GATEWAY COLLEGE OF ARCHITECTURE AND DESIGN SONIPAT 131001
DISSERTATION REPORT November 2021
ARCHITECTURAL ASPECTS OF SPACES FOR SKILL-BASED LEARNING IN AN INSTITUTE
SUBMITTED BY:
GUIDED BY:
Vishant Dhankher (GCAD/17/134)
Prof. Radhika Nagpal
GATEWAY COLLEGE OF ARCHITECTURE AND DESIGN
DECLARATION
I, Vishant Dhankher, Roll Number, GCAD/17/134 hereby declare that the dissertation titled “Architectural Aspects of Spaces for Skill-based Learning in An Institute” submitted by me, in partial fulfillment of the requirement of the curriculum of Bachelor of Architecture as per the university norms, to Gateway College of Architecture and Design is a record of my original work with credits given for information collected from any other source.
_________________________________ Vishant Dhankher
GATEWAY COLLEGE OF ARCHITECTURE AND DESIGN
CERTIFICATE
This is to certify that the dissertation titled “Architectural Aspects of Spaces for Skill-based Learning in An Institute”, submitted in partial fulfillment of the requirement of the curriculum of Bachelor of Architecture is the work of Vishant Dhankher, Roll Number GCAD/17/134, who carried out research work under our supervision in Gateway College of Architecture and Design, Sonipat, Haryana. We recommend that the dissertation report be placed before the examiners for their consideration.
______________________________ Prof. Radhika Nagpal Signature of the Guide and Coordinator
Acknowledgement I would like to express my deepest appreciation to all those who provided me the opportunity to write and complete this report. Firstly, I would like to express my guide, mentor and teacher coordinator Prof. Radhika Nagpal whose constructive suggestions, guidance and encouragement to work efficiently and write effectively helped me through the entire process and to understand the significance of the report.
Furthermore, I would like to thank her with much gratitude for the crucial role, which helped me in understanding the importance and conduct of the research along with encouraging to do it while enjoying the process of learning.
I would like to express my utmost gratitude to my director, Ar. Anil Kumar who gave me the golden opportunity to write a dissertation and to choose the selected topic.
Table of Contents
Abstract ……………………………………………………………………………....... (3) List of tables …………………………………………………………………………… (4) List of figures ………………………………………………………………….………..(5) List of abbreviations………………………………………............................................. (7)
CHAPTERS CHAPTER 1: INTRODUCTION……………………………………………………. (8) 1.1 Introduction and background 1.2 The Definitions and Meaning of the important parameters 1.3 Significance of the project/topic 1.5 The Research Question(s) 1.6 The Aim and Objectives of the Research 1.7 The Scope and Limitations of the Research 1.8 Research methodology CHAPTER 2: LITERATURE REVIEW ……………………………………………. (11) 2.1 Purpose of the Literature Review 2.2 Categorization of Literature 2.2.1 Research papers 2.2.2 Books 2.2.3 Unpublished documents 2.3 Collating the Literature Review learnings: The final understanding 2.4 Conclusion CHAPTER 3: METHODS AND METHODOLOGY ………………………………. (27) 3.1 Method(s) opted for Data/ case Selection and its Justification 3.2 Method(s) opted for Data Collection and its Justification 3.3 Method(s) opted for Data Analysis and its Justification 3.4 Advantages and Limitations of the method(s) adopted CHAPTER 4: CASE STUDY DATA PRESENTATION …………………………… (29) 4.1 Introduction 1
4.2 Case 1: 4.2.1 Presentation of data 4.2.2 Type of data: Qualitative/ Quantitative / Mix 4.2.3 Challenges in data collection 4.3 Case 2: 4.3.1 Presentation of data 4.3.2 Type of data: Qualitative/ Quantitative / Mix 4.3.3 Challenges in data collection 4.4 Case 3: 4.4.1 Presentation of data 4.4.2 Type of data: Qualitative/ Quantitative / Mix 4.4.3 Challenges in data collection 4.5 Conclusion
CHAPTER 5: ANALYSIS AND DISCUSSION…………………………………... (47) 5.1 Introduction 5.2 Strength and limitations of the collected Data 5.3 Visual Representation of the Data 5.4 Cause and Effect relationship 5.5 The Final Comments CHAPTER 6: CONCLUSIONS …………………………………………………… (52) 6.1 Summary 6.2 Research Inference and its Significance 6.3 The future Research possibilities 6.4 The future Research projects
APPENDIX………………………………………………………………….………. (55) REFERENCES ……………………………………………………………………… (61)
2
ABSTRACT Globalization and every day updating technology bring requirements for individuals with good knowledge of skills to sustain in a market. In concern to this government introduced several training institutes focusing on these skills and the endangered skills to provide a platform to skill seekers. In provided training institutes, due to the integration of industrial training programs with the craftsman training program the typology of the institutes inclined more towards the industrial training courses where the required qualitative aspects of specific skills got neglected. The research aims to find the required qualitative aspects for skill-based learning spaces to improve the quality of learning spaces in training institutes. Integration of these qualitative aspects in the existing training institutes and the upcoming one is one of the key objectives. The fundamentals like the type of spaces, the qualitative elements required for these skill-based spaces from background study provided lines to be drawn following the skill-sets. Case studies highlighted the context part in the practical field with enhancing the learner experience by introducing indooroutdoor relation in skill learning spaces. The context implies the approach to the design and construction methodology resulting in a better skill-learning space. Also, case studies provide an insight that the requirement of a particular skill-set cannot be denied while considering the quality of the learning spaces. The implications from background studies and case studies highlight some of the considerations while integrating these spaces in these institutes.
The results in the research break the monotony of traditional classroom typology which somehow contradicts the required skill learning environment. The inferences also justify that the skill learning spaces should have a feeling of openness in terms of both tangible and intangible manner to provide a comfortable and creative learning environment.
3
List of tables
Sno.
Table Name
Page No.
1
Categorization of Literature
11-13
2
Identified workspace elements through a systematic literature review
3
Identified different textile printing techniques in India
17-19
4
Inferences from literature review
19-24
5
Identified textile craftsmanship learning spaces through literature review
25
6
Identified textile craftsmanship learning space elements through
25
16
literature review 7
Salient features of case studies
29-31
8
Qualitative elements in case studies
45-46
4
List of figures
SNo.
Figure Name
Page No.
1.
Solitary spaces
14
2.
Team spaces
14
3.
Presentation spaces
15
4.
Tinker spaces
15
5.
Transition spaces
15
6.
Materialist facade of Awadh Shilpgram
31
7.
Ground floor plan, Awadh Shilpgram
32
8.
Street view, Awadh Shilpgram
33
9.
‘Chikankari’ inspired jaalis on arches, Awadh Shilpgram
33
10.
Section to craft courts, Awadh Shilpgram
34
11.
Craft courts, Awadh Shilpgram
34
12.
Open spaces, Awadh Shilpgram
35
13.
Project front elevation, The Gyaan Center
36
14.
Completed The Rajkumari Ratnavati Girl’s School, The Gyaan Center
36
15.
Site plan, The Gyaan Center
37
16.
Entrance, The Gyaan Center
37
17.
Entrance, The Rajkumari Ratnavati Girl’s School, The Gyaan Center
38
18.
Elevation, The Rajkumari Ratnavati Girl’s School, The Gyaan Center
38
19.
Mutually shaded courtyard, The Rajkumari Ratnavati Girl’s School,
39
The Gyaan Center 20.
Courtyard, The Rajkumari Ratnavati Girl’s School, The Gyaan Center
5
39
21.
Showroom, The Gyaan Center
40
22.
Studio, The Gyaan Center
40
23.
Spiritual/skill learning space, Jetavan
41
24.
Site plan, Jetavan
42
25.
Inverted pitched roof system, Jetavan
43
26.
The difference in a pitched and inverted pitched roof system, Jetavan
43
27.
Diagram showing the construction approach of the project
44
28.
Elevation of the prayer hall
44
29.
Analysis of responses for the type of skill-based learning space
49
30.
Analysis of responses for the indoor-outdoor relationship in skill-based
49
learning space 31.
Analysis of responses for the impact of spacious space in skill-based
49
learning space 32.
Analysis of responses for the type of space
50
33.
Analysis of responses for the tangible qualitative elements
50
34.
Analysis of responses for the tangible qualitative elements
50
35.
Found spaces and qualitative elements in the research
53
6
List of abbreviations
SNo.
Abbreviation
Explanation
1.
NSQF
The National Skills Qualifications Framework
2.
NSTI
National Skill Training Institute
3.
CTI
Craftsmanship Training Institute
7
CHAPTER 1: INTRODUCTION
1.1 Introduction and Background In this age of globalization, advancement in terms of technology and skills took a great pace. Today skills are a more important column in someone’s resume than ever before. For the development of society, many authorities also started focusing on skill-based courses and crafts. In India, the education policy 2020 also recommends integrating vocational-based courses into the mainstream education system to enhance an individual’s skills. Skill-based learning is vocational, where short-term courses are provided with exposure to the market, to increase the interaction between the student and market. Currently, there are 15,042 Government and Private Industrial Training Institutes with a total seating capacity of 22.82 Lakh to provide a skilled workforce to the industry in 138 NSQF compliant trades.(Ministry of Skill Development and Entrepreneurship, 2020)1 For craftsmanship 33 NSTI/NSTSI (National Skill Training Institute) across India provides craftsman courses under the craftsman training scheme2, due to the integration of industrial training programs with the craftsman training program the typology of the institutes inclined more towards the industrial training courses. The craftsman’s skills like apparel design and handicrafts courses have different physical aspects like space requirement, form, and materials used, which creates an environment different from industrial training programs. Fundamentals of craftsman skill sets should be taken into consideration for a productive skill-based learning space other than the mainstream learning spaces. Different learning spaces need specific environments according to the education and learning performed there. A skill-based learning environment is favorable when each physical aspect of practice taking place is taken into consideration. The integration of creative skill-based learning spaces into vocational centers and training institutes will ensure high-productive learning which can improve the skill of an individual.
1.2 The Definitions and Meaning of the important parameters ●
Skill - A skill is a learned ability to act with determined results with good execution often within a given amount of time, energy, or both.
●
Skill-based learning - A learning method where students learn skills by planning, implementing, and analyzing those skills.
●
Learning space - A learning space is an environment created by the tutor where the learning is performed for a specific purpose or activity.
1 2
http://dgt.gov.in/CTS (Accessed on August, 2021) https://www.msde.gov.in/en/organizations/nsti (Accessed on August, 2021) 8
●
Vocational Centers - Educational institutions with the domain of short-term courses, which can be developed through further experience in the industry.
●
Training Institutes - Training institutes are colleges that provide particular training with courses inclined towards a specific kind of job.
1.3 Significance of the project/topic Craftsman skills courses promote the culture and craft skills of India. These courses are neglected in local communities due to the rise of competition and globalization, this created rigidity and monotony among the training centers in terms of the architecture of industrial training programs (Ahmed, 2019). With the current role of these craftsman skill courses in society, the physical aspects of these craftsman skill learning spaces should be taken into consideration and integrated into such a manner to complete the objectives and improve the quality of these institutes towards craftsman skill courses.
1.4 The Research Question(s) Q1. How to integrate the qualitative spatial requirements of skill-based learning space to improve the quality and nurture the learning environment in training institute?
1.5 The Aim and Objectives of the research The research aims to raise consideration in terms of a quality environment for craftsman skillbased learning spaces in training institutes to enhance the learning experience for skill seekers. Objectives ●
Building foundation learning of skill-based learning space requirements.
●
Identifying a skill-set in craftsman skill-based learning.
●
Finding quality aspects for the identified skill-set.
●
Formulating a module to integrate these quality aspects into these institutes.
1.6 The Scope and Limitation of research The research restricts itself to the domain of craftsman skill-based learning spaces to enhance a specific unit of society with a prominent role. As architecture is dynamic, with new concepts and techniques these skill-based learning spaces can be integrated into another educational institute.
1.7 Research methodology Phase 1 ●
Identifying fundamentals of skill-based learning spaces through literature study.
9
●
Identifying the quality requirements of a skill-set under craftsmen skill through literature study.
Phase 2 ●
Analysis of skill-based learning spaces through secondary case studies.
●
Gathering professional opinions and ideas, through primary data collection through Delphi technique.
Phase 3 ●
Finding ways to integrate these aspects into the spaces of these training institutes for craft person and skill learners to nurture the learning environment.
10
CHAPTER 2: LITERATURE REVIEW
2.1 Purpose of the Literature Review Fundamentals of craftsman skills for a productive skill-based learning space require certain aspects other than the mainstream learning spaces. Different learning spaces need specific environments according to the education and learning performed there. The literature review will provide a direction to the identification of these aspects which need to be considered to analyze the quality of skill-based learning space.
2.2 Categorization of Literature SNo.
Literature
Name of the
Publisher
Pages of Topic of
Category
literature
Data/ URL
Interest
discussion
1-28
To resolve the
accessed (Date) 1. Research Paper
Vocational
International
Training Centers
Journal Of
rigidity,
and Their
Multidiscipli
monotony, and
Development
nary Studies
neglect
Through
in
vocational and
Contemporary
Architecture
training
Design Trend
And Cultural
institutes in the
Heritage,
Arab
2019,
community.
of
local
Volume 2, Issue 1, 105132
2. Research Paper
Where Do We
The 2nd
1-9
Identification
Learn to Design? International
of
A Case Study
Conference
types of spaces
About Creative
on Design
in a creative
Spaces
Creativity
workspace
(ICDC2012)
environment
Glasgow,
11
different
UK, 18th20th September 2012
3. Research Paper
Designing
Journal Of
1-12
The
new
Creativity-
Technology
creative
Enhancing
and
environment of
Workspaces: A
Innovation
workspaces
Critical Look at
Management
through
Empirical
2017,
systematic
Evidence
Volume 1,
literature
Issue 1, 1–12
review to draw
a
an overview of creativityenhancing workspaces. 4. Web
Textile
https://royald
Workshop
anishacadem
requirements
Requirements
y.com/works
for
hop/textile-
workshop
workshop
-
-
Different
a
textile
environment.
08-08-2021 5. Web
Textile printing https://www.f in
India ibre2fashion.
-
Various textile printing
traditional
com/industry
techniques
approach
-
present
article/1856/t
India.
extileprinting-inindiatraditionalapproach 28-08-2021
12
in
6. Web
The physical
http://www.h
-
Physical
infrastructure of
andprintingg
infrastructure
the hand block
uiderajasthan
quality of hand
printing unit
.in/hand-
block printing
block-
unit.
printing-theblock-andthe-printingunit/physialinfrastructure / - 28-082021 Table 1. Categorization of Literature Source- Author
2.2.1 Research papers
2.2.1.a) 2019, Vocational Training Centers and Their Development Through Contemporary Design Trend, Ola M. Mohammed Ahmed a The research tried to resolve the rigidity, monotony, and neglect of vocational and training institutes in the Arab local community. According to the author, a designer should design a productive space where major consideration should be on the students and the environment around them. A dynamic space like vocational training centers has a range of individual and collective needs. The diversity of students and special needs courses should be considered when designing spaces like workshops and training activities. Vocational and training institutes should establish a multi-activity center as a community interaction area, a visitor center, and a testing area for local building materials. The research concluded a set of strategies and criteria in the design of vocational training centers, which must be followed by the architect and interior designer through the digital trends, originality, and spirit of the place. ●
Performance evaluation of the vocational institutes.
●
These centers should adhere to overall quality standards.
●
In some cases, preserve the heritage of the locality.
●
Combination of both contemporary trends and digital trends.
●
The diversity of users should be a point of consideration.
●
Spaces should be designed for both theoretical learning and practical learning.
●
Dynamic spaces should be provided for the presentation of craftsmanship. 13
●
Interactive open spaces with no obstacles.
●
Accessories and Equipment requirements should be completed in learning spaces.
2.2.1.b) 2012, Where do we learn to design? A case study about creative spaces, K. Thoring, C. Luippold, and R. M. Mueller The research first identified five different types of spaces in a creative workspace environment and tried to analyze them in the classroom environment of a German school. This analysis provided a roadmap to the creative educators and the designers to improve their creative workspaces. •
Solitary Spaces
Spaces used by an individual for personal interests, these spaces allow thinking and meditation and are characterized by a silent environment.
Figure 1. Solitary Spaces: a) university ‘s library (left), b) work desk at home (right) Source- Where Do We Learn to Design? A Case Study About Creative Spaces, 2012
•
Team Spaces
Spaces are used by different people to work together in a team and to exchange ideas and communicate with each other. It is characterized by noise, playfulness, and team interactions.
Figure 2. Team Spaces: different classrooms (a, b, and c, from left to right) Source- Where Do We Learn to Design? A Case Study About Creative Spaces, 2012
•
Presentation Spaces
These are the spaces where people passively consume input (such as lectures) or actively give input themselves (such as presentations).
14
Figure 3. Presentation Spaces: a) lecture room (left), b) auditorium (middle), c) showcases (right) Source- Where Do We Learn To Design? A Case Study About Creative Spaces, 2012
•
Tinker Space
This is a term for a creative space that allows people to experiment and try things out, and also to build stuff.
Figure 4. Tinker Spaces: a) metal workshop (left), b) wood workshop (middle), c) print studio (right) Source- Where Do We Learn to Design? A Case Study About Creative Spaces, 2012
•
Transition space
Some spaces were not intended for working but seemed to be of some importance for the students and which were somehow involved in their work process.
Figure 5. Transition Spaces (from left to right): a) hallways, b) pathways between buildings, c) stairs, d) smoking spot at the entrance Source- Where Do We Learn To Design? A Case Study About Creative Spaces, 2012
2.2.1.c) 2017, Designing Creativity-Enhancing Workspaces: A Critical Look at Empirical Evidence, Martin Meinel, Lukas Maier, Timm F. Wagner, Kai-Ingo Voigt The research talks about the new creative environment of workspaces through a systematic literature review to draw an overview of creativity-enhancing workspaces. Organizations should design their workspace in a way that supports different creative work modes. Also, provide open spaces for teamwork and communication as well as individual spaces for concentrated work. Through the categorization of different elements of creative workspaces, the author tried to provide insight into how workspaces should be designed to enhance 15
creativity. These elements will not stand alone, each element is entangled with each other and has a specific role in the whole environment. Intangible Elements
Tangible Elements
1. Sound (+/- Impact)
1. Furniture (+ Impact)
2. Color (+/- Impact)
2. Plants (+ Impact)
3. Light (+/- Impact)
3. Equipment (+ Impact)
4. Temperature (+/- Impact)
4. Windows/view (+ Impact)
5. Smell (+ Impact)
5. Decoration (+ Impact) 6. Material & Surfaces (+/- Impact)
Table 2. Identified workspace elements through a systematic literature review Source- Designing Creativity-Enhancing Workspaces: A Critical Look at Empirical Evidence, 2017
Intangible Elements ●
Sound- Extensive noise diminishes creativity but soft music, silence, and the absence of noise as elements support creativity.
●
Color- These workspaces can have a cool color scheme or a warm color scheme where a sterile environment without colors harms creativity.
●
Indoor/Outdoor relation- Windows in a workspace can positively influence creativity.
Tangible Elements ●
Furniture- Adequate and comfortable furniture in a workspace enhances creativity. Furniture should enable social interaction in these spaces (ergonomic and mobile furniture).
●
Plants- Workspaces with plants are associated with high creative potential.
●
Storage- Equipping a workspace with appropriate tools can enhance creativity.
●
Surface/Material- Natural surface elements in a workspace enhance the overall creativity.
●
Daylight- Exposure to the daylight in these workspaces enhances creativity.
2.2.2 Unpublished Documents
2.2.2.a) Web, Textile Workshop Requirements, Royal Danish Academy A textile workshop consists of specific areas according to the activities performed there. According to the craftsman skill, the textile workshop contains mainly two spaces, a textile 16
space where the textile is prepared by various processes such as woven and knitted, second the textile printing space where the textile is printed by manual or digital manner.
2.2.2.b) Web, Textile printing in India traditional approach, www.fiber2fashion.com With the cultural diversity, India has various textile printing techniques presently. Following are popular traditional textile printing techniques performed in India. Sno.
Description
Spaces
Special requirement
1.
Hand Block Printing - Wooden ●
Studio
An
blocks are used in this method for ●
Fabric treatment space
drying facility
textile printing. These wooden ●
Printing space.
should
be
blocks are carved to the required ●
Color kitchen
provided
for
design and after applying ink to the ●
Post-treatment space
the final drying
carved side the specific patterns are ●
Drying and ironing
stage
printed on the textile.
space
printing.
● 2.
open-Air
of
the
Storage space
Inkjet Printing - In this method, ●
Fabric treatment space
A digital studio
the required image on the textile is ●
Design studio
for
printed by the use of small ink ●
Printing space
design
●
Post-treatment space
computers and
●
Drying and ironing
digital printing
space
space
Storage space
including
drops.
●
preparing on
digital printing machines. 3.
Hand Printing - Hand printing ●
Studio
A
consists of tie and dye techniques, ●
Fabric treatment space
ventilated
done manually for the printing of ●
Printing space.
environment
●
Color kitchen
for continuous
●
Screen storage space
workflow
●
Post-treatment spaces
during
●
Drying and ironing
printing stage.
the textile.
space ●
17
Storage space
well-
the
4.
Spray Printing - By the use of a ●
Studio
A high ceiling
color spray gun and electro- ●
Fabric treatment space
and
coating, the printing is done on the ●
Printing space.
printing space
●
Color kitchen
to
●
Post-treatment spaces
adequate
●
Drying and ironing
distance
space
between
the
fabric
and
textile.
spacious
have
an
spray gun. 5.
Tie And Dye - This technique ●
Studio
An
includes the tying of both warp and ●
Fabric treatment space
drying facility
weft threads. Bright colors are ●
Printing space.
should
be
majorly used in this type of textile ●
Color kitchen
provided
for
●
Post-treatment space
the final drying
●
Drying and ironing
stage
space
printing.
printing.
● 6.
open-Air
of
the
Storage space
Kalamkari - Kalamkari is a textile ●
Studio
An
printing technique where a specific ●
Fabric treatment space
drying facility
kind of pen is used to do printing ●
Screen preparing
should
be
on the textile.
space
provided
for
●
Printing space
the final drying
●
Color kitchen
stage
●
Post-treatment space
printing.
●
Drying and ironing
open-Air
of
the
space ● 7.
Storage space
Batik - Batik is a dyeing process in ●
Studio
A
which color-resistant material is ●
Fabric treatment space
facility should
applied to the fabric and then the ●
Color-resistance
be provided to
fabric is dyed. After dyeing, the
material preparation
prepare
color-resistant
space
color-
removed. So, the fabric attains its ●
Printing space
resistance
●
Color kitchen
material
●
Post-treatment space
as wax, where
substance
is
original color at those places.
18
separate
the
such
● ●
Drying and ironing
the
wax
is
space
melted
and
Storage space
prepared
for
printing. Table 3. Identified different textile printing techniques in India Source- Author
2.2.2.c) Web, Physical infrastructure of hand block printing unit, www. handprintingguiderajasthan.in •
Light And Ventilation
Hand block printing required a well-ventilated environment, as the printing ink required to dry for constant workability. Access to natural light should be provided wherever possible. For efficient light and ventilation, access to light and air should be provided from the middle. Open- Air Drying facility should be provided for the final drying stage of the printing. The circulation of chemical fumes is also important in a hand block printing unit. •
Temperature
For temperature variation, different stages of hand block printing require different temperatures. In high heat requirement areas, access to sunlight will be an efficient approach. In colder and rainy seasons artificial heat is required, heat under the table is one of the approaches. So the balance between natural and artificial resources is important. •
Resource Management
Water as one of the most essential resources in most of the stages of hand block printing, water storage infrastructure should be provided in the unit. •
Workspace
A high roof is preferred for this skill as many equipment and accessories have high height dimensions. “Paatiya” is a traditional table used in hand block printing, it is 2 feet wide, 3 feet in length, and 1 foot high. This traditional table is mostly preferred by elders and women, but for fast production, 5 feet wide, 5-6 feet in length, and 4 feet high table is used.
2.3 Collating the Literature Review learnings: The final understanding
2.3.1 Fundamentals of craftsmanship learning space Sno.
Year
Title
Author
Summary of the
Inference
content 1.
2019
Vocational
Ola M.
19
The research tried ●
A
dynamic
Training
Mohamm
to
resolve
Centers and
ed Ahmed
rigidity,
Their
a
monotony,
the
space
like
vocational and
training
Development
neglect
of
centers has a
Through
vocational
Contemporary
training institutes
individual
Design Trends.
in the Arab local
and
community. Ideas.
collective
The
needs.
and
range
research
of
concluded a set of ●
The
strategies
and
diversity of
the
students and
criteria
in
design
of
special
vocational training
needs
centers,
courses
which
must be followed
should
by the architect
considered
and
when
interior
be
designer through
designing
the digital trends,
spaces
originality,
workshops
and
spirit of the place.
like
and training activities. ●
Vocational and training institutes should establish
a
multiactivity center as a community interaction area,
a
visitor center,
20
a
testing area for
local
building materials. 2.
2017
Designing
Martin
The research talks ●
Organizatio
Creativity-
Meinel,
about
ns
Enhancing
Lukas
creative
the
new
design their
Workspaces: A Maier,
environment
Critical Look
Timm F.
workspaces
at Empirical
Wagner,
through
Evidence
Kai-Ingo
systematic
Voigt
literature to
should
of
workspace in a way that
a
supports different
review
draw
overview
creative
an
work modes.
of ●
Also,
creativity-
provide open
enhancing
spaces
workspaces.
teamwork
Through
the
for
and
categorization of
communicat
creative
ion as well
workspaces, author
tried
provide into
the
as individual
to
spaces
insight
concentrated
how
work. ●
workspaces
for
Identified
should
be
tangible
designed
to
workspace
enhance
elements are
creativity.
furniture, plants, equipment, windows, decoration, and material, and surfaces. ●
21
Identified
intangible elements are sound, colors, light, temperature, and smell. ●
There
are
also physical workspace environment elements that consistently inhibit creativity. These include too high
levels
of noise, too high temperatures ,
an
insufficient office
size,
the use of synthetic materials, and inflexible work arrangement s. 3.
2012
Where do we
K.
The research first ●
The research
learn to
Thoring,
identified
five
classified the
design? A case
C.
different types of
spaces as the
study about
Luippold,
spaces
solitary
22
in
a
creative spaces
and R. M.
creative
space
Mueller
workspace
personal
environment and
withdrawal,
tried to analyze
the
them
space
in
the
for
team for
classroom
group work,
environment of a
the tinkering
German
school.
space
to
analysis
build
stuff,
This provided
a
the
roadmap to the
presentation
creative educators
space
and the designers
present
to improve their
work or to
creative
get
input,
workspaces.
and
as
to the
transition spaces, such as hallways or student ‘s cafés, which were somehow involved in the creative process, without being intended for that purpose. ●
One
space
could incorporate several functions, and
23
one
function could
be
allocated in several types of spaces. Table 4. Inferences from literature review Source- Author
Vocational centers and training institutes are dynamic where the diversity of users should be taken into consideration. The workshops have a special need for the activities performed there which can allow the different creative modes. These creative modes in terms of spaces can be categorized into the solitary space for personal withdrawal, the team space for group work, the tinkering space to build stuff, the presentation space to present the work or to get input, and as transition spaces, such as hallways or cafés, which were somehow involved in the creative process, without being intended for that purpose. In continuation, these spaces should encourage personal space as well as team communication at the same time where one space could incorporate several functions, and one function could be allocated in several types of spaces. As per tangible and intangible elements considered in these workspaces, tangible elements are furniture, plants, equipment, windows, decoration, and material, and surfaces. The intangible elements are sound, colors, light, temperature, and smell. When the spatial layout is considered the layout, size, and complexity of space are the points of consideration. These elements will not stand alone, each element is entangled with each other and has a specific role in the whole environment.
2.3.2 Fundamentals of Textile craftsmanship learning space Textile Craftsmanship learning spaces have different fundamentals as per the different stages the textile is prepared. From the weaving to the printing of textile the piece of cloth goes through various stages where the physical infrastructure requirements are different stages. In the textile craftsmanship learning environment, solitary spaces consist of space where an individual conceptualizes the design of the textile. In this space, an individual should have access to all types of accessories for this stage for e.g., storage of different threads, textile and stitching accessories. Team spaces will include the discussion spaces for design finalization to proceed toward textile manufacturing and weaving space where several looms are provided. In presentation spaces, exhibition spaces should be provided where the dimensions of the sample should be taken care of. The tinker space includes the printing or embroidery space. Considering the printing or embroidery stage, a properly ventilated environment with proper temperature control at different stages is required at this stage as the ink or the dye 24
needs to be dried in as much as less time. Access to sunlight and open drying facilities should be provided in the unit. Furniture also plays an important role in these spaces, according to the user’s diversity the furniture should be provided. Water storage infrastructure should complete the water requirement at different stages. A balanced approach should be taken for the access of natural and artificial resources. All the transition spaces should be well organized to access all other spaces and transport samples in these spaces. Space Type
Identified space
1. Solitary Space
Personal space where an individual conceptualizes the design
2. Team Space
Discussion space where the design is discussed.
3. Presentation space
Where the textile sample is presented.
4. Tinker space
The final stage workspace where the textile is printed or embroidery is done.
5. Transition space
Corridors connecting different stages spaces
Table 5. Identified textile craftsmanship learning spaces through literature review Source- Author
Intangible Elements
Tangible Elements
1. Light (+ Impact)
1. Furniture (+ Impact)
2. Temperature (+/- Impact)
2. Equipment (+ Impact)
3. Smell (- Impact)
2. Indoor-Outdoor Relation (+ Impact) 3. Decoration (+ Impact) 4. Material & Surfaces (+/- Impact)
Table 6. Identified textile craftsmanship learning space elements through literature review Source- Author
2.4 Conclusion
25
2.4.1 Categorization of space In terms of skill-based learning spaces, the type of spaces in these learning environments can be determined by the different activities that commence there. Categorization of spaces helps in understanding the functions and activities to be performed in the skill-based learning environment. Certain modules can be proposed through identified spaces for the individual skill-based learning spaces.
2.4.2 Tangible and intangible elements As per tangible and intangible elements considered in these learning spaces, tangible should be comfortable and accessible for a creative environment. Intangible elements should not affect productivity by diminishing creativity. For a productive and creative skill-based learning environment the relationship between the spaces and their elements should be maintained. The spaces and elements will not stand alone, both uphold each other and has a specific role in the whole environment. These aspects propose evaluation criteria for the quality of the learning environment in an institute.
26
CHAPTER 3: METHODS & METHODOLOGY
With diversity and different requirements of individual Craftsmen skill-based learning, deep research on these skill-sets should be done before proposing any module on the table. Exploring the skill-set in the textile industry and different activities that commence in the skill-set is one of the crucial steps of the research. In the end, the research will try to answer the following questions. Q1. How to integrate the qualitative spatial requirements of skill-based learning space to improve the quality and nurture the learning environment in training institute?
3.1 Method(s) opted for Data/ case Selection with its Justification Initially, the data selection will be done based on background information obtained from the study of research papers, books, articles, and unpublished documents which are concerning the topic in a way. The background information will provide the foundation for the justification points extracted from the selected data. Also, this will provide a valid framework for the study.
3.1.1 Case studies With the major responsibility of these training institutes in each community, the selection of works done by architects Diana Kellogg and Sourabh Gupta was done. ●
Diana Kellogg Diana Kellogg’s community-centered and sustainable approach with innovative construction techniques provides a flexible result to the project.
●
Sourabh Gupta’s Sourabh Gupta’s socially responsible and contextually responsive architecture creates a platform where communities have an opportunity for growth.
3.1.2 Primary data For a professional opinion on the topic, the domain of architects and students of architecture was chosen for their views on the spaces and elements of skill-based learning spaces. This will provide a professional perspective to the conclusion of the study.
3.2 Method(s) opted for Data Collection with Justification The secondary data through analysis of case studies provide practical information and knowledge of craftsmen skill-based learning spaces. Case studies will cover the present elements and requirements of textile craftsmanship learning spaces, which will initiate the
27
process of improving the overall learning experience in upcoming training institutes and spaces. A questionnaire-based survey between professional architects and students of architecture is done to know their views on the “Architectural aspects of skill-based learning spaces”. The analysis of designing views and opinions will provide a result with a professional sense.
3.3 Method(s) opted for Data Analysis with Justification Comparative analysis between the fundamentals from foundation learning and practical knowledge through case studies will provide the quality evaluation sections for the present training institutes and upcoming projects. The comparison between parameters provided in the fundamentals and the practical implementation will provide insight into the most vulnerable sections in the learning space. The graphical representation of responses in questionnaires from architects and students of architecture using pie charts is used to provide relevant information and the percentages for the analysis. The analysis through rating obtained in the survey will provide the quality evaluation sequence for the skill-based learning spaces.
3.4 Advantages and Limitations of the method(s) adopted The methods adopted in the study provide the fundamental knowledge, professional views, and opinions regarding the study topic. The Google Forms and graphical representation of analyzed data would be easy to understand and commence on the field. The statistical approach in the study will provide a sequence to evaluate the quality of skill-based learning spaces in the institutes. The practical examples in the study are limited to textile craftsmanship learning, the further case studies can be done on specific skill-set through given fundamentals in the research. Specific modules can be proposed with different requirements of skill-set with the diverse technology and methodology in architecture.
28
CHAPTER 4: CASE STUDIES DATA REPERSENTATION
4.1 Introduction The practical knowledge through case studies is an important part of the research process, the practical views through this step establish the practical theory into the research. The literature study built the foundation on “Qualitative aspects in craftsman skill-learning spaces”, by understanding the standards and key spaces in these institutes. The case studies will be the step to lay this foundation of learning in the field. The selected cases will provide insight into how the different requirements of skill-based learning spaces can be integrated into a learning space incorporating a socio-cultural aspect. These case studies are chosen based on the approach taken towards a community-centered design with techniques to make the project flexible to integrate the skill-based learning spaces. The involvement of certain elements in the design will help in more understanding of the topic. Sno. 1.
Case Study
Architect
Awadh Shilpgram, Lucknow, Uttar Sourabh Gupta Pradesh, India
Salient Features ●
(Archohm)
A socio-cultural space with the characteristics of an institute as well as a skill presentation space.
●
The
complex
covers
the
activities
with
commercial, cultural, social, and
leisurely
interactions
of
people. ●
Arches as skin covered jaalis, from
29
with derived
modified
zig-zag
lines
from
Mughal
arches. ●
Organically planned domedshaped
crafts
courts. 2.
The Gyan Center, Jaisalmer, Rajasthan,
Diana Kellogg
●
India
The
use
of
locally available handmade sandstone as a construction material. (Sustainable approach) ●
The
parapet
walls consist of jaalis which are traditionally used
for
the
privacy
of
women in the neighborhood regions. ●
The design is centered on the learning
of
traditional weaving techniques and embroidery skills. 3.
Jetavan, Spiritual and Skill Learning
Sameep Padora
Center, Sakharwadi, Maharashtra, India
& Associates
●
Inverted
roof system with the
30
pitch
middle
valley
which
provides height
extra to
the
edges to connect the user to the outdoor foliage. ●
the
material
palate that uses traditional congestion techniques and sustainable components. Table 7. Salient features of case studies Source- Author
4.2 Case 1: Awadh Shilpgram, Lucknow, Uttar Pradesh, India Architect - Sourabh Gupta (Archohm)
4.2.1 Presentation of data The ‘Urban Bazaar’ is a concept to provide a socio-cultural space with the characteristics of an institute as well as a skill presentation space (archohm, 2021). Awadh Shilpgram is a similar initiative where the concept of an urban bazaar is presented through the visual appeal and materialist expression in the architecture.
Figure 6. Materialist facade of Awadh Shilpgram Source- Gallery of Awadh Shilpgram, Archdaily3 3
https://www.archdaily.com/793889/avadh-shilpgram-archohm/57bdc372e58eceb48a00003e-avadh-shilpgramarchohm-photo (Accessed on October, 2021) 31
•
Climate
A humid subtropical climate of Lucknow with cool & dry winters from mid-November to February and dry & hot summers with sunshine from March to mid-May, proper ventilation and comfort become one of the prominent features of the project. The double-height corridors, partially covered by the jaalis, provide a comfortable microclimate in these corridors through a passive strategy. AC facility is also provided to some of the shops and areas to provide comfort to the visitors in a hot climate. •
Complex
With an area of 7.3 acres, the complex covers the activities with commercial, cultural, social, and leisurely interactions of people. Through the layout of Awadh Shilpgram, the architect tried to provide an environment considering leisure and pleasure, also an institution for craft and culture.
Figure 7. Ground floor plan, Awadh Shilpgram Source- Gallery of Awadh Shilpgram, Archdaily4
The evolved organic form enables a smooth corner-free circulation, an inward design, and visual illusion of streets going narrower, illustrating Lucknow’s bazaars.
4
https://www.archdaily.com/793889/avadh-shilpgram-archohm/57bc2001e58ecedfe8000126-avadh-shilpgramarchohm-1st-level-sdiagramite-plan?next_project=no (Accessed on October, 2021) 32
•
Visual Appeal
Arches are one of the key elements of the architectural design of Lucknow. Arches are used as a skin element in the inner parts of the buildings. It provided a contemporary look without disturbing the movement beneath it. The double-height corridors with jaalis provide an insight into the royal legacy of the city of Lucknow, where the jaalis are derived from modified zigzag lines from Mughal arches. Inspired by ‘Chikankari’, a traditional embroidery, the double-height corridor steel structure is clad with Red Agra sandstone.
Figure 8. Street view, Awadh Shilpgram Source- Gallery of Awadh Shilpgram, Archdaily5
Figure 9. ‘Chikankari’ inspired jaalis on arches, Awadh Shilpgram Source- Gallery of Awadh Shilpgram, Archdaily6
•
Craft courts
The organically planned domed-shaped crafts courts (tinkering space) provide a leisure learning environment to the learner using a green roof system, semi-opened domes, and mini amphitheaters (open space). The green roof system maintains the comfort temperature of the 5
https://www.archdaily.com/793889/avadh-shilpgram-archohm/57bdc352e58eceb48a00003d-avadh-shilpgramarchohm-photo?next_project=no (Accessed on October, 2021) 6 https://www.archdaily.com/793889/avadh-shilpgram-archohm/57bdc2b7e58ece8ad200000d-avadh-shilpgramarchohm-photo?next_project=no (Accessed on October, 2021) 33
learning space, semi-opened domes derive the indoor-outdoor relationship and wide streets and mini amphitheaters provide the required outdoor spaces to craft learning. The separate craft court complex provides privacy to the knowledge seekers away from the commercial part of the campus.
Figure 10. Section to craft courts, Awadh Shilpgram Source- Gallery of Awadh Shilpgram, Archdaily7
Figure 11. Craft courts, Awadh Shilpgram Source- Gallery of Awadh Shilpgram, Archdaily8
•
Scale and comfort
With the main focus on the bazaar, the project consists of around 200 shops in which some are air-conditioned, 24 craft courts, 9 food stalls, 2 banquet halls, and other amenities in an elliptical layout. Which creates an urban space with an iconic presence in people’s everyday lives. The architectural presentation, through the design of Roomi Darwaza and the Imambaras, projects the red sandstone facade with a cultural representation of the city
7
https://www.archdaily.com/793889/avadh-shilpgram-archohm/57bc2133e58ecedfe800012b-avadh-shilpgramarchohm-plans?next_project=no (Accessed on October, 2021) 8 https://www.archdaily.com/793889/avadh-shilpgram-archohm/57bdc2c9e58ece8ad200000e-avadh-shilpgramarchohm-photo?next_project=no (Accessed on October, 2021) 34
Lucknow. The comfort is managed by adequate daylighting, proper air circulation through cross-ventilation and wide streets.
Figure 12. Open spaces, Awadh Shilpgram Source- Gallery of Awadh Shilpgram, Archdaily9
•
Understanding
The community-centered approach, where the visual experience in the whole environment can be noticed in this project. This gives an insight into an open public space at both physical and mental levels for the user following the context. The planning of crafts courts gives an understanding of a modular approach to handling the tinkering space in a skill learning environment. This approach can be taken into consideration for the existing training institutes where the available site can be used in a modular manner.
4.2.2 Type of data The qualitative aspect of the project gives an idea about how the cultural representation of the architecture provides an iconic nature to the site, which represents the role of the urban space in the community. Also, these quality spaces will encourage the local artisans to reveal their craftsmanship and share it.
4.2.3 Challenges in data collection The case study focuses majorly on the commercial aspect of the craftsmanship with a little insight into the learning spaces as per the craftsmanship. But the scale of openness in the crafts courts provides an insight into the importance of indoor-outdoor spaces in a craftsmen skill learning environment.
9
https://www.archdaily.com/793889/avadh-shilpgram-archohm/57bdc2eae58ece8ad2000010-avadh-shilpgramarchohm-photo?next_project=no (Accessed on October, 2021) 35
4.3 Case 2: The Gyan Center, Jaisalmer, Rajasthan, India Architect - Diana Kellogg
4.3.1 Presentation of data “Effective design is a process requiring a deep understanding of the history of a place – its culture, its topography and its vernacular," -Diana Kellogg A problem-solving approach in the middle of a desert area, to provide education and local skill to women. A structure that gives light and hopes between to the local women of Thar. Reflecting on the local community, this structure has the potential to heal the parity done to the women in this region.
Figure 13. Project front elevation, The Gyaan Center Source- Gallery of The Gyaan Center, dkarchitects.com10
Figure 14. Completed The Rajkumari Ratnavati Girl’s School, The Gyaan Center Source- Gallery of The Gyaan Center, www.architectandinteriorsindia.com 11
10
https://www.dkarchitects.com/thegyaancenter?pgid=jwnsjq2g-3968e3f1-c3fc-4442-a7c9-8dfb8bfbbf1c
(Accessed on October, 2021) 11 https://www.architectandinteriorsindia.com/projects/18281-the-gyaan-center-a-sustainable-architectural-marvel-inthe-heart-of-indias-golden-city (Accessed on October, 2021) 36
•
Complex
The complex comprises three buildings, the Rajkumari Ratnavati Girl’s School, the Medha hall, and the women’s cooperative center. ●
The Rajkumari Ratnavati Girl’s School - The school provides initial learning to the girls from the neighborhood who are below the poverty line.
●
Medha hall is a recreational space comprising galleries, a performance stage, a library, and a computer facility for women from neighboring regions.
●
The women’s cooperative center provides the platform to encourage the local weaving and embroidery art of the local community. The center provides a marketplace/showroom and textile studio for commencement of weaving and embroidery art learning.
Figure 15. Site plan, The Gyaan Center Source- Gallery of The Gyaan Center, dkarchitects.com12
Figure 16. Entrance, The Gyaan Center Source- Gallery of The Gyaan Center, dkarchitects.com13
12
https://www.dkarchitects.com/thegyaancenter?pgid=jwnsjq2g-19583afb-3420-4b48-986c-dbcb5842c46b (Accessed on October, 2021) 13 https://www.dkarchitects.com/thegyaancenter?pgid=jwnsjq2g-6aad1842-6038-4427-8aaf-b732d015ce91 (Accessed on October, 2021) 37
•
Visual Appeal
The project symbolizes the strength and the power of femininity and infinity, seamlessly blending into the plains of sand-dunes in the region of Jaisalmer. The use of locally available handmade sandstone as a construction material blends the three structures into the kingdom of desert in Rajasthan. The curved walls of each space represent the facade of forts of Jaisalmer. The parapet walls consist of jaalis which are traditionally used for the privacy of women in the neighborhood regions.
Figure 17. Entrance, The Rajkumari Ratnavati Girl’s School, The Gyaan Center Source- Gallery of The Gyaan Center, www.architectandinteriorsindia.com14
Figure 18. Elevation, The Rajkumari Ratnavati Girl’s School, The Gyaan Center Source- Gallery of The Gyaan Center, www.architectandinteriorsindia.com15
14
https://www.architectandinteriorsindia.com/projects/18281-the-gyaan-center-a-sustainable-architectural-marvel-inthe-heart-of-indias-golden-city (Accessed on October, 2021) 15 https://www.architectandinteriorsindia.com/projects/18281-the-gyaan-center-a-sustainable-architectural-marvel-inthe-heart-of-indias-golden-city (Accessed on October, 2021) 38
•
Sustainability
Working with the local artists for the construction was an initiative towards being locally sincere. The buildings are oriented in a manner to access maximum winds and sunlight making this project energy efficient. The completed school building comprises solar panels on the roof to achieve the required electricity demand of the building. The design included the traditional sewage system to manage the soil and greywater flow inside the building premises.
Figure 19.Mutually shaded courtyard, The Rajkumari Ratnavati Girl’s School, The Gyaan Center Source- Gallery of The Gyaan Center, www.architectandinteriorsindia.com16
Figure 20. Courtyard, The Rajkumari Ratnavati Girl’s School, The Gyaan Center Source- Gallery of The Gyaan Center, www.architectandinteriorsindia.com17
16
https://www.architectandinteriorsindia.com/projects/18281-the-gyaan-center-a-sustainable-architectural-marvel-inthe-heart-of-indias-golden-city (Accessed on October, 2021) 17 https://www.architectandinteriorsindia.com/projects/18281-the-gyaan-center-a-sustainable-architectural-marvel-inthe-heart-of-indias-golden-city (Accessed on October, 2021) 39
•
Skill Center The Women’s Cooperative covers the required spaces for the learning center for textile craftsmanship. The design is centered on the learning of traditional weaving techniques and embroidery skills. Adequate sunlight in the covered spaces and the provision of an open courtyard create an effective and creative learning space.
●
Lobby/Showroom - A presentation space for women to marketize their pieces of art.
Figure 21. Showroom, The Gyaan Center Source- Gallery of The Gyaan Center, dkarchitects.com18
●
Studio - Covered and open studio spaces are provided which can be used as per the skill stage.
Figure 22. Studio, The Gyaan Center Source- Gallery of The Gyaan Center, dkarchitects.com19
•
Understanding The sustainable approach and use of cultural elements make the institute a part of the
18
https://www.dkarchitects.com/thegyaancenter?pgid=jwnsjq2g-950acfd5-40a2-45fd-9211-f1a88009acf5 (Accessed on October, 2021) 19 https://www.dkarchitects.com/thegyaancenter?pgid=jwnsjq2g-440e3b2b-6187-4e58-ad66-22be9f7364c1 (Accessed on October, 2021) 40
neighboring community with women and young girls. The methods like, access the natural light through the ceiling, large openings for transition, use of local materials and construction skill results in a space which is context responsive.
4.2.2 Type of data The qualitative aspect of the project gives an idea about, using local materials and construction techniques in an institute increases the chances of creating a learning environment that can become a part of the lives of skilled learners and providing a platform to present their skills to others.
4.2.3 Challenges in data collection As the case study is partially completed, which lowers the amount of practical information that could be collected. Considering the approach in the case provides an insight into the future development of training institutes that can empower an integral part of the community.
4.4 Case 3: Jetavan, Spiritual and Skill Learning Center, Sakharwadi, Maharashtra, India Architect - Sameep Padora & Associates
4.4.1 Presentation of data A large Buddhist monastery signifying “Jetavan” is one of the names given by Buddha for the most important spatial edifice meaning: the grove of jeta. The site is located near a sugar factory in a thick forest area.
Figure 23. Spiritual/skill learning space Source- Gallery Jetavan, Archdaily20
20
https://www.archdaily.com/790646/jetavan-sameep-padora-and-associates/5776e8a1e58ecec389000041-jetavansameep-padora-and-associates-photo?next_project=no (Accessed on October, 2021) 41
•
Climate
The region of Sakharwadi comes under a tropical wet and dry climate zone, where heat and large rainfall can be expected annually. A thick forest area provides a shady area designed in accordance with the climate. •
Complex
The complex is designed under a spiritual and skill learning center, with 6 buildings placed within the group of trees with services like administration, pantry, prayer hall, workshops, and other amenities. Through the design process, two courtyards emerged as links suturing these buildings into a common identity. No existing trees were harmed during planning.
Figure 24. Site plan Source- Gallery Jetavan, Archdaily21
•
Visual Appeal
Inverted pitch roof system with the middle valley is a salient feature of the project which provides extra height to the edges to connect the user to the outdoor foliage. This allows more lightness into the interior increasing function of the space. Inverted roof system also
21
https://www.archdaily.com/790646/jetavan-sameep-padora-and-associates/5776ebcee58ece2f880000ee-jetavansameep-padora-and-associates-floor-plan?next_project=no (Accessed on October, 2021) 42
provided a way to the natural cross ventilation of the spaces and halls. By this system, the wall looks separated from the roof giving it a symbolic look to the building. The material battle in the project gives a down-to-earth visual experience to the user to connect to nature in his/her surroundings. This creates a perfect environment to meditate and learn the skills connecting with nature, which is a fundamental trait of the Buddhist monastery.
Figure 25. Inverted pitched roof system Source- Gallery Jetavan, Archdaily22
Figure 26. The difference in a pitched and inverted pitched roof system Source- Gallery Jetavan, Archdaily23 22
https://www.archdaily.com/790646/jetavan-sameep-padora-andassociates/5776e758e58ecec38900003b-jetavan-sameep-padora-and-associates-photo?next_project=no (Accessed on October, 2021) 23
https://www.archdaily.com/790646/jetavan-sameep-padora-andassociates/5776e9dce58ece2f880000e7-jetavan-sameep-padora-and-associates-concept?next_project=no (Accessed on October, 2021) 43
•
Construction Methodology
Collaboration with Hunarshala, an institute working on traditional construction techniques, results in the material palate that uses rammed loadbearing walls of basalt stone dust. The stone dust, which is waste from a nearby quarry, is mixed with waste fly ash, a by-product from the adjoining factory that in the past was paying people to cart the waste fly ash away. Repurposed wood from old shipping vessels acts as a roof structure, with the understructure made of mud rolls, which are also great insulation. The roof itself is finished with clay roof tiles, remnants from older demolished buildings.
Figure 27. Diagram showing the construction approach of the project Source- Gallery Jetavan, Archdaily24
Figure 28. Elevation of the prayer hall Source- Gallery Jetavan, Archdaily25 24
https://www.archdaily.com/790646/jetavan-sameep-padora-and-associates/5776eaf1e58ece2f880000ea-jetavansameep-padora-and-associates-diagram?next_project=no (Accessed on October, 2021) 25
https://www.archdaily.com/790646/jetavan-sameep-padora-andassociates/5776e733e58ece2f880000d8-jetavan-sameep-padora-and-associates-photo?next_project=no (Accessed on October, 2021) 44
•
Understanding
The following case study provides an insight towards the cultural and context responsive architecture results to a spiritual and learning space with its iconic image. The provision of lightness, outdoor perspective, and ventilation in the workshops and halls creates a spacious space to conduct various activities.
4.2.2 Type of data The qualitative aspect of the project gives an idea about, using the outdoor view as the key element of outdoor indoor relationships in space. This also provides access to elements like light, air, and a natural sound, a combination that results in meditating and a learning environment.
4.2.3 Challenges in data collection The spiritual context in the case study provides an insight into a slightly different qualitative approach. But, the concept of halls in the project provides a way to increase the lightness and indoor-outdoor relationship of interior space.
4.5 Conclusion The qualitative data from the case studies provided insight into the qualitative aspects the particular case study focused on in the case of skill learning spaces. Sno. ●
Case Study
Qualitative Analysis
Awadh Shilpgram, Lucknow, Uttar
●
Pradesh, India
Organically
planned
skill
learning spaces with a modular approach. ●
A distinctive space for skill learning.
●
Spacious feel in tinkering spaces through semi-opened domes.
●
Wide
transition
spaces
between the courts. ●
Lack of outdoor spaces for outdoor activities/skill stage.
●
The Gyan Center, Jaisalmer, Rajasthan, India
●
An elliptical form creates a mutually shaded courtyard to
45
be used as open spaces in skill learning. ●
Presentation
spaces
with
natural lighting enhance the view of embroidery craft done by the women. ●
Indoor and outdoor studio spaces
provide
feasibility
towards the application of space during different craft stages. ●
Jetavan, Spiritual and Skill Learning
●
Center, Sakharwadi, Maharashtra, India
A planning strategy for 6 buildings creating transition spaces and courtyards for various outdoor activities.
●
A spacious workshop with an inverted roof system provides an outdoor nature insight to learners in a learning space.
Table 8. Qualitative analysis of case studies Source- Author
46
CHAPTER 5: ANALYSIS AND DISCUSSION
5.1 Introduction Architecture is a dynamic process that involves gathering requirements and developing them into a livable and comfortable environment. A learner's perception of knowledge and skill is aided by the learning environment. In the case of the learning environment, qualitative features of the learning environment are crucial. The goal of the analysis is to look at the various literature and case studies and draw conclusions from the survey results to have a better grasp of the subject. In any research, it is critical to analyze the many data sources to get a conclusion. To address the study questions, the data collected from diverse sources is dissected.
5.2 Strength and limitations of the collected data
5.2.1 Strength The information is gathered from a variety of sources, including scholarly articles, unpublished documents, case studies, and surveys using primary and secondary data. The primary and secondary case studies describe the qualitative aspects of the skill-based learning environment, various architect’s points of view, aid in the development of an understanding of the varied literature reviewed. The data gathered is relevant to the issue and emphasizes the qualitative characteristics of skill learning spaces in diverse constructed forms and settings, which is its greatest asset.
5.2.2 Limitations The research is based on secondary data found online, such as research papers, web data, and other publicly available material. A survey was also conducted in the domain of architects and students to obtain source data. Concerning current events and guidelines, the survey was also conducted online.
5.3 Visual Representation of the Data
5.3.1 Design and planning
5.3.1.a) Design
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Most craftsmanship activities required both indoor and outdoor or a semi-outdoor space as per the different activities performed at different stages. In response to that introduction of a modular design in craftsmanship, learning can cater to this requirement. The semi-open dome courts in the campus of Awadh Shilpgram are an example where several craft courts are planned in a manner to conduct both indoor and outdoor activities (Fig. 11). The use of wide transition spaces and other open spaces provides outdoor spaces to the skill seekers. As per the opinion of the architects, a group of modular courts with an indoor-outdoor relationship was the most accepted approach towards a skill-based learning environment as per the analysis of the data collected in the sample survey (Fig. 29).
5.3.1.b) Planning Presentation space is one of the spaces required for a craftsmanship learning environment, this type of space raises the exposure to the normal public which can be a non-comfortable space near a learning space. A separate zone for learning should be provided on the campus. As an example, a separate craft courts complex in the campus of Awadh Shilpgram provided privacy to the knowledge seekers away from the commercial part of the campus (Fig. 7).
5.3.2 Qualitative Aspects
5.3.2.a) Indoor-Outdoor relationship Different stages in craftsmanship activities required different environments as indoor, outdoor, or both (Fig.22). The indoor-outdoor relationship will become one of the qualitative aspects of skill-based learning spaces. The responses for the given statement are also in support as per the analysis of the survey (Fig. 30).
5.3.2.b) Spacious environment A spacious environment for skill-based learning space will have the capacity to acquire different types of equipment and furniture required in different stages of skill activities (Fig.23). Also, the spacious spaces have a positive impact on the learner in the learning environment. The responses for the given statement are also in support as per the analysis of the survey (Fig. 31).
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Figure 29. Analysis of responses for the type of skill-based learning space Source- Author
Figure 30. Analysis of responses for the indoor-outdoor relationship in skill-based learning space Source- Author
Figure 31. Analysis of responses for the impact of spacious space in skill-based learning space Source- Author
5.3.2.c) Spaces Typology
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Within identified five different types of spaces, solitary space, team space, tinkering space, presentation, and spill over space as per the opinion in the conducted survey the more focus should be on the spaces like a solitary, team and tinkering other than the presentation and spill over space.
5.3.2.d) Qualitative elements Within identified different qualitative elements in terms of tangible and intangible, as per the opinion in the conducted survey, the more focus should be on the tangible elements such as furniture, plants, and windows (Fig. 32). In the case of intangible elements, colour and temperature got the most positive opinion (Fig. 33).
Figure 32. Analysis of responses for the type of space Source- Author
Figure 33. Analysis of responses for the tangible qualitative elements Source- Author
Figure 34. Analysis of responses for the intangible qualitative elements Source- Author
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5.4 The Final Comments The data collected from the literature review (Chapter 2) provided an inference to understanding the types of spaces required in a skill-based environment, the qualitative elements for the learning environment which was the crucial part of the research question. The case study analysis and analysis of the survey responses provided the inference towards the practical implementation of these qualitative elements in the practical field. The following are the implications that can be integrated into training institutes or considered during the designing of such institutes for skill-based learning spaces. •
For existing training institutes and the upcoming ones, one way of approach can be designing a separate area with small modular courts with required outdoor space and indoor space (consider acceptable site conditions for existing institutes).
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A separate learning complex will provide a required level of privacy to the skill seekers from the visitors.
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Through creative use of transition spaces, outdoor spaces can also be planned and oriented in learning complex.
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As for the indoor spaces, spacious spaces with mentioned qualitative elements for skillbased learning spaces (Chapter 2) should be taken into consideration. Out of these qualitative elements colour, light, furniture, plants, and windows need more focus to have an effective learning environment.
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For a visually and natural reach site, a visual connection through indoor-outdoor relation in the design will provide a visually comfortable environment to the learner.
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CHAPTER 6: CONCLUSIONS
6.1 Summary Skill learning is essential to cope up with the current technological and global market demand. Concerning this, the national government and other local bodies also took initiatives (Chapter 1) to provide a platform to the skill seekers to learn desired skills or to preserve some of the neglected ones. In provided training institutes, due to the integration of industrial training programs with the craftsman training program the typology of the institutes inclined more towards the industrial training courses where the required qualitative aspects of specific skills got neglected for e.g., craftsman’s skills like apparel design and handicrafts. With this, the research started with the question, how to integrate the qualitative spatial requirements of skill-based learning space to improve the quality and nurture the learning environment in training institute? •
Qualitative Aspects of Craftsmanship Learning Spaces
Through various literature studies and unpublished data, fundamentals of craftsman skills for productive skill-based learning tried to be found which was one of the key objectives of the research. Through inferences of literature, the type of spaces (Section 2.2.1.2) and qualitative elements (Table 2) for skill-based learning space were analysed. The analysis is done by picking textile craftsmanship as a key skill-set. Through analysis, the inferences regarding the spaces (Table 5) and qualitative elements (Table 6) required in textile craftsmanship learning are found. In the next stage of research, practical application of these aspects is analysed through case studies for a clearer view of implications found. Through analysis, certain aspects for craftsmanship spaces are found where the spatial and open environment are common factors that integrated and contributed toward the effective learning environment. Different approaches can be seen according to the context to provide an open environment in both physical and mental terms (Table 8).
•
Integration of Spacial Requirements
The cumulative results through analysis provided an insight to integrate and design a creative skill-based learning environment where these qualitative elements and these elements in different spaces will not stand alone, each element uphold each other and has a specific role in providing a conducive learning environment. This could result in an open space or an enclosed as per the requirement of the skill where each space sounds to the skill and skill learner effectively.
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6.2 Research inferences and their significance
6.2.1 Skill-based learning space and traditional industrial training space The cumulative inference from all the data collected in the research provided an insight that the qualitative requirements of skill-based learning spaces are different from traditional industrial training spaces. It would be not correct to say that skill learning can be conducted in the same space where industrial training commences. Analysed spaces and qualitative elements in this research states skill-specific requirements which are essential to fulfil in a skill-based learning environment (Fig 35).
6.2.2 Practical application In practical terms, the mentioned spaces and elements (Section 6.2.1) are the fundamentals that should be taken into consideration while planning and designing a skill-based learning space. As mentioned before each one of the spaces and elements will not stand alone, each aspect should be skill-specific. The points of consideration for the exiting training institutes and the upcoming ones (Section 5.4) can also be essential to have a sound skill learning environment in both scenarios.
Figure 35. Found spaces and qualitative elements in the research Source- Author
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6.3 The future Research possibilities Different skills required different environments to work, this creates a possibility of many overlooked aspects which can be covered in this research. The aspects found in the research are fundamental which is not the limit of this research. Other aspects or found aspects can also have separate deep research to provide a more creative skill learning environment. Considering existing training institutes more creative ways can be investigated to integrate skill-specific learning environments in these institutes taking advantage of dynamic nature and diverse technology and construction methodology in architecture.
6.4 The future Research projects The fundamentals suggested in the research are not only restricted to industrial training institutes or training institutes but as per the recommendations of the education policy of the nation, these fundamentals can also be applied to integrating creative labs in mainstream education bodies. Creative skill labs will encourage an individual to learn a particular skill or many other skills as per his/her interest.
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APPENDIXS
1. Google Form
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