last three aspects, we understood how the user could participate in the process of designing. So when the user is part of the design process, they already have set the design in a way that the design, when experienced in use time, will stimulate meta| 29­

3.8 Degree of participation

Design by user

Experience in the spaces felt.

Degree of participation is a tool to understand the scale at which the user will participate in the process and based on that the entire system will be designed.

The higher the degree of participation, the higher the public input and vice-versa.

It is the degree of participation which will ensure whether the user will participate physically in the execution process.

40-60% of degree of Participation.

• 50 to 50 is the ratio of user to designer contribution in the decision making.

• Small and medium jobs are done with the help of user, to cut down the cost of the project • Example - Incremental housing.

Figure 32 - Meta-experience

moods within the user. Meta-moods may not necessarily be too strong and profound. It can be subtle, which is related only to the primary user of the space.

So meta-experience is the experience which the user would receive if the above 3 aspects of meta-design are established successfully.

3.7.1 Summary The study focuses on the case that every user is different has his own desires and needs for which the user should be given the freedom to design for themselves.

This freedom to design will make the user utilise the space and object in a more intimate and personal manner.

Experts designers can try their best to design for the user but yet they fail to reach the exact precious point of user satisfaction has there are multiple users, and the needs vary drastically which makes it impossible to fulfils everyone choice.

In the next chapter would elaborate about which is one of the possible ways to create a framework where the user becomes more aware of his freedom and potential to design and newer ways of tackling the problem can be achieved.

80-100% of degree of Participation.

• Maximum user participation in decision making.

• Voluntary member / user participate in the execution process.

• Since major design is done by the user the innovativeness will be less.

• Example - self build project, tent , hut , slums , shed etc.

20-40% of degree of Participation.

• 30 to 70 is the ratio of user to designer contribution in the decision making.

• All execution work is done by the experts labour or machinery.

• Final finishes and selection are decided by the user.

• Example - Apartment housing.

60-80% of degree of Participation.

0-20% of degree of Participation.

• 70 to 30 is the ratio of user to designer contribution in the decision making.

• Minimum user participation in decision making.

• Small and easy jobs are done with the help of man power of the user, rest heavy work is done by proper machinery.

• No user participate in the execution process.

• Example - Community driven projects.

• Example - Government buildings, jails etc.

• All finishes are also decided by the designer.

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Chapter Index Chapter 4.0 - The Framework 4.1 The Framework

33

4.2 RIBA Plan of Work 2013

34

4.3 App-Based Framework

34

4.1 General Framework

35

4.2 Participatory Framework

37

Figure 33

| 31­

32 |

Chapter 4.0 - The Framework

F

R

A

M

E

W

O

R

K

Figure 36 - RIBA Outline

4.2 RIBA Plan of Work 2013 D e s i g n Time

1

2

3

4

5

6

7

8

Use Time

Figure 34 - Framework In the above diagram there are 2 scenario depicted to clear the confusion about under-design

4.1 The Framework “a basic conceptional structure (as of ideas)”Meta-design in architecture being a framework deals with creating a skeleton where the life not just created by the designer but the user along with them in such case there should some rules to be created which will make it easier for the participation of the user.

Let’s call this as the manual for a participatory approach which will help and simplify the process of participation.

In the general case where the end-user and the client are same and are in direct connection with the designer, the entire process happens to be with the consent of both the parties but here we are specifically focusing on how this process can be more transparent and inclusive from the participatory point of view so that we can make a framework which will later help in design. | 33­

RE-frame An App that helps to establish a medium to connect designer to the end-user, where all the ideas and discussion can happen along with user inputs.

Figure 35 - App-based solution

The RIBA Plan of Work 2013 organises the process of briefing, designing, constructing, maintaining, operating and using building projects into a number of key stages. It details the tasks and outputs required at each stage which may vary or overlap to suit specific project requirements.

The RIBA Plan of Work framework has served both the architects’ profession and the wider construction industry well.

The major strength of the RIBA Outline Plan of Work 2007 is the simplicity of its stages and the clarity of the stage descriptions.

The definition of the project stages is pivotal, because the stages act as milestones for

agreeing deliverables, establishing fee agreements and determining the activities of the many parties involved in the design, construction and supporting activities of a project.

The RIBA Plan of Work 2013 consists of eight stages identified by the numbers 0–7.

While the stages generally follow in sequence, on certain projects some aspects of the design will have to be developed earlier than others, or the constraints of the procurement strategy may make it necessary to overlap certain stages.

The entire RIBA Outline Plan is shown on page no .

4.3 App Based Framework In the previous chapter, there was a brief explanation of aspects of meta-design in architecture—these aspects of meta-design focus on increasing the interaction between user and designer through a participatory approach.

Many experts in the design field have practised this approach, and all of them have their own framework based their focus and lens they wish to follow.

In the RIBA Outline Plan, we can see the generic framework that RIBA has established for completion of any project. Concerning that framework here, there is an attempt to create a participatory framework with keeping the aspects of Meta-design as the key lens.

The entire process of meta-design currently is in the form of a time-line and is theoretical

in nature for it to become practical it will require a medium through which it can reach the many users which are needed to be connected.

With changing time, people have got accustomed to technology. Today even in rural area people area connected through smart-phones. These smart-phones have become an integral part of peoples life. Because of such advance reach of smart-phones, it has the ability to became a medium through which the framework gets a practical manifestation. This can be done with the help of Application with modern tools we can archive the desired transparency and co-ordination that is required for successful completion of the task. The entire framework is explained on page no.

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4.1 General 4.2 RIBAFramework Plan of Work 2013

Figure 37 | 35­

36 |

Figure 38

Figure 39

Figure 40

Figure 41

4.2.1 Strategic Definition

4.2.2 Preparation and Brief

4.2.3 Concept Design

4.2.4 Developed Design

• Primary and most important aspect of framework is willingness of Designer. The user need to decide the Designer who will be part of the framework.

• Initial Discussion about the site and program will be established at this level • A very rough sketch of the needs of user should be established.

• Every Individual in the group has some pre decided need from the site which can be shared at this point.

• The project brief should be at a stage where the basic budget, sustainability and outcome can be established.

• Site documentation should happen with the help of user, they should be part of the documentation to explain the site and their experiences with site for better

• By this stage the project brief should be approved from designer and user end.

• With approval there will be instances where people won’t be satisfied with outcome thus a middle ground should be made for everyone’s satisfaction.

• Initial sketches idea should be brought on table and discussed at all level. Common board will be created for encouragement of ideas.

• At this stage the degree of participation should be understood by the user group.

• When the designer is aware of the voluntary support that they will receive from the community they can plan for the coming stages.

• Skill development should be done so that the people learn the work in a more systematic manner

4.3 Participatory Framework | 37­

38 |

Figure 42

Figure 43

Figure 44

Figure 45

4.2.5 Technical Design

4.2.6 Construction

4.2.7 Handover and Close Out

4.2.8 In Use

• At the technical stage the user inputs will be less.

• Designer will co-ordinate with other expert as they are the one with technical knowledge.

• Proper drawing will be created at this level.

• For understanding of general people drawings should be made simpler.

• Models should be created for better understanding

• At this stage the degree of participation will determine the user help in construction.

• Based on the project scale the site work can be carried by the user or labour.

• The skill developed by the people can be used to create customised changes to the base frame as per their need.

• Distribution of work will depend upon the interest and skill of people.

• Based on the design time and use time, from here onwards the use time will begun.

• The most important aspect of this stage is to receive feed from both ends.

• The process of designing does not stop here , instead from here onwards the process of co-evolution of the design starts .

• All deals with the designer can be completed till this stage.

• Here we re-cape the entire process of construction to rethink before any addition or changes are required for the structure.

• The time-line of design evolution is in constant flux and never stops.

• There will always be need of an up-gradation with the changing technology.

• This up-gradation will be possible with acquired knowledge of the process.

| 39­

40 |

Chapter Index Chapter 5.0 - Case Study 5.1 Manav Sadhna

43

5.2 Sydenham Garden Resource Centre 45 5.3 BAUHAEUSLE

47

5.4 Villa Verde Housing

49

Figure 46

| 41­

42 |

Chapter 5.0 - Case Study

5.1.8 - Inference

5.1 Manav Sadhna 5.1.2 - Overview Name - Manav Sadhna Location - Gandhi Ashram, Hridaya Kunj, Old Wadaj, Ahmedabad, Gujarat 380027 Architect - Yatin Pandya Area - 1100sqm Typology - Activity Centre 5.1.3 - Function Vocational training,school for young children,gymnasium ,crèche, psychotherapy room, dentist room, computer lab, multi-purpose space for gathering.

Figure 47

5.1.4 - About The activity centre is located amidst the largest squatter settlement of Ahmedabad and was created under the initiative of the social NGO, Manav Sadhna.

The multi-purpose activity centre serves as an informal school for young children in the mornings, provides evening education for adults and serves as a vocational training centre and activity workshop for the manufacturing of craftbased products by women and elderly during the day. | 43­

Figure 48

5.1.5 - Process The campus is built as a live demonstration for the application of recycled waste as affordable, aesthetically pleasing and efficient building components. The products developed for this project, which incorporates municipal/ domestic waste and are prepared with simple hand-operated tools and produced partly through local help of the end-users, are demonstrated in the walls, roofs/slabs, doors and windows. The products thus produced have been lab-tested for their engineered performance, and they prove to be economical, environmentally friendly, participatory and aesthetically pleasing solutions and express alternatives to contemporary practices.

resources. It has also ably personified that design can help improve the quality of life and aesthetics can be personified.

5.1.7 - Negative The economic viability of the project depends on the donation from different groups.

The designer’s vision along with the NGO has given rise to this innovative building.

The building is not only providing job opportunities it is also giving status and focal point to the community. Because of the use of local material; The building also has an environmental impact as the building is focusing on use of waste material for construction material. Overall the building has brought back the pride and sense of belongingness among the rag-picker community which motivates them.

It has aptly shown that building and recycling processes can become economic empowerment for the poor through value addition process of material transformation. It has been an example of participatory process of building using local skills and resources. It has also ably personified that design can help improve quality of life and aesthetics can be personified.

Having begun as first centre of its kind in poor neighbourhood every year new centre is added to the cluster proving its worth as well as social acceptance. Its demonstration value can be seen by emulations in their residences.

Recognition of such efforts can go long way in main-streaming their worthy approach to architecture as prototype to improve lives of million.

5.1.6 - Positive The Centre is an apt example of sustainable design using recycled waste as the-building components. The initiative has spun off many more of such Centres in different parts of the city. It has been an example of a participatory process of building using local skills and

Figure 49 44 |

5.3 Sydenham Garden Resource Centre & The NHS

5.2.5 - Positive The client group and end-users involvement took the form of a well-organised and articulated consultation process, which helped to inform the designers and instil a sense of ownership amongst the community.

Low energy and environmentally friendly strategy for the building has been developed, within the constraints of the scheme needing to be simple and cost-effective.

5.2.1 - Overview Location - 28A Wynell Rd, Forest Hill, London SE23 2LW, United Kingdom Area - 136 sqm Typology - Community Center

5.2.6 - Negative

5.2.2 - Function

Due to the scale of the project enables only the immediate neighbourhood to take advantage of the building. Project is completely designed, leaving no room for end-user modification.

Private meeting areas, 1-to-1 rooms, Kitchen, Spaces for their education and training, Internal-external garden

5.2.7 - Inference Figure 52

5.2.3 - Material

5.2.4 - Process

Thermowood Timber Cladding,timber Exterior triple glazed windows, Non-toxic painats, Flooring comprises of natural linoleum

As a user-centred service, co-workers and volunteers are very much involved in decision-making and service delivery.

Co-workers are supported to set goals towards their own recovery and attend sessions in therapeutic horticulture or arts & crafts, usually weekly for up to 18 months.

Figure 54

Figure 53

The centre links co-workers with other activities in the wider community, including employment, volunteering, and new hobbies.

Outcomes include improved mental and/or physical health, reduced social isolation, and increased confidence.

The client brief and the architecture planning are in sync throughout the process, just like the program, even the architecture helps in healing measures.

Figure 50

Figure 51

5.1.2 - About A building that was a fully equipped, flexible, and comfortable space that allowed the Centre to deliver better services to more people within the community, whilst demonstrating a commitment to sustainability and respecting the integrity of the nature reserve. | 45­

46 |

5.3 BAUHAEUSLE

5.3.8 - Inference The building is considered a showcase project for participatory building: the students should then also live in it and show whether planning, building, and living together is also capable of generating changed social behaviour.

The underlying concept does not understand architecture as a finished result, but rather as a constantly changing process following new conditions.

These buildings “prefer to be closer to earth and close to people, also popular and playful in a provocative way, they should arouse emotions and move the imagination.”

5.3.1 - Overview Location - ALLMANDRING STUTTGART-VAIHINGEN

15,

70569

Area - 2000 sqm Typology - Student housing scheme.

5.3.2 - Function Common rooms, 2 kitchens, 2 bathrooms, Terraces, Shed including a workshop

Figure 56

Figure 55

5.3.3 - About Together with his colleague Professor Peter Sulzer, the assistants and the lecturers at the Chair of Architecture at the University of Stuttgart, the student came up with the idea of a new, contemporary, practice-oriented project in the context of architecture training in 1980.

Under the motto “Learn by building it yourself”, the young students combine theoretical work on the drawing board and practical work with a hammer, saw, and nail.

The idea was to make building and design comprehensible by having the students plan and design their dormitory themselves and ultimately building and living on their own. | 47­

5.3.4 - Material

5.3.7 - Process

Thermowood Timber Cladding,timber Exterior triple glazed windows, Non-toxic painats, Flooring comprises of natural linoleum

The buildings were constructed using the Walter Segal timber self-build method, Two years of construction, without a crane and a hoist.

Splitting the project into a series of smaller blocks meant splitting the responsibility, with different members of staff overseeing each part.

5.3.5 - Positive A dormitory that has grown in a plant-like way embodies architecture here not as a show facade, but as a naturally grown, natural shell of a learning process that was only partially a construction process. The builders linked the Bauhäusle with the wish that “this would remain forever unfinished, that is, alive.”

5.3.6 - Negative Since the entire structure is self emerged, at visual aspects it is informal and disorganised

Figure 57

This gave a very different character to each of the blocks, but crucially for the students, also meant that negotiation and compromise had to occur at the interface where buildings meet.

The result was a house that opens up from the inside to the outside, a “rough, wild assemblage of very different houses grouped around a common room, which stand out due to their idiosyncratic, even bizarre shape”: For example, through roofs in the shape of a barrel and a hyperbolic paraboloid; a oneroom house has the shape of a fan (based on the design), and four rooms are arranged around a common tower like a windmill.

Figure 58

Figure 59 48 |

5.4 Villa Verde Housing

5.1.2 - Inference The importance of this project is that on the one hand, for the first time, it allowed us to think about a design for the upper niche of the housing policy.

While keeping the other half of the house half incomplete the design in further developed by the user making them the Co-creative head .

The design will observe evolution with time.

The other most important part is the simplicity of the project, since it is simple it is much easier to make additions, the open plan gives liberty to the user to expand as per their need.

5.4.1- Overview Name - Villa Verde Location - CONSTITUCIÓN, CHILE Architect - ELEMENTAL Area - 5688 sqm (80sq - 1units) Typology - Social Housing 5.4.2 - Function Row Houses

Figure 70 Figure 80

5.4.4 - Materials Concrete foundations, glass, roofing sheets

unfinished plywood,

5.4.5 - Positive

Figure 60

5.4.3 - About Arauco is a forestry company appointed

the design

firm in 2009 to develop a plan to support their workers

in the process to have access to their definitive house.

Building in the possibility for residents to double the floor area of the house to 80 square meters.

Next to each built section of the row house is an equally sized open space, into which residents can expand their house.

The first floor of the finished half is made up of unfinished concrete floors, and the second is covered in unfinished plywood. With one sink in the kitchen and no other appliances, the house is cheap, practical and well insulated.

First Floor

First Floor Figure 81

Various Architecture design around the world are working with people to derive solutions, there are many examples of such participatory system.

The study aims to create such system for the further part of the project.

They were asked to develop a set of typologies within the housing policy for Fondo Solidario de Vivienda.

These designs would be a contribution of the company

to their workers, a kind of subvention, so that housing committees could use them when applying for the regular system of public funds.

| 49­

5.4.6 - Negative Certain residents expressed annoyance at the need to ‘finish’ their own homes.

Axonometeric

Ground Floor

Ground Floor

50 |

Chapter Index

Chapter 6.0 - End-user Identification EndUser 6.1 Factors For Site Selection.

55

6.2 Community and their occupations

56

6.3 Comparative analysis of Different occupation

57

6.4 Traditional Occupation interlink diagram

59

6.5 Potential site comparison.

60

Figure 82

| 51­

52 |

Chapter 6.0 - End-user Identification

6.1.2 Location

5.1.4 Historical Factors

People who live together in a commonly shared neighbourhood have a strong sense of connectedness, as they belong to a familiar surrounding.

Thus this connects to create a “Locality.”

This locality can consist of various religion and faith.

There can be various aspects which pulls various groups and user to a common location to form a locality.

Events that happened in the past can also result in people forming a special connection to a particular place.

These may be recent events or events from hundreds of years ago, but they can form a powerful link between people and places.

5.1.5 Occupation

6.1 End-User Meta-Design is a process through which end-user is part of the building system and also responsible for the output.

In Meta design, the user becomes a co-creator with the designer, so the result is more holistic and comprehensive.

So the aim is to create a system as a designer which allows the user participation along with the designers technical knowledge.

The participation will ensure that architecture methods are simplified and not jargon for the layman, To create a system, there is a need to identify the user of the system. Thus end-user identification.

End-user can be of any background, and thus the needs and expectations of each user vary, which makes it difficult to develop the system.

So there should be a common link between the various users.

This common linkage will make it clear to identify the common needs and goals of the users.

Thus a set of user with common aspirations and needs can be categorised as “Group.”

These groups when are together with the same groups for a “Community.”

The community here means not about the religion but relation with the various factors

Figure 83

One of the most important aspects of human is how he earns his livelihood.

Occupation of the person can make him in connection with various other groups.

Many times a group is indulging in an occupation together which is followed by their ancestors.

These occupations can be modern or traditional, which leads to the formation of a community.

6.1.1 Spiritual factors This is one of the factors which links people from various places.

Many people feel connected to particular places because of their beliefs or the way a place makes them feel.

People throughout the country have faith in their religion and still practise their traditional customs.

Thus religion key component as it brings in the sense of togetherness within the community.

Figure 85

6.1.3 Cultural factors

There are various other factors which are responsible for forming group and community; these factors can be: Age, Education, Profession, Interest, Economic.

Connections can also be strong influenced by a range of cultural factors; this can include the perceived historic value of a place, how that is meaningful for people in the present, the past and even into the future.

The notion of cultural heritage can be an important motivation factor for connection to place.

Figure 87

Figure 84

Figure 86 | 53­

54 |

6.2 Factors For Site Selection.

These factors are based on the responsibility of the profession to create a system where the user can find a solution for himself. Thus the user here is identified as followed.

Government Aid F u t u r e Potential

Market

Climate is an important factor as it governs the potential output of a region. Major occupation is seasonal and based on the climatic nature of the site.

6.3 Community and their occupations Figure 89

When we look at the type traditional occupations that prevailed in the country, we can broadly categorise them in major four parts.

In-situ, Performance, Migratory, Traditional craft.

With time all these occupation have evolved and have tried to fit in the current world.

Figure 90

Figure 91

Figure 92

Figure 93

6.2.5 Existing Traditional knowledge

Climate Economic Background

6.2.4 Climatic factors

Remoteness Of Site Traditional Knowledge

The originality of an area depends upon the traditional knowledge of the region. In this scenario, India has many regions which are still intact with their tradition.

6.2.6 Remoteness of site Figure 88

6.2.1 Economic background Concerning the initial study of the participatory framework, a search was for a community/cluster who are financially weaker and cannot directly afford designer/experts for their problems.

6.2.2 Market demand for the product • For a cluster which is occupation is dependent on the market, needs to understand the wants and requirement of the consumer.

There is a search for a product which still has relevance in the market and has not faded with globalisation.

6.2.3 Government aids Any site that needs to develop requires government aids. For this, the community has to prove its worth for them to get government assessments. | 55­

• For Agencies places which are famous and connected to the metropolitan region are of great interest as they yield instant profit.

• Thus there was a search for a place which has potential but generally gets neglected due to its remoteness or being far from the nearest city or developed region.

• Many places remain underdeveloped due to lack of connectivity, but this does not stop them to be self-sustainable and create an opportunity for themselves to grow and develop.

6.2.7 Future potential of the site • This is one of the most important factors as this will ensure the amount of support the area will get from external sources such as NGOs and government.

• This will act as a bridge so that the traditional knowledge gets proper exposure. Above all, the factors will work only if every factor has a future.

56 |

6.3 comparative analysis of Different occupation

Nature of work

Community

Location

Work

Agriculture

Koeri

Bihar

Fishing

Kholi

Terracotta

Current status

Type of Participation

Future

The community was at the heart of the Practice agriculture with next genration Indian opium trade, which had its main base migrating towrads city for job in Bihar and for many years was regulated and exploited by the British East India Company via an agency in Patna.

Indirect - Since the people are engaged in agriculture their skills are towards respective field.

since it is an insitu site based occupation migration of next genration is problem , but with upcoming government scheme efforts are taken to educate the next genration to make the occupation more profitable

Gujarat, Maharashtra, Karnataka

The Main occupation of Koli is Fishing.

Occupation is in threat because of Primarily they are fisherman and boatman. destroy of natural coast They are adept in various methods of sea and river fishing and are regularly employed as a worker on a ferry. Their connection with water has led to them becoming the watercarrier for Hindus.

direct/Indirect - People engage in this occupation have varrious type of occupation from making fish net to building boat, their skills can be used

Next genration after studying are taking up new activities because fishing activities are not as much profitable has the were in past

Paul

Asharikandi, Dhubri,.

Assam

The Asharikandi village known as paul para which is based on the potters cast from the tradition. The cluster have went through lots of ups and downs but the craft still alive and at present around 137 households are engaged in terracotta and pottery activities.

They are involved in this profession throughout the year for their livelihood therefore it's a full time activity. All the families from village are engaged directly or indirectly with this craft.

Due to the day by day technological development communication is better these days. With help of government, NGO's, electronic and print media the cluster is getting more attention and opportunities for the development.

Village has well functional schools till higher secondary, hospital and post office. Overall it endow with the well platform to carry forward the development plan for the cluster.

Direct - people are engaged in activites which include exploration of various materials such has Mud , clay , Stone

There is a huge scope and demand of the product which this community produces not only in the nation but also internationally. recently government has identified this cluster as an important area focusing on its tourisim value.

Carpenter

Gudigar

Karnataka,Shimoga and Canara coast

Many have switched to modern material such has wood and cardboard, next genration is intrested as a part-time job

Direct - people are engaged in activites which include exploration of various materials such has stone , wood , ivory , sandalwood etc which can be used has tool of architecture exploration

Next genration is adapting with the changing trends even setting up business startups and exploring market needs. traditional knowledge have scope to evolve

Performing art

Bahand

Uttar Pradesh

They are versatile craftsmen. They carve, paint, sculpt and mould earth to prepare idols. They work on pith garlands and coronets and prepare trinkets. Earlier many well-to-do Gudigars owned land and were agriculturists. Later some excelled in Sandalwood carving, ebony and ivory carving. With depletion of Sandalwood growth and diminishing forest wealth they took to wood carving.

The community is involved in many performing art,they include actors, dancers, minstrels, storytellers and impressionists.

Currently because of increasing needs and changing trends next genration prefer settling at a place and do stable job for occupation, many are rickshaw wala at patna

Indirect- people here have passed on knowledge of performing art which in intangble in nature

There is need to preserve the art form, very few chance that this art form will prevail in near future as full time jobs

Performing art

Gondhali

Maharashtra

Their occupation is to sing songs of the Very few are intrested in taking up this Goddesses of Maharashtra. Their songs are as full time job. mandals and usually the mythological stories of their organisation still try to carry the legacy.

Gods. They use sambal, a set of drums tied to their neck and rested on their thighs to bring rhythm to their songs.

Indirect- people here have passed on knowledge of performing art which in intangble in nature

People practice this art through various theater groups and perform at various occasion it may be grow into full time activity if the government provide proper grants.

Figure 94 In the above Table there is comparative analysis of Different occupation which are of physical nature.

These occupation are carried by certain group of people who are either a community by religion or because of the occupation they have sense of belonging with the place. | 57­

58 |

Figure 95

Figure 96

6.4 Traditional interlink diagram

Occupation

When we see the traditional occupation, they can be broadly be categorised under clothing, Food, Shelter and Entertainment.

In the Above Figure, there are basic subhead and interrelation of them.

Occupation such as terracotta and carving are skill-based occupation whose application can be applied anywhere from arts to daily life utility objects.

Making them a versatile skill which can constantly evolve with time.

Terracotta and Carving was part of the architecture from ancient times, making them an important skill for building ancient temples and palaces. | 59­

In the previous chapter, we have established a framework where we have discussed the participation of the user. Along with the framework, we have also created a tool to measure the participation of people in the designing process (DOC).

In order to reach a higher degree, we have to find a user group who not only is willing to be part of designing but also of the execution process.

In order to participate in the execution, the user should be skilled or creative. Otherwise, the process of skill development can delay the work.

In the above case, when we look at terracotta and carving, the person who practices this occupation are already skilled to participate in the execution. They can not only participate but also be creative to generate an interesting design.

When we look at the nature of this occupation, we see that there are three major locations where the user has to either travel or settle. These include production, Market and Landmark.

Landmark is an area where the product is displayed to draw the attention of the potential buyers. This include area where the exhibition takes places.

The production area is the place where the item or goods are originally produced.

If an architectural intervention for these communities is needed, then it will be in these areas as these are the places which are related to the user.

For the project, there is a need for identification of which user group to focus on and where will be the intervention needed.

The market is the area where the product is sold. It can be a local market or global market based on the product.

6.5 Potential site comparison.

60 |

Potential site for Carving occupation

Potential site for Terracotta occupation

The area is selected for kalagram as this area is a landmark and is expected to receive huge footfall in the coming years.

at providing kilns to the artisans, and other provisos to transform the cluster of villages into a craft and model village.

Cons

Pros

It has no traditional background of the art or occupation for which the kalagram is proposed for.

The artisans will be provided dormitories as they will be called to work based on the work and requirement.

Artisans live there as the area has rich clay soil.

This makes the site as the production area.

Since it is the area for tourist attraction shortly, it can also be a tourist market.

After since PM Narendra Modi introduced this village in his radio Talk show the popularity of village has increased.

Inference Figure 97

Figure 98

Carver - In entire India, there are many communities which practice carving. One such community is the Gudigar. This is the largest carving community in India. It is spread across India. They have settled in different parts of the country based on the availability of raw material.

They have their largest cluster in South India in Karnataka.

Karnataka government have worked with this community at various level to understand the artist and their need. An initiative of the Karnataka State Handicrafts Development Corporation (KSHDC) works as a link between producer and buyer in order to create a fair price market.

The KSHDC is currently working for a proposal of Kalagrama Doddabidarakallu near Peenya.

Terracotta - is one of the oldest craft that human beings ever introduced on Earth. The terracotta tradition is the continuation of the Indus valley traditions that date back 5000 years. India also has an age-old tradition of clay toys and terracotta figures.

In India, the single largest cluster where both Terracotta and Pottery crafts are found and practised traditionally is Asharikandi (Madaikhali) craft village.

Overview Doddabidarakallu is a village panchayat located in the Bangalore.

Major land use of this area is residential with few schools.

The Area comes under Banglore development plan and has the potential to increase land rates shortly.

Pros It has good connectivity, and the municipality provides all basic amenities. | 61­

In order to create a successful framework for user participation, there is a need that the user has a sense of belonging with the site.

In this case, since the user is not residing in the area, the response of user in the participation will not be ideal.

Cons The area his prone to annual flooding.

Inference Asharikandi being the largest cluster to getting acknowledged by the PM of India, has potential and need for architecture intervention.

Overview Before the partition of India, a few potter families from erstwhile East Bengal, at present Bangladesh, migrated to this place of Asharikandi.

The main raw material, hiramati (clay soil) lie in the nearby areas of Silaipar, which is only four kilometres from the village. Owing to the location the raw material is transported through waterways, as the village is located just at the bank of the river Gadadhar, a tributary of the river The Brahmaputra.

24 Nov 2019 the DG of Nectar an autonomous body of the Department of Science and Technology, Government of India, Dr Sarma explained how they have planned to be work to switch over to plasma technology in Asharikandi to enhance production.

Necardo, an NGO with government, is working

Figure 99

Conclusion Both the area have government proposals and plans. However, Asharikandi being the production area has more advantage and freedom to incorporate the Meta-Design framework.

Meta-design framework can be developed

Figure 100

when the design function is emergent in nature; in case of Asharikandi, the needs are a requirement of the village are emerging from the site and its users. Thus for the project, this village is selected as the site for intervention, in the next chapter, there is detail overview, location, economic status of Asharikandi.

62 |

Chapter Index

Chapter 7.0 - Understanding of site

7.1 State - Assam

65

7.2 District - Dhubri

67

7.3 Village - Asharikandi

69

7.4 Existing Typology

76

7.5 Terracotta

79

7.6 User Study

83

7.7 SWOT Analysis

85

Figure 101

| 63­

64 |

Chapter 7.0 - Understanding of site

7.1 State - Assam 7.1.1 Administrative Data Establishment Legislature(seats) Capital Largest city Districts Language(s)

: 15th of August 1947 : Unicameral (126) : Dispur : Guwahati : 27 Official :Assamese, Bodo, Karbi

7.1.2 Geographical data Population Density : 396.8/km² (2011 census) Area: 78,438 km² State Boundaries East : Arunachal Pradesh, Nagaland and Manipur West

: West Bengal Meghalaya

North

:

South

: Nagaland, Manipur, Mizoram, Meghalaya and Tripura

Arunachal Pradesh

7.1.3 Demographics (2011 Census) Male

: 15,954,927

Female

: 15,214,345

Total

: 31,169,272

7.1.4 Literacy rate (2011 Census) Male : 78.81% Female

: 67.27%

Total

: 73.18%

| 65­

and

Figure 102 - India Map

Figure 103 - Assam Map with Dhubri district highlighted

7.1.5 Religion • According to the 2001 census, there are 17,296,455 Hindus, 8,240,611 • Muslims, 986,589 Christians, 22,519 Sikhs, 51,029 Buddhists, 23,957 • Jains and 22,999 belonging to other religious communities. The latter includes Animism (Khamti, Phake, Aiton etc. communities)

state of Assam are known as • “Asomiya” (Assamese), which is also the state language of Assam.

7.1.6 Culture

• The people of Assam have traditionally been craftsmen from time immemorial. Though Assam is mostly known for its exquisite silks and the bamboo and cane products, several other crafts are also made here.

• Different regions of Assam are known for their different forms of art and handicrafts.

• Assam is the meeting ground of diverse cultures.

• The people of the enchanting state of Assam is an inter mixture of various racial stocks such as Mongoloid, Indo-Burmese, IndoIranian and Aryan.

• The Assamese culture is a rich and exotic tapestry of all these races evolved through a lon assimilative process. The natives of the

7.1.7 Arts and Craft

7.1.8 Terracotta in Assam • Pottery is probably as old as human civilisation itself. In Assam, pottery can be traced back to many centuries. The Kumars and Hiras are two traditional potter communities of Assam and while the Kumars use the wheel to produce his pots, the Hiras are probably the only potters in the world who do not use the wheel at all. Again, among the Hiras, only the womenfolk are engaged in pottery work, while their men help them in procuring the raw materials and selling the wares.

• The most commonly-used pottery products include earthen pots and pitchers, plates, incense-stick holders, earthen lamps etc, while modern-day decorative have also found place in their latest.

66 |

7.2 District - Dhubri

7.2.1 Geographical data Dhubri district occupies an area of 2,838 square kilometres (1,096 sqmi).

Dhubri District is bounded both by interstate and international borders: West

: West Bengal Bangladesh.

and

East

: Goalpara and Bogaigoan district of Assam and Garo Hills district of Meghalaya.

North

: Kokrajhar district

South

: Bangladesh and state of Meghalaya

7.2.2 Demographics (2011 Census)

Figure 105 - Debitola map

Figure 104 - Dhubri Map with Debitola Highlighted

7.2.6 Economics

7.2.3 Religion The largest religious group in the district are the Muslims, with 1,216,455 (74.29%)followers, while Hindus and Christians constitute 405,065 and 12,477 inhabitants respectively.

7.2.5 Demographics (2011 Census)

Dhubri district is primarily dependent on agriculture and forest products. Main source of income is paddy with surplus production than its requirement Jute and mustard seed occupy the major share of cash crops. From forest mainly timber and bamboo add to the income though boulder and sand also available. Fish, milk, meat and egg have small contribution to the economy.

7.2.7 Transport

7.2.4 Demographics (2011 Census)

By Road from Guwahati - By boarding the Omni Buses at Guwahati, which are plying between Guwahati and Dhubri regularly, one can reach Dhubri.

Train facilities are running from Dhubri taking a new root from Dhubri to Guwahati Kamakhya station. The train has newly started on 2010 and it is functioning smoothly.

| 67­

68 |

7.3 Village - Asharikandi

tears out of misery caused by the havoc of flood.

The potters have to suffer a lot; they cannot make, dry up, burn their products and cannot even store their products during rainy season of Ashar, the flood prone month. The senior most villagers opined that they selected the place due to its nearness to raw materials, cheaper transportation facility and its strategic location.

The main raw material, hiramati (clay soil) lie in the nearby areas of Silaipar, which is only four kilometers from the village. Owing to the location the raw material is transported through waterways, as the village is located just at the bank of the river Gadadhar, a tributary of river Brahmaputra

7.3.1 Overview In the Dhubri district of Assam the terracotta activity is practiced widely in the village of Asharikandi. The people of this village are practicing terracotta down through several generations. Here it is seen that every household of the village are fully involved in terracotta activity and has taken it as the primary means of livelihood.

7.3.2 Geography Asharikandi is located 14 km away from Dhubri, 3 km from Gauripur and 1 km from NH-31 under the Devitola Block. It comprises of five villages that is Madaikhali, Palpara, Baganpara, Bogurapara and Sikasipara.

The terracotta craft is practiced only in the Madaikhali village.

Figure 106

7.3.4 Economic status The total annual turnover of the village with Total Households 137, with around 500 Artisan in the year 2013 was approx 45,50,000/-. but in recent years this number has exponentially increased to approx 12 crore. (Income fluctuates as per the demand) 7.3.5 Demography

Figure 107

7.3.6Demography Asharikandi comprises of five villages that is Madaikhali, Palpara, Baganpara, Bogurapara and Sikasipara. The terracotta craft is practiced only in the Madaikhali village which comprises of 137 household units covering 500 artisans of which 195 are male and 305 are female.

7.3.7 History

7.3.3 Transport The nearest broad gauge railway station from Asharikandi is New Coochbehar in West Bengal.

The Assam State transport services and private transport services ply through the NH 31 and cater to the transportation needs of the area.

The cluster is located in the Dhubri district of Assam which is 270 km from Dispur which is the capital of Assam and through which he national highway 31 runs.

| 69­

The study was undertaken in Madaikhali village of Asharikandi where the practice of terracotta presents a unique case. Here the activity of terracotta and skills involved in the practice has been passed down through several generations. Before the partition of India, a few potter families from erstwhile East Bengal, at present Bangladesh, migrated to this place of Asharikandi. It is said that the term Asharikandi derived from the combination of two words ‘Ashar’ and ‘Kandi’. Ashar is the third month in Assamese calendar, and kandi (an Assamese term meaning ‘shedding tears’).

During rainy season heavy rainfall causes flood in this low lying area. The villages shed

7.3.8 Rural Tourism Project At Asharikandi Government of India –UNDP new Country Programme 2003-2007 is an ongoing programme. Under this programme Government of India, Ministry of Tourism, has taken up Rural Tourism Scheme. The programme seeks to propagate craft-based tourism for sustainable livelihood and integrated rural development during the 10th five-year plan for capacity building, direct training and infrastructure with the rural community as primary target beneficiaries assisted through the Rural Tourism Scheme of the Department of Tourism, Govt. of India.

The construction works under hardware have been completed in the year 2007. The software part of the project has not been sanctioned till November 2009. The Ministry of Tourism, GOI, is yet to release the rest 20% of the fund.

70 |

7.3.9 Photos and Maps Due to the day by day technological development communication is better these days. With help of government, NGOs, electronic and print media the cluster is getting more

attention and opportunities for the development.

Village has well functional schools till higher secondary, hospital and post office. Overall it endow with the well platform to carry forward the development plan for the cluster.

ASHARIKANDI high school

Base Map

Banks

Figure 108 Image capture: Oct 2020

Images may be subject to copyright.

INFINITY THE EXPLORER Photo - Oct 2020

| 71­

Health facility

Post Office

Schools and Anganwadi

Water resources

Figure 109 72 |

Figure 110

Gour Gobinda Nityaseva Ashram

Figure 111

Figure 112 Image capture: Oct 2020

INFINITY THE EXPLORER

| 73­

Photo - Oct 2020

Images may be subject to copyright.

Restaurant and block toilets have been constructed in the village as infrastructure support for the amenity of the tourists and welfare of the villagers.

74 |

7.4 Existing Typology After studying overall context of the village the architecture typology can be broadly classified in three subhead; Modern, Traditional, Kaccha Buildings.

7.4.1 Modern Building

Figure 113

Buildings made from modern materials have recently been constructed in the last 20-25 years.

Most of such buildings are Public buildings where there is funding from government or local NGOs. These buildings have better stability and last for a longer period.

Many upcoming projects in and around the area construct in this typology as it is much faster and safer. Even though these buildings provide a better solution, they are not built with proper planing; thus, they lack design, making them less sustainable and eco-friendly. Also, because of the cost, very few villagers can practically afford this.

In the above radar diagram Modern building is analysed with 7 parameters which include : 1.Stability 2.Asthetics 3. Utility 4. Disaster Proof 5. Climate response 6.

Services 7. Economical

Materials Concrete

Brick

Steel

Asharikandi

Figure 114

Figure 115 | 75­

76 | Image capture: Feb 2017

Images may be subject to copyright.

7.4.2 Traditional Building

7.4.3 Kaccha Building

Traditional Building knowledge of Assam is renowned. It is the traditional knowledge that has been able to sustain against the harsh monsoons of this region.

Traditional buildings are significantly older and have been practised from generations. These houses are made of locally available raw materials without much assistance from the expert.

These buildings are aesthetically more appealing and are rooted in the context.

With changing time, this typology has lost its relevance as it is more time consuming compared to the modern building. Thus very few opt for this option.

These are the structure which can be considered has to the makeshift structure. They are made from cheap and easily available materials; Kaccha buildings are built when they do not have enough money to buy proper materials.

The material used is of cheaper quality; thus, they do not last for a longer duration making the user more vulnerable to natural disasters.

These buildings are just built for utility purpose.

Thus they lack aesthetics; they do not have proper services and lack climatic response.

The only benefit is that the structure is economical and easier to build with no prior knowledge required.

Figure 116 | 77­

In the above radar diagram Traditional building is analysed with 7 parameters which include : 1.Stability 2.Asthetics 3. Utility 4. Disaster Proof 5. Climate response 6. Services 7. Economical

Materials Bamboo

Sheets

Wood Logs

In the above radar diagram Kaccha building is analysed with 7 parameters which include : 1.Stability 2.Asthetics 3. Utility 4. Disaster Proof 5. Climate response 6.

Services 7. Economical Materials

Corrugated

Tadpatri

Bamboo

Figure 117 78 |

A

B Baganpara

Baganpara

Silair banks

Madakali Gadadhar port

Figure 23 - Clay is the basic raw material and is available from the banks of nearby river Silair (Silairpar Village) which is 18-20 km from Asharikandi. The clay is brought via river Gadadhar and loaded into thelas or handcart from country boats at the Baganpara ghat (river port) close to the village.

Figure 23 - The stretch of the road from Baganpara ghat to the Madaikhali village is sandy and prone to getting submerged during the rainy season

C

D

Figure Soak the clay for two to four hours or overnight.

Kneading clay by leg for an hour or two, and leave it for some time.

Figure - After that they removed stones and other impurities manually with the help of bamboo strip.

E

F

Figure - Clean clay dough

Figure - Put Clay dough on the wheel and throwing on it.

G

H

Figure - Giving shape

Figure - Shaping and finishing on leather hard

Figure 118

7.5 Terracotta Process The term terracotta is derived from the words ‘Terra’ and ‘Cotta’. ‘Terra’ means earth and ‘Cotta’ means baked. Both the words are of Latin and Italian origin. An object of art made of a composition of clay and sand and baked with earthen colour, a brownish red, is terracotta.

Terracotta is one of the oldest craft that human beings ever introduced on Earth.

Terracotta history in Asharikandi date backs to generation. The process of terracotta starts from cleaning of soil to baking them in furnace, even today the village practices early techniques, following is process

Figure 26 - Raw material

Equipments Raw Material Raw material required for making of terracotta include following from top left to right ; Clay ( Hiramati soil), Straw , Wood , Wheel , Kabish (red color) used to colour the terracotta later.

Equipments for making terracotta are as follow from left to right ; Nata , Boila , Pitna

Figure-23

| 79­

80 |

I

J

Figure - Dry the products on sunray

Figure - Arrange the articles for firing

K

L

Figure - Cover the bhati for firing

Figure - Final painting after firing

Examples of Finished Clay Toys of Asharikandi.

Figure 121

Figure 119 | 81­

Figure 120

Figure 122 82 |

| 83­ 84 |

Figure 123

10

9

8

7

6

5

4

3

2

1

Unit No

Shyam Paul, Sarwasati Paul

Apporva Paul, Lipika Paul

Uttam Kumar Paul,Champa Paul

Meghnath Paul, Sondharani Paul

Madhusudan Paul ,Mira Paul

Dilip Paul,Anna Paul

Aaduri Paul, Rampada Paul

Jamuna Paul, Ashwani Paul

Mahadev Paul, Rajeswari Paul

Dhirendra nath Paul, Devdas Paul

Name

7.6 User Study

Photo I

Photo II

4

5

4

4

4

3

4

5

4

5

4000/-

5000/-

4000/-

4000/-

3500/-

3500/-

5000/- to 7000

3000/-

3500/-

5000/- to 7000/-

Family Members Monthly Income

Facing problem with raw materials, production, labor, marketing and finance.

Required potter's wheel, stocking space and firing Kiln.

Concern issues with kiln, production equipments, electricity and logistics

Having material and production issues.

Having issues with potter's wheel, electricity and firing problem

Finance, storing space ,Kiln and marketing help required.

Facing health, labor, stocking and equipment problems.

As well as need marketing, sales and logistic help.

Facing production and finance problem

Having Issues with Raw materials, firing kiln, working unit and potter's wheel

Required latest equipments to cater different areas with good quality products

Issues

Warehouse Condition

S

W

O

T

• A vast number of artisans are available in the village, which is good for large scale production.

• Limited product range, limited surface finishes and quality in the products.

• Taking into consideration the unique characteristics of Asharikandi terracotta, there are possibilities of lunching new products for domestic as well as global market.

• The craftsmen trapped in the traders and middlemen’s strategy therefore not getting the right value and money for their work.

• Whole Craftsmen family is involved in their area of work as per their expertise.

• Use of traditional equipment leads to less production, and less quality also creates a concern for ergonomic issues.

• Easily available raw material from nearby places.

• The craftsmen are not updated with the latest technology and working process.

• The craftsmen are very good at their traditional skills like throwing and beating.

• They Do not have a proper storage facility to store the raw material and fired products which maximize the production breakage.

• The village has electricity and other required facilities.

• This place is connected with the national highway, and another mode of transportation therefore provides great condition to grow the cluster.

• They do not have a quality control system for their products.

• Still using the old traditional packaging which is not up to the mark and cause for transportation breakage.

• The craft has unique handmade characteristics in their products.

• There financial condition of the cluster is imbalanced.

• The village has adequate space for studio or manufacturing unit set up.

• Most of the craftsmen selling their products locally or via traders; therefore, they lack in making product pricing as per the market demand and supply.

• The village has status and demand for the product from the international market.

• Warehouse and workstation do not have a permanent structure making them vulnerable to natural hazards.

• High groundwater table keeps the floor moist all the time, making it difficult for workers.

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• Technical intervention and product diversification for sustainable growth and contemporary market.

• The new generation is looking for another source of income rather than their traditional work for their livelihood.

• Newer sustainable technology such as solar furnace can be used to reduce the fuel cost.

• A local source of raw material in the disputed area (due to settlement of migrants resulting in artisans needing to buy clay at exorbitant prices).

• Advantage from the government and banks as they are providing leverage in their finance option.

• Wood is the basic firing material which is used by tradition can face the environmental law in coming future.

• Several local NGOs are working for the uplifting the condition of the craftsmen.

• Due to the technological development, different kind of cheap and durable material introduced in the market.

• The area attracts religious tourists and has tourism infrastructure available.

• Golokganj port is under construction (will provide a route to international markets).

• The area is flood-prone due to which makes the situation worse during the rainy season.

• Prime Minister mentioned this cluster in recent “ Mann ki Baat “ (radio show) showing interest in advancing the technology and setting toy industry in the village.

• The online market has increased the sales of the products making it easier to bridge the gap between client.

7.7 SWOT Analysis 86 |

Chapter Index Chapter 8.0 - Site and Program

8.1 Site Maps

89

8.2 Current status and problems identification.

103

8.3 Technical Data

109

8.4 Problem and opportunity

113

8.5 Design Intent

115

8.6 Summary

116

8.7 Design Aims

117

8.8 Design Objectives

117

Bibliography 119

Figure 124

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Chapter 8.0 Site and Area Program

8.1 Site Maps

8.1.1 Google Earth Map In the Dhubri district of Assam the terracotta activity is practiced widely in the village of Asharikandi. The people of this village are practicing terracotta down through several generations. Here it is seen that every household of the village are fully involved in terracotta activity and has taken it as the primary means of livelihood.

Legend

Railway Line National Highway River Figure 125

750

Scale in Meters | 89­

250 500

North

90 |

8.1.2 Land Parcel Map • Entire Madakali village is divided with these farmland which are huge land parcels.

• Mustard is grown extensively.

• Maps shows the density of trees near the village with huge farmlands around

Figure 126

750

Scale in Meters | 91­

250 500

North

92 |

8.1.3 Density Map • Asharikandi comprises of five villages that is Madaikhali, Palpara, Baganpara, Bogurapara and Sikasipara. .

• Map Shows the density of population in the Asharikandi village.

• In the Madakali region (nthe density is typically more as it has all the schools and market area.

• As we go towrads (NE) the population decreases in the Asharikandi Village Area.

Figure 127

10 household

750

Scale in Meters | 93­

250 500

North

94 |

8.1.4 Figure Ground map • Concentration of figures near the madakali part with few houses and sheds around farmland.

Figure 128

750

Scale in Meters | 95­

250 500

North

96 |

8.1.5 Contour Map • The Height ground height range between 22-30 M from the sea level.

• River and valleys have a depth around 1218M. • The HFL ( High flood line ) for every year is 28.64.

• This the village is majorly settled near 2730m contour.

• The highest floods were in 1986 with 30.4M • Demarcation of Higher contour areas.

Contour Height

32 M Figure 129

20 M

750

Scale in Meters | 97­

250 500

North

98 |

8.1.6 Contour Map • For the protection of Site from any flood disaster it has to be on a higher region.

• In the map the region shown is the best option among the other because of its close proximity with the station and main village.

• Continues uninterrupted flat land

Figure 130

Higher contour Area 28M and above

750

Scale in Meters | 99­

250 500

North

100 |

8.1.6 Detail Area • The Total area demarcated is around 20000 Sqm on 29M contour • With 2 areas of 5000sqm and 4000sqm at 30M contour.

• The area has a kaccha road cutting through the site

Area- 20000sqm

Figure 131

Selected Plot

50 Scale in Meters

| 101­

10 20

North

102 |

8.2 Current status and problems identification.

8.2.1 Workstations

To understand the problems of the area more thoroughly and to create a framework around it.

To improve the quality & finishes in the products, the cluster needs some technical input as well as the quality control process.

The units need to create a new range of products based on consumer need, usage, behaviour & lifestyle of various communities. To create its own identity units need to maintain their developed characteristics for further new products and market. Also, units should intermingle their unique characteristics & contemporary style together for future growth.

There is a various area where the cluster lacks basic needs, and they require government and expert assessments. There are two main aspects where cluster should focus their growth on.

1. Understanding market trends and needs of people, create a proper strategy for assigning of proper price to product and many such marketrelated aspects which are critical for the growth.

2. Another aspect is about the existing infrastructure and condition of working.

Workstation is an important area where they spend most of their time of the day. Thus the design of workstations is critical for effective work flow. Condition of current workstations is as follow:

This project focuses on the second aspect while trying to understand the problems of the area more thoroughly and to create a framework around it.

Figure 132 | 103­

Dark Workstation with no proper windows for sunlight to penetrate, The material used for the construction of workstation is mostly kaccha making it vulnerable to all climatic problems.

Workstations are unorganised and need proper space planning with partition walls and demarcation of area.

Low height workstations make it difficult to carry work more effectively.

It does not have a proper shade which affects the work on rainy season also insufficient light arrangement inside the working space.

The floor of workstation needs to be treated and raised to protect them from floods and ground water moister, which makes it difficult to dry terracotta.

Figure

8.2.2 Skill Development •

In order to survive in the market, the cluster has to produce highly finished product also at a great pace based on the requirement of the order.

• Currently, the product lack finishing and quality check.

• Due to the lack of exposure & knowledge, they are using only the old process and method, so there are possibilities to introduce them to

new techniques & process for production & quality improvement.

• Proper skill development is required so that they are aware of the market needs and technology.

• The unit needs training on how to redesign their products also for new products development as they are engaged in producing the only traditional product.

Figure 133 104 |

8.2.3 Ergonomic and environment factors

8.2.4 Packaging and logistics

• The whole production process is manual, as the tools & techniques are old, it creates a physical problem in the long run cause many times they have to band & stand throughout the work process.

They do not have proper packaging concept.

• The environment of the workstation is cluttered and ergonomically not fit. Also, the dust comes out during the process, which is unhealthy.

Most of the time they put products in the plastic bag or by creating net (with rope) and dispatch it via local vehicle or hand cart which cause breakage during transportation.

• There is no provision to take care of plaster mould waste which is harmful to the environment.

• Most of the time, the members work in seating posture; therefore, they face problems likeback pain & joints pain.

8.2.5 Exhibition/Display • The unit does not have any concept of product display. They keep products in their house and nearby places.

Figure 134

Stress on Back

• As the village has rural tourism houses so there is a good opportunity to display the products in it which will be helpful for the buyer as well as an attraction for rural tourism.

• As the craft has unique characters & style so, It can be displayed at art & crafts centres as well as a museum or similar place.

• They do not have proper support & exposure for it. Therefore government & NGO should encourage to participate them in trade fair & exhibitions.

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106 |

8.2.6 Infrastructure setup & Designed Vehicles

8.2.8 Infrastructure and Road Conditions

• They do not have proper work space, most of the cases they work in their living house.

• Need to be organized & systematic workspace as they do not have a place for storing, stalking and to display products.

• Required Precision, reduced human error by developing existing tools & equipment.

• Existing transport happens with the help of handcart and bicycle, which are generic and not designed for that.

8.2.7 Flooding and Other Natural Hazards • The annual average rainfall for Assam is 1,524.6 mm.

• Which is more than many other states in India.

• This rain, along with the Bramhaputra River flowing within Assam makes them suffer from annual flooding.

• In the district of Dhubri the High Flood Level • (HFL) is 28.64M with the highest 30.4M. • The Topography of Asharikandi includes the play of small hills and valley. The maximum ground level in Asharikandi is 31M, with an average level between 24-27M respectively.

This topography causes annual flooding.

• During Flood, the villagers cannot practice terracotta as their workstation and warehouses flood.

• Even if the houses are on a higher level, the floor tends to get moist because of the increase of ground water level during the rainy season, making it difficult to practice terracotta.

• This problem hampers the growth of the cluster and their sales decrease during this period. | 107­

Figure 135

Figure 136 108 |

8.3 Technical Data

8.3.3 Procedures followed by the artisan in selling

8.3.1 Land available for the artisans It is seen that out of 80 people 17 have land upto 4 Katha, 25 have 4 Katha to 1 Bigha, 27 people have 1 to 5 Bigha and only 11 people have more than 5 Bigha land

Almost every individual artisan sell their product directly which makes varied price for the same product. Common selling price should be established under single authority

8.3.2 Techniques Of Promotion of Terracotta & Pottery We see that the medium to promote is depended mostly on exhibition.

Exhibitions happens once in a month or after several days, thus they don’t have promotion medium where they can promote product on daily basis. | 109­

8.3.4 Classification of income.

Also Media coverage for the product is far too less.

With advancement in online market this issue can be addressed.

Almost half of the population in the area have income ranging between 2.4lac to 6lac

110 |

8.3.5 Availability of showroom There is a need for a showroom facility where they can display work.

8.3.6 Government Support Government schemes are proposed but yet to get complete amount sanctioned.

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8.3.7 Financial Support 75% Do not get loans which are important for them to buy raw materials in bulk.

8.3.8 Training Centre There is need for a formal training of artisans in order to get international exposure they should be well aware of everything

112 |

8.4 Problem and opportunity No proper Shelter

Dark workstation

Gram panchayat gathering

Unfinished

Police

Flooding

Pug Mill Storage

Front office

Traditional Kiln

Improper transport.

Medical facility

Solar Panel

Display

Admin Area

| 113­

Facility Area

Technology

Post-Production

Other

114 |

8.5 Design Intent 5%

15%

20%

40%

20%

Figure 137

8.5.1 Area statement

Admin Area

Front Office

Facility area

Training

area

Technology

Sustainable Te c h n o l o g y

Work station

Packaging

Other

F l o o d i n g H a z a r d

• D i s a s t e r protection area • Laser engraving • P a c k i n g technology • Police station • Raw material p r o c e s s i n g • Tr a n s p o r t a t i o n • Multi-purpose Loading Area machine Hall • Solar furnace

Back Office

Post-Production

• Storage Area

• Community kitchen B r a n d i n g Collaboration area

• Marketing strategy • Exhibition area

| 115­

Figure 138

8.6 Research Summary From the introductory chapter, we have constantly been discussing the various ways of how design can be user friendly. Metadesign being one of the participatory design fields is further explained with the architecture lens to establish important determinants for a participation system. This determinant consists of Co-evolution, Co-creative, Metaproduction and Meta-experience.

Further, a framework is created within the architecture process to infuse these determinants in them to create a systematic participatory framework. This framework acts as a manual to create a participatory process within architectural design. This process needs a medium to communicate thus app-based solution derived from encompassing this framework.

In Order to successfully full-fill the objectives of this manual, the most important aspect is the user group. Thus the user study and the factors for selection were based on the measures that they are competent to be part of the Framework.

This search in user group led us to Terracotta village of Assam i.e

Asharikandi. Being the largest terracotta cluster the village as highly skilled artisans in all 137 Households who practice terracotta, The study about Asharikandi showed what the areas where the village has to grow and what is the future potential of the area are with the help of the research and outline of programs which are needed in the village to increase the productivity and status of the village in the overall artist network in India.

116 |

+ Framework

+ Determinants Meta-design

of

User Participation.

Figure 139

8.7 Design Aims

8.8 Design Objectives

• Architecture built with Meta-design will act like an open canvas which will encourage the terracotta artisans to alter and add to the design as per their needs and desire allowing them the co-create and eventually systematically evolve the design with time.

• To create open and under-designed, Design in order to let it evolve with the terracotta art in the village.

• The participation of the user in design will teach them the proper use of material.

This learning from participation can be implemented by the user in their own household, without need to wait for expert assistance.

• To create construction techniques with the use of local materials which can sustain the annual flooding and other hazards of the site.

• To convert village identity and skill into a living architecture entity which will constantly be changing and expanding.

• Simplify the architecture process so that the participation is smooth.

• Demonstrate the designing process with the app-based solution.

= Asharikandi is a cluster with a fixed number of artist who is of the same community, with the help of meta-design framework, The people of asharikandi can be part of the design process, the people being already skilled and having preexisting knowledge about design and terracotta can even actively participate in the execution.

The village is already on the tourist circuit of Dhubri, with this opportunity the villagers can display their skills and technique not only in the art but also in the architecture.

This Meta-design framework will help the village to engrave their terracotta identity in architecture.

Future Design

Figure 140

• To build a pattern among the villagers to promote self-learning.

• Other villages who cannot afford expert assistance can take help of this framework to solve their architecture problems. | 117­

118 |

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List of figures Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure | 121­

1 - Photo 2 - Diversity 3 - Digital Network 4 - Comparative analysis of Architecture and UX design.

5 - An illustration of Patten Language 6 - Venn Room 7 - Research Methodology 8 - Photo 9 - Meta Design 10 - Schematic map 11 - Holarchy chart 12 - Comparative table of Self conscious, Unselfconscious 13 - Comparative table of Traditional Design, Meta-design, Architecture.

14 - Base Map of evolution.

15 - Evolved Map 16 - Photo 17 - Design Time & Use Time 18 - Under-design 19 - Co-Designer 20 - Co-evolution 21 - Design sketch just as designed.

22 - Designed evolved by the user.

23 - Co-creative 24 - Photo 25 - Photo 26 - Photo 27 - Section AA’ 28- Section BB’ 29 - Meta-Production 31 - Photo 30 - Axonometry 32 - Meta-experience 33 - Photo 34 - Framework 35 - App-based solution 36 - RIBA Outline 37 - RIBA PLAN OF ACTION 38 - Strategic Definition 39 - Preparation and Brief 40 - Concept Design 41 - Developed Design 43 - Handover and Close Out 44 - In Use 45 - Photo 46 - Site plan

1 3 5 6 7 8 10 11 13 14 14 16 16 17 18 19 21 22 22 23 24 24 25 26 26 26 26 26 27 28 28 29 31 33 33 34 35 37 37 38 38 39 40 40 41

Figure 47 - 43 Figure 48 - Academy of architecture Nari Gandhi Trophy 2018 44 Figure 49 - Architype source https://www.architype.co.uk/project/sydenham-garden-centre 44 Figure 50 - Architype source https://www.architype.co.uk/project/sydenham-garden-centre 45 Figure 51 - Architype source https://www.architype.co.uk/project/sydenham-garden-centre 45 Figure 52 - Architype source https://www.architype.co.uk/project/sydenham-garden-centre 45 Figure 54 - Architype source https://www.architype.co.uk/project/sydenham-garden-centre 45 Figure 53 - Architype source https://www.architype.co.uk/project/sydenham-garden-centre 46 Figure 55 - Photo 47 Figure 56 - Photo 48 Figure 57 - Photo 48 Figure 58 - Photo 48 Figure 59 - Photo 48 Figure 60 - source-archdaily.com 49 Figure 70 - source-archdaily.com 50 Figure 80 - source-archdaily.com 50 Figure 81 - source-archdaily.com 50 Figure 82 - 51 Figure 83 (Youtube), F. C. (Director). (mar 30, 2017). Asharikandi - Craft, Culture and Tradition 53 Figure 84 – ‘Freepik’ www.freepik.com 53 Figure 85 - ‘Freepik’ www.freepik.com 54 Figure 86 - ‘Freepik’ www.freepik.com54 54 Figure 87 - ‘Freepik’ www.freepik.com54 54 Figure 88 - Author 55 Figure 89 - Author 56 Figure 90 – Photo 56 Figure 92 – Photo 56 Figure 91 – Photo 56 Figure 93 – Photo 56 Figure 94 – Comparative table by Author 57 Figure 95 - Author 59 Figure 96 - Author 60 Figure 97 - Author 61 Figure 98 - Author 61 Figure 99 - Photo 62 Figure 100 - Photo 62 Figure 101 - (Youtube), F. C. (Director). (mar 30, 2017). Asharikandi - Craft, Culture and Tradition63 Figure 102 - India Map 65 Figure 103 - Assam Map with Dhubri district highlighted 66 Figure 104 - Dhubri Map with Debitola Highlighted 68 Figure 105 - Debitola map 68 Figure 106 - Map 69 Figure 107 - Map 70 Figure 108 – Google Maps 72 Figure 109 - Google Maps 72 122 |

Figure 111- Google Maps 73 Figure 110- Google Maps 74 Figure 112- Google Maps 74 Figure 113- Google Maps 75 Figure 114- Google Maps 75 Figure 115- Google Maps 76 Figure 116- Google Maps 77 Figure 117- Google Maps 78 Figure 118- (Youtube), F. C. (Director). (mar 30, 2017). Asharikandi - Craft, Culture and Tradition79 Figure 119- Abhijan-Museum 81 Figure 120- Abhijan-Museum 81 Figure 121- Abhijan-Museum 82 Figure 122- Abhijan-Museum 82 Figure 123- author 84 Figure 124- (Youtube), F. C. (Director). (mar 30, 2017). Asharikandi - Craft, Culture anTradition.6387 Figure 125- author 90 Figure 126- author 92 Figure 127- author 94 Figure 128- author 96 Figure 129- author 98 Figure 130- author 99 Figure 131- author 102 Figure 132- author 103 Figure 133 - (Youtube), F. C. (Director). (mar 30, 2017). Asharikandi - Craft, Culture and Tradit104 Figure 134 - google Maps 105 Figure 135 - Google Maps 107 Figure 136 – Google Maps 108 Figure 137 – google maps 115 Figure 138 -(Youtube), F. C. (Director). (mar 30, 2017). Asharikandi - Craft, Culture and Tradition 116 Figure 139- (Youtube), F. C. (Director). (mar 30, 2017). Asharikandi - Craft, Culture and Tradition 117 Figure 140 - Author 118

RE-Frame

A participatory Framework of future design.

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