TYRTYT

ACKNOWLEDGMENT
I consider being an opportunity to associate myself with Sarvajanik College of Engineering and Technology,
Surat.
I express my heartfelt thanks to my guide Ar. Sarosh Wadia for his continuous support and fruitful
guidance at every step and interest in the project and especially the encouragement that required at each
and every stage to work more and more. Encouraging each thought and putting inputs and guidance over
every thought valued the thesis project.
Prof. Persi Engineer, Principal and Prof. Mahesh Nagecha, Head of Department of architecture, SCET,
Surat, Prof. Mehul Patel and Prof. Hardik Gandhi for being mentor and for their grateful support during
the thesis work.
I would also thank Khamir Crafts Park-Kutch, Shrujan-kutch, Local artist residing in Kutch, Mandvi and
nearby village residents, Gujarat Tourism for helping to understand better about my thesis project.
I specially thank my Parents and all my family members for support and patience which helped at each and
every step.
Last but not least my Friends who have played a boundless role and for their endless support throughout
the period of Architecture.
Vividha Sanjaybhai Shah
1
A CENTER FOR ART AND CRAFT Architectural Design Thesis
PREFACE
My thesis project is attempt done to support the art and craft and mainly the handicrafts of Kutch. It aims
to examine architecture of a specific region and a specific type of built environment, within the vernacular
traditions.
As the artist are well with their skills but if we see their lifestyle and attachment with outside world is not
so much. Though they have such a knowledge creativity, skills still they face problems. This thesis project
will help such artist to earn their livelihood by their own talent and creativity and what they deserve.
This thesis project will give those artisans a platform to connect with the world and spread their art. It will
help them to learn new art forms from the visitors and will be a place for them to interact and exchange
knowledge. As well it will be the place where the whole process could be seen and experienced.
The main goal of the project is to build such a platform for those artists which could withstand with the
modern demands.
The process to achieve the goal will require several stages of design process.
Which includes Site analysis, about the region, research over those artist and their requirements, local
material exploration, concept, design process
Some case studies based on programme, region related, places for artists, art related centres. After the case
studies will be the analysis of site and region related architecture. The result will be the proper
amalgamation of site analysis, concept, suitable for artist, architecture.
This will be shown as detailed drawings, models, 3 dimensional analysis which helps understanding the
design.
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LIST OF CONTENT
1. Synopsis
1.1 Aim……………………………………………………………………………………………………………………………………………....04
1.2 Objective……………………………………………………………………………………………………………………………………...04
1.3 Scope of work……………………………………………………………………………………………………………………………....04
1.4 Hypothesis…………………………………………………………………………………………………………………….....………....05
1.5 Methodology………………………………………………………………………………………………………………………………...05
2. Thesis Research
2.1 Introduction.........................................................................................................................................06
2.2 About region and art forms..................................................................................................................07
2.3Project Background...............................................................................................................................18
3 Case studies
3.1 Khamir..................................................................................................................................................20
3.2 Shrujan.................................................................................................................................................25
3.3 Bharat Bhavan......................................................................................................................................31
3.4 Delhi haat.............................................................................................................................................37
3.5 Comparative Analysis...........................................................................................................................41
3.6 Inferences.............................................................................................................................................44
4 Program……………………………………………………………………………………………………………………………....................45
5 Site Study
5.1 Site location..............................................................................................................................48
5.2 Site selection criteria.................................................................................................................49
5.3 Site Consideration.......................................................................................................................49
5.4 Climate analysis.........................................................................................................................49
5.5 Neighbourhood..............................................................................................................................50
5.6 Site photographs..............................................................................................................................51
6 Concept............................................................................................................................................53
7 Development..................................................................................................................................56
8 Pre-Final.........................................................................................................................................58
9 Final..............................................................................................................................................60
10 References......................................................................................................................................67
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1. SYNOPSIS
1. AIM:-
• To elevate the art and craft of the Kutch tradition and culture.
• To conserve the inherent qualities of the Kutch tradition and culture.
• To uplift the craft community by the work they are involved in.
• To replicate or imitate the spaces they are comfortable in which, while they are working.
• MODE OF EXPRESSIONS
1.2. OBJECTIVE :-
TO BRIDGE THE GAP :- Between yesterday, today and tomorrow for the understanding of the new
Technique of working with the original one to all the age groups of the craft
Community.
TO PROMOTE :- A common platform to exchange knowledge and to promote art and craft
. By organizing program on regular basis such as exhibition, training
Program, weekend haat etc.
To expose artisans to new technologies of production and design, and to .
Increase the productivity by providing use of sophisticated tools and
Intensive technique
TO REJUVENATE/ REVITALIZE: - To reposition and promote traditional art and craft of different artisans
Community so that it becomes a sustainable source of income.
ECONOMIC BACKBONE :- To enrich the economy and social setup of the artisans or craft persons
From rural KUTCH.
TOURIST ATTRACTION SPOT :- To provide tourists a glimpse of cultural heritage of ethnic KUTCH and.
Increase their business skill for with standing position in market and
Attracting tourist by various activities like craft bazaar, workshops,
Exhibitions, etc.
1.3. SCOPE OF WORK :-

To provide facility like administration, training area, workshops, cafeteria, open spaces, amphitheater, such
that they feel comfortable as their home, and can work with ease, and in relaxed and calm manner.
A modern center with all the facilities like rural as they feel like home and comfortable.
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4. HYPOTHESIS:-
Tourism potential
The traditional crafts of Kutch cannot be left to die. Hence the tourism potential of the place should be
utilized to further the development of this dying craft in order to make the crafts and the craftsmen’s’
community sustainable. Tourism should act as a magnet to generate a market of wide range of customers
with variety of taste in handicrafts to sustain these crafts. The tourism potential of this place is noteworthy.
Gujarat Tourism Scenario

Gujarat is a tourism package by itself, which includes historical destinations, pristine beaches, wild life
sanctuaries, cultural centers, hill stations, religious places, fairs & festivals and unique arts & crafts. In 2008,
Gujarat ranked 9th in India in total domestic tourist arrivals, which is 2.8% of India’s share (Incredible India
tourism statistics 2008). Total tourists arrival to Gujarat is 15.80 million in 2008 recording CAGR growth of
14.40% over last 7 years. During the period, share of foreign tourists arrivals have also grown from 0.65 lakh
to 2 lakh.
5. METHODOLOGY:-
• Collecting information and a basic study about art and craft center.
• Literature study.
• Case study regarding the bridge between the ancient and new art and craft tradition.
• Analysis from the case studies
• Live case study.
• Questionnaire..
• Various attributes about the art and craft center across India.
• Conclusion and inference as how to take the necessary points from the study done and justify them
in the design.
• Site study and site analysis.
• Design proposal.
• Program formulation.
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2. THESIS RESEARCH
1. INTRODUCTION
The crafts of India are diverse, rich in history and religion.
The craft of each state in India reflect the influence of different empires. Throughout centuries, crafts have
been embedded as a culture and tradition within rural communities.
The skilled Indian craftsmen who are the root of this creative process have always been the artisan
tradition which presents the wide canvas of creative activity.
Most of these are found in rural areas of India. There are varieties of arts and crafts found according to the
regional and cultural diversities. But many of these arts are still not promoted and instead they are
restricted to a particular family practicing those in their daily lives.
There are two centers running in the center of

Kutch: Khamir and Shrujan, but as there is no center
in an around the south side of Kutch, so the center
proposed is in Mandvi.
Kutch (કચ્છ), India’s Wild West, is a geographic phenomenon. The Great Rann of Kutch spans an area of
7505.22 sq km. It is home to a wide array of flora and fauna. During diverse weather conditions migratory
birds find a home here. The Rann is famous for its marshy salt flats which become snow white after the
shallow water dries up each season before the monsoon rains. The district is also famous for ecologically
important Banni grasslands with their seasonal marshy wetlands which form the outer belt of the Rann of
Kutch.
Kutch is considered to be a heaven for numerous handicrafts, which are carried on from generation to
generation. These art works are basically from the rural kutch villages. The traditional basis of its prosperity
has been its foreign trade in various handicrafts. The artifacts of Kutch moved not only the length and
breadth of the country but also in the overseas market. The rich and diverse creative traditions of kutch live
at the intersection of culture and communities.
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Kutchi motifs can be traced to the ancient harappan civilization, yet craft is developing and growing with
the innovations and ideas of local artists. The art traditions differ from community to community like the
embroidery work. Kutch embroidery is dense with motifs and is one of the most beautiful forms of textile
art. A variation with mirrors sewn into the embroidery is one of the signature arts of this region.
Kutch literally means something which intermittently becomes wet and dry; a large part of this district is
known as Rann of Kutch which is shallow wetland which submerges in water during the rainy season and
becomes dry during other seasons. The same word is also used in the languages of Sanskrit origin for a
tortoise. The Rann is famous for its marshy salt flats which become snow white after the shallow water dries
up each season before the monsoon rains.The district is also famous for ecologically important Banni
grasslands with their seasonal marshy wetlands which form the outer belt of the Rann of Kutch. The pottery
and embroidery work of kutch is very famous and the embroidery work and design patterns are
differentiated by the communities residing there. The rabari women are very famous and skilled work of
their embroidery.
There are two centers running in the center of Kutch: Khamir and Shrujan, but as there is no center in an
around the south side of Kutch, so the center proposed is in Mandvi. There are two centres running in the
centre of Kutch: Khamir and Shrujan, but as there is no centre in an around the south side of Kutch, so the centre
proposed is in Mandvi. There are two centers running in the center of Kutch: Khamir and Shrujan, but as there
is no center in an around the south side of Kutch, so the center proposed is in Mandvi.
2.2 ABOUT REGION AND ART FORMS

ART AND CRFAT CENTER
An Art and Craft Center is to provide people living in previously disadvantaged areas to opportunity to
further their interests and knowledge in the art and crafts, improve their level of individual skills, and
develop their creative abilities.
Using architecture to create spaces that contribute to the cultural awareness and enhancement of the
community and to offer ad versified program to meet the varied interests and needs of the community.
Architecture can be a tool in providing opportunities and dignified spaces for promoting and developing
learning about art practice and culture. It is envisaged that the center will provide opportunities for artists
and practitioners working on their own in the area, or in differing communities, to come together for
support and information.
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SKILLS
LIFESTYLE
TOURISTS
CENTER
ECONOMY PLATFORM
Present scenario is like the artists are working their own from the day it had started and there is no change or we
. can say any upliftment or improvement required it is as it is.
In some artworks it is like only one family introduced to the work and they only are practicingnow.
People interested are also only aware about the beautiful product outcome of efforts done by this family.
The procedure is still not known by others so to make them aware about the procedure common centre is required
where the exchange of thoughts and skills knowledge would be shared.
Same in case of copper bell art and ivory and lacquer wood art both are practiced in the Nirona village of kutch.
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HANDICRAFTS OF KUTCH
Kutch is known for the colorful silken threads that decorate traditional odhnis and batuas worn by Kutchi
women. Embroidery is the most visible and recognized craft in Kutch. 18 forms of embroideries color the
region, representing Kutch’s diverse cultures, communities, and landscapes. Color and craftsmanship are
not limited to Kutch embroideries. There are over 20 other textile and non-textile craft sectors which
constitute artisans’ primary source of income.
For generations, Kutch has been home to the nomadic communities whose traditional work of animal
husbandry and craft have lent to each other
Forming a rich economic and cultural tapestry. Today, Kutch is a confluence of various art, craft and music
forms. Migration brought the distinctive
Elements of craft traditions from Sindh and Northern India to Kutch. These elements, inherited skill and
community identity are deeply embedded in the
Region’s craft culture. Until three decades ago, each craft’s production process, from the sourcing of raw
materials to the sale of finished products was practiced within the artisans’ communities.
COMMUNITIES OF KUTCH
These are only few works by the villagers still there are many such as wood carving, silver smithy, recycled
plastic weaving, mashru weaving, knife work, kharad weaving, lacquered wood, kala cotton, Kutch
weaving, embroidery, camel wool weaving, bella printing, batik print and many more. There are varied
types of communities to be found in Kutch which could be categorized by their casts, places from where
they migrated, their occupation, the work in which they are involved.
Some of them are as above:
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HANDICRAFTS OF KUTCH
Ajrakh block prints

Blocks carved in traditional designs are coated in dye and
pressed onto cloth. Layers of colours and prints are added
between stages of rinsing dyeing and sun drying.
Villages : Ajrakhpur
Bandhani Tie & Dye

Delicate traditional designs are bunched and tied into cloth with a
skillful stitching technique. The cloth is dyed in community
specific colours.
Villages ; Tera, Mandvi and Mundra.
Rogan
Intricately painted fabrics are made by hand twisting colorful castor-
based gum from a metal rod or stick into designs. The fabric is
folded to create a mirror image of the painting.
Village : Nirona.
Lac Turned wood

wood is turned on iron pegs as artisans carve it into
kitchenware and furnishings and colour it with lac , a resin
secreted by an indigenous insect.
Village : Nirona.
Copper coated metal bells

Recycled metal is shaped into bells, finely tuned and coated in
burnished copper and brass. Though sizes are standard, each
bell has a unique coating and tone.
Villages : Nirona, Jura and Bhuj.
Batik
Artistic representations of flora, fauna and geometrical designs
are painted or hand- printed in paraffin wax on fabric. The wax
resists the colourful shades of natural and chemical dyes.
Villages : Bhujpur, anjar, Mundra Mandvi.
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Pottery
Local clay is sculpted, sun dried and fired into hand painted
earthenware and ornamental
pieces. Decorative painted motifs differ depending on the
buyer’s community.
Village : Lodai.
Embroidery
18 types of hand embroidery bring culture and identity to the
colourful silken thread which Kutch women use to decorate
fabrics and traditional dress.
Villages : Dhordo, kuran, Vayor,
Guneri, Dholavira and Sumrasar
Leather Work
Leather artisans skillfully decorate walls and furniture in
traditional bhungas. Designs replicate embroidery motifs and
local flora and fauna.
Villages : Throughout Kutch.
Handloom Weaving
Traditional shawls, stoles, textiles and carpets are hand woven
with traditional motifs on pit and shuttle looms in local wool
cotton and silks.
Villages : Bhujodi and Sarli.
Carved Wood
Decorative deep and shallow relief designs are carved into
architectural focal points, bird houses, and furniture merging
styles from Gujarat and surrounding regions.
Villages : Ludiya and Meghpur
Mud Craft
Local clay mirrors and metal work decorate walls
and furniture in traditional Bhungas. Designs replicate
embroidery motifs and local flora and fauna.
Villages : Throughout kutch
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ARTS OF KUTCH DONE IN DETAIL
TIE AND DYE
Tie and dye craft is known as “Bandhni”. Bandhni came to Kutch when members of the khatri community
migrated from Sindh. The technique of tightly winding thread around the section of cloth, dying it, and then
removing the threads of reveal a circular resist motifs has remained the same since Bandhni was practiced.
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AJRAKH BLOCK PRINT
Ajrakh clothes carry many meanings. Ajrakh means ‘keep it today’. The shapes and motifs of Ajrakh eco the
architectural forms of Islamic architecture’s intricate jali windows and trefoil arch. The cloth is made in
sixteen step process of washing – dyeing – printing – drying, which requires high level skill and
concentration.
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WEAVING
Kutchi weavers come from the Marwada and Maheshwari community. Each weaver was once personally
linked with a Rabari family, who would supply yarn from sheep and goats. The designs woven were
replicated from the shapes of musical instrument, the footsteps of birds etc.
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POTTERY
The relationship between the maldharis and the kumbhars, the Potter community, was founded in the
vessels they made and the interactions that formed around them. The transformation that milk went
through in the hands of maldharis – was matched by the changing form of clay in the hands of potters.
15
BELL MAKING
The artisan’s community that makes the bells. Copper bells are an intrinsic part of herding life; their sounds,
mark place and identity, variations in the size and sound of the bell can help identify the breed, the herd,
and even the herd’s owner.
16
ROGAN ART
Rogan is a technique of painting on fabric, crafted from thick brightly colored paints made with castor seed
oil. Small amount of paste – paste is carefully twisted into motifs – folds design into blank fabric - thereby
printing its mirror images.
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2.3 PROJECT BACKGROUND
The Project is proposed by the Tourism Corporation of Gujarat, due to the high tourist rate in this area along
with the need for development, for betterment of the rural communities staying in this area. Also to curb
the rural to urban migration that is on a very high percentage in the area due to the atmosphere which is
very hot and humid, and there is very less rainfall in the area, a drought occurring almost every 2 years.
The proposed site for tourism development is located in close proximity to Mandvi town in Kutch District of
Gujarat. Project site is approximately 12-13 kms, towards eastern side of Mandvi town and falls in Mandvi
taluka and outside the limits of Mandvi Municipality. It is within 500 meters from the Arabian Coast and
along the Kutch Mandvi-Kashi Vishvanath beach, behind Salaya gamtal. Site offers unmatched natural
beauty. The project site is blessed with 2.5 km long serene & sandy beach which is suitable for beachfront
related activities including aero sports. It offer tremendous potential for development of tourism related
projects.
The rural ambiance and culture, and its strategic location along with the Kutch tourist circuit, makes Mandvi
a unique place for Cultural Tourism, allowing for Art and Craft Centre.
Kutch is firmly on the Indian textile tourism trail these days, and much credit for that goes to the Shrujan
Foundation, named for the Sanskrit word meaning “creativity.” Chanda Shroff founded Shrujan in 1968 amid
a long drought in the region, during which women in a village she knew were forced to sell off their finely
embroidered clothes to put food on the table.
These women were desperate, they had already sold off their jewelry and even their animals. Their prized
embroidery was the last to go. One local textile tradition strictly in the domain of men is ajrakh, a block-
printed and resist-dyed cloth used for shawls and turbans.
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3. CASE STUDIES
1. KHAMIR, KUTCH, GUJARAT.
Purpose to study: - To understand the vernacular and traditional architecture of KUTCH region.
2. SHRUJAN, BHUJODI, KUTCH, GUJARAT.

Purpose to study: - To understand the climatic response to the design and the material used for
construction, as it attempts to evoke the desert archetype.
3. BHARAT BHAVAN, BHOPAL.

Purpose to study: - To understand the design, planning idea with respect to the site and context, as the
natural contours on the site have been used in the design.
4. DILLI HAAT, DELHI.

Purpose to study: - To understand the circulation and the service provided and to study the traffic
management within and outside and also to understand various types of temporary as well as permanent
structures.
19
3.1. KHAMIR
BHUJ, GUJARAT.
Architect :- Nilkanth Chhaya
Built by :- Hunarshala foundation
Client :- Suzlon Foundation, Sir
Dorabji, Tata trust
Completed :- 2007
Built up :- 6800 sq.m
KHAMIR stands for Kachchh Heritage, Arts and Craft, Music and Integrated Resources. For centuries,
animal husbandry, rain-fed agriculture, and craft have been Kachchh’s predominant livelihoods. Each is an
integral part of the local culture and landscape.
Khamir is a platform for the crafts, heritage and cultural ecology of the Kachchh region of Gujarat. Instituted
after the earthquake of 2001, it is a space for engagement and development of Kachchh's rich creative
industries.
With the support of the government of Gujarat and the confederation of Indian Industries, Khamir was
established in 2005, located 15 kilometers from bhuj. The campus is situated on 8 acres of desert plain near
kukma and lakhond village. It was designed by Hunnarshala, a bhuj based organization.
20
IDEOLOGY AND PLANNING CONCEPT
Khamir was designed to create 2500 sq.M. Facility for the promotion of craft in Kutch. Concept of planning
this centre is derived from the local street scape and village pattern noted before earthquake. .It is an
institutional space that synergizes KUTCH’S unique cultural, ecological, and economic resources to support
local livelihoods. KHAMIR also serves as a common roof where artisans and musicians collaborate with
national and international organizations to share knowledge, resources, skills, and expertise thereby
strengthening Kachchh’s creative industries. KHAMIR serves designers by collecting and making accessible
information about the history, techniques, skills, and look of Kachchhi craft.
Function And Space Organization

• KHAMIR's administrative offices
• Office space and studio labs for 7 craft focal points
• Service Centres for documentation design,
• facilities for regional natural and chemical dyeing
• Quality textile laboratory
• Value added tailoring unit
• Raw material depot
• Collaborative spaces for demonstration and learning
• Meeting and exhibition halls
• Private residences and dormitories
• Dining hall and canteen
21
PUBLIC – SEMI-PUBLIC – PRIVATE SPACES
OPEN-BUILT RATIO
22
LANDCSAPE- HARDSCAPE
RELATIONSHIP DIAGRAM
23
Architectural characteristics TRAINING AREA
Context :- It is not reduced in fact, it Each Module is arranged in a way, where they get
reinforces the visual their own individual space for workshop. The training
dimensions into scale and area is a club of 3 blocks, which are repeated and
composition, proportion and placed on the site contours forming an informal and
architectural order. interactive space. The training area is play of such
Hierarchy of spaces :- It lacks in the hierarchy, but the modules, where blocks are mirrored and placed.
buildings of Khamir itself
emulate the structure of
the Indian village.
Units :- The units in the design cluster
together to form narrow streets
and village sort of structure.
Streets :- The street itself divide into and
meet up in courtyards or else in
chowks
CONNECTIVITY LIGHT AND VENTILATION EXHIBITION SPACES

Large Gables underneath the roofs The exhibition halls are
Each building block is designed
filter in soft light through small attached with four offices
separately, and connected at openings planned in P.O.P sculptural andtrial rooms. Each module
the upper levels. walls without letting in sand or dusty is repeated with the seminar
wind. area and the store and outlet
also.
INFERENCES
 Provide a common roof where artisans and experts with a commitment to Kachchhi craft can exchange
knowledge, build capacities, and ensure the best manifestation of regional art and craft.
 Over all plan form and building in such a way that it relates to the local street pattern.
 In terms of material also locally available material is used.
 Interesting given provision of Light and ventilation
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3.2 SHRUJAN
BHUJODI, GUJARAT.
Architect :- Uday Andhare
Client :- Shrujan Trust,
Bhujodi
Completed :- 2007
Built up :- 4675 sq.m
Shrujan is a non-governmental organization working in the field of women’s self employment programs
through the revival and development of traditional embroidery crafts since 1969, based in Kutch region of
Gujarat State in Western India.
The Shrujan Campus is situated in Bhujodi, 10 Kms away from the city of Bhuj in Kutch District. In contrast to
the arid desert vegetation around, one encounters a well tended orchard with varied fruit trees reminiscent
of the ‘wadis’ or orchards in the south western
Region of Kutch.
The Shrujan trust building houses the retail stores,
Workshop, the design cell, exhibit gallery, textile
Conservation cell and lab, along with other
Administrative and secondary facilities.
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IDEOLOGY AND PLANNING CONCCEPT
They believe that alleviation of poverty and hunger must occur before spiritual teaching can have any real
impact. The institution never wavered from the initial vision that women would be respected as gifted and
highly skilled artisans
In keeping with this, Shrujan has built on the major five principles-
• SELF SUFFICIENT
• RURAL COMMUNITY DEVELOPMENT
• CRAFT DEVELOPMENT
• EQUAL OPPORTUNITIES
• EMPLOYMENT MOTIVATION
CLIMATIC ANALYSIS
• Smaller Openings on the South facade- reduces heat gain Beneficial in Desert type hot and dry
climates like that of Kutch
• Due to smaller openings, wind shafts are provided which help with passive cooling in the interior of
the main building.
• These wind shafts catch cooler winds and circulate them through the inner spaces of the building.
• The wind flows from north-west to south-east. The north facing courtyard therefore allows
circulation through and around it
• This air then rises from the ground and exists the building through exhausts given at the same
heights as the wind shafts.
• Contrastingly, on the northern façade, there are larger and a lot more openings.
• These openings fall onto the Central Court which proves efficient for ample amount of light and
ventilation in the main building.
• Along with light, since the court is on the northern part of the building, it remains partly shaded
throughout the day, allowing the space to be utilized for various purposes.
26
Harnessing the prevailing breezes and shielding the work areas from the harsh light and heat were essential
to the organization of the plan.
The wind scoops were designed to also act as structural anchors for the building, capable of taking lateral
forces and counter seismic movement. The architectural program required the spaces to flow continuously
around the central north facing courtyard
27
PUBLIC – SEMI-PUBLIC - PRIVATE
BUILT – OPEN RATIO
28
29
WIND TOWER
• The principal idea of wind catchers oriented
towards the south and west directions create
a passive cooling mechanism that works for
all the major spaces.
• Small exhausts mounted in the circular barrel

openings on opposite walls induce the
required air changes for comfort.
• Due to smaller openings, wind shafts are

provided which help with passive cooling in
the interior of the main building.
• These wind shafts catch cooler winds and

circulate them through the inner spaces of
the building.
• The wind flows from north-west to south-

east. The north facing courtyard therefore
allows circulation through and around it.
Architectural characteristics
• Attempts to evoke to DESERT ARCHETYPE
trough:-
• VOCABULARY OF MASSIVE
• CONTINOUS SHIELDING OCHRE COLORED

WALLS
• CONTROLLED OPENINGS
• DEEPLY SHADED COURTYARDS
• WIND TOWERS
Inferences
• As Shrujan is in the hot and arid zone of Kutch the desert type architecture is followed by keeping in
mind the material suitable for the required temperature.
• Another thing the OPENINGs are also placed very precisely and in the suitable direction keeping in
mind the sun path.
• Not only are those special elements such as WIND SHAFTs and EXHAUST circular openings also
designed to make it work in very hot climate.
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3.3 BHARAT BHAVAN, BHOPAL
BHOPAL, MADHYA PRADESH

SITE AND SITE CONTEXT Architect :- Charles Correa
Client
The site for this arts centre is on gently sloping plateau overlooking :- Bharat Bhavan Trust
the lake in Bhopal. Completed :- 1982
The natural contours of the site have been used to create a series Built up :- 9150 sq.m
of sunken courts and terrace gardens around which a number of
cultural facilities are organized, These include museum of Tribal art,
a library of Indian Poetry, Galleries for Contemporary Art,
workshops for an artist-in-residence.The terraces and courtyards
concern with progression through space where parts are casually
revealed and the complex of internal streets act rather like a village
layout. In this way the building reflect Bhopal's own organizational
layout.

The terraces and courts once again reflect Correa’s
concern with progression through spaces – the maze
or puzzle – where parts are casually revealed and the
complex o internal streets acts rather like a village
layout. In this way the architect makeS the building
reflect Bhopal’s own organizational layout.
31
It is a multi art center housing a :-
• Museum of the arts,
• An art gallery,
• A workshop for fine arts,
• A repertory theater,
• Indoor and outdoor auditorium,
• Rehearsal room and
• Libraries of Indian poetry, classical and folk
music.
Bharat Bhavan consists the following units :-
• Roopankar (Museum of fine arts)
• Rangmandal (A repertory)
• Vagrath (A center of Indian poetry)
• Anhad (A library of classical and folk music)
• Ashram (A residence for guest artists)
Section through Levels inside the permanent gallery.
Section through permanent gallery courtyard and the tribal art gallery.
32
33
34
Courtyards :- They connect with the galleries.
CAANNON :- Cannon provides lighting and
ventilation to the sunken covered spaces.
Openings :- Openings to the courtyard and terrace
have two sets of shutter
–the inner ones,consisting of a combination of glaze
and openable pannels for ventilation,
- The other one is with large wooden doors which can
be closed for security purpose
35
Entrance of the permanent gallery
Courtyard which connects the galleries.
Cannon shown in the photograph above the permanent

gallerY
Cannon shown in the photograph above the library.
INFERENCES
The purpose is to study the tribal art gallery, the intake of light through the top lit cannon, the way the built form is
made under such a contour site.
36
3.4. DILLI HAAT
DILLI HAAT is a project of Delhi tourism and New Delhi

DELHI, INDIA
municipal corporation. It provides an ambience of a
Architect :- Pradeep Sachdeva, Design
traditional village market for more contemporary needs.
Associated, New Delhi
It provides a synthesis of craft, food , and cultural activities.
Client :- Delhi Tourism and
DILLI HAAT is not just a market place; it has been visualized
Municipal Corporation of Delhi.
as a showpiece of traditional Indian culture- a forum where
Completed :- 1993
rural life and folk art are brought closer to an urban business.

They have used the spine concept in the Haat.
In design it is followed by a linear spine of movement flanked by stalls on both sides in cluster patterns
showcasing the local and the regional crafts of India.
Space syntax tools have been used to study the interaction between the spatial configuration and public
movement in this spatial typology in an urban context.
37
CLIMATIC RESPONSE
• A belt of trees like neem and peepal surrounding complex serves as an effective natural filters for
dust and for the chemical discharge that pollutes the atmosphere.
• Due to presence of trees the temperature remains comfortable.
• Bamboo shades have been provided in food plaza as well as in arcade.
38
The entire haat is made in such a way that all the spaces intermingle with each other also having easy
connectivity. Built up is 12% of the total area. Built up area- 3190 SQ Matter every queue of stalls there is a
courtyard providing an open space. The food zones that flank as networks on both sides of the spine after
the roundabout has a medium level of visual connectivity and integration and open space.
39
Pedestrian circulation :- An entrance plaza, raised to block vehicular access and bring spatial identity for
pedestrian circulation.
Linear Spine :- Followed by a linear spine of movement flaked by stalls on both sides in cluster
pattern.
Space Syntax :- Tool is used to study the interaction between the spatial configuration and public
movement.
Circulation :- From entrance to end of complex, is entirely pedestrian, by use of ramps and stairs
lots of levels have been created to define more distinctly, the spaces also gets
change from large entrance plaza to an oblong spaces.
INFERENCES
To understand the circulation and the service provided and to study the traffic management within and
outside and to understand various types of temporary as well as permanent structure.
The spine concept for circulation is used very efficiently.
The contours are treated very well with the stairs and ramps to reach different levels, are less and are at a
distance.
40
41
V
42
43
44
45
46
47
5. SITE STUDY
The proposed site for tourism development is located

in close proximity to Mandvi town in Kutch District of
Gujarat. Project site is approximately 12-13 kms,
towards eastern side of Mandvi town and falls in
Mandvi taluka and outside the limits of Mandvi
Municipality. It is within 500 meters from the Arabian
Coast and along the Kutch Mandvi-Kashi Vishvanath
beach, behind Salaya gamtal. Site offers unmatched
natural beauty. The project site is blessed with 2.5 km
long serene & sandy beach which is suitable for
beachfront related activities including aero sports. It
offer tremendous potential for development of
tourism related projects
48
5.1 TOPOGRAPHY 5.2 SITE JUSTIFICATION
The topography is flat but has a significant elevation HANDICRAFT :- The handicraft spread in
variation at the starting and end of the site. mandvi and the villages around mandvi like
CLIMATIC CONSIDERATION Vandh.
The site recieves constant breeze from all sides but MANDVI :- Mandvi itself is a main center
more from the beach facing side. for all the near by villages.
It also recieves ample amount of light from all the • The oldest craft of mandvi – SHIP
sides, as there are no such structures surrounding BUILDING.
the site. • It was the port town for western region
MACRO CLIMATE after- Mumbai.
The climate is tropical • Trades with Dubai are also strong.
Summers are much rainers than winters in MANDVI. BEACH :- Due to attraction, most of the
Avg. temp:- 27.4*c tourist visit KASHI VISHVANATH BEACH.
Max. temp :- 32.4*c PROJECT :- Proposed project by Gujarat
Min. temp :- 22.3*c Tourism.
Avg. Rainfall :- 1539 mm.
49
5.5 Site Surroundings
Direction Surrounding
North
Helipad at the northern side of the site.
Pathways, Parking space, kiosks, street lighting and furniture is being developed at the edge of the site by
Gujarat Tourism for Beach Activities.
East
On eastern side, the forest area houses Surkhab Bird Watching Area. There exists a temple on the Far East
edge of the site. Two prominent temples of Motiapir and Ravalpir at the edge of the forest along the shore.
South
The most prominent feature and the major asset of the site is around 2.5 km long beachfront (Arabian Sea)
with fine sand towards the southern side of the site.
West
Fisherman jetties and docking yard, the ship building activity in the creek of river Rukmavati on the western
end of the site. Kashi-Vishwanath Beach, the most visited local attraction in Mandvi is in close proximity to
the site.
50
THE C.H.I.P DATA
CULTURE HERITAGE
• Invites a diverse age group. • Vijay vilas Palace – Designed and
• The street shops imbibes the idea of providing constructed in 1920 AD.
junctions for people to congregate. • Swaminarayn temple
• Junction of two famous trade routes • Taposar Lake
- Spice Trade route • Rukmavati Bridge – 1883
- Desert camel Caravan Route, acting as • Bandhani Bazar
important route. • Traditional Ship Building
• Many activities are carried out at the beach • Kashi Vishvanath Beach
and the Topansar lake such as exhibitions, • Mandvi Port
performance to saturate the public life times.
INFRASTRUCTURE PRESERVATION
• Diverse height profile. • Preserve its nature as an
• Solid built forms. intermediate space between the
• Wide roads but narrow street in the old and new town.
Market/City. • The public spaces - the green
• Public spaces. spaces – the market - the beach
• Diverse population group entertainment.
5.6 SITE PHOTOS
51
SITE CONDITION – DESIGN RESPONSE VIGNITTIES
52
6.0 CONCEPTUAL STAGE
53
54
55
7. DEVELOPMENT STAGE
GROUND FLOOR PLAN
SECTIONS
56
57
8. PRE FINAL STAGE
SCALE :- 1:200
GROUND FLOOR PLAN
SECTION-AA`
SECTION-CC`
58
59
9. FINAL STAGE
GROUND FLOOR PLAN
60
ROOF PLAN
SECTIONS
61
62
63
BHUNGA DETAIL
WALL SECTION
64
65
66
10. REFERENCES
BOOKS:
 Shifting Sands,Kutch-a land in transition

 Kutch textile traditions
 Patterns,Alexender Christopher
 Patterns of Indian Styles
SITES
www.indian-heritage.org
www.kala-raksha.org
www.gaatha.com
www.shrujan.org
www.khamir.org
www.yarn.com
http://www.printsasia.in/book/architecture-for-kutch-reinterpreting-the-lifestyle-culture-crafts-and-
architecture-of-kutch-region-8187853220-9788187853220#sthash.uc6UZyNL.dpuf
OTHERS
Gujarat tourism opportunities
People of kutch
Artists of kutch,Nirona village,kukma village, bhujodi, Anjar, bhuj,Khavda
Baster Tribal Craft, Baster leaflet
Khatri community a nd development of handicraft industries in Kutch-Dilip Kataria
Kuttch Coastt –People,Enviironment & Liivelihoods

Socio Economic development of villages of gulf of Kutch
Some case study reference from – seniors thesis Payal Paryani, Zumi Shah, Dhruv rupawala, Micky maiwala.
67

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ACKNOWLEDGMENT

Vividha Sanjaybhai Shah

1.3. SCOPE OF WORK :-

Gujarat Tourism Scenario

There are two centers running in the center of

2.2 ABOUT REGION AND ART FORMS

Ajrakh block prints

Bandhani Tie & Dye

Lac Turned wood

Copper coated metal bells

2. SHRUJAN, BHUJODI, KUTCH, GUJARAT.

3. BHARAT BHAVAN, BHOPAL.

4. DILLI HAAT, DELHI.

Function And Space Organization

CONNECTIVITY LIGHT AND VENTILATION EXHIBITION SPACES

• RURAL COMMUNITY DEVELOPMENT

BUILT – OPEN RATIO

• Small exhausts mounted in the circular barrel

• Due to smaller openings, wind shafts are

• These wind shafts catch cooler winds and

• The wind flows from north-west to south-

• CONTINOUS SHIELDING OCHRE COLORED

• DEEPLY SHADED COURTYARDS

BHOPAL, MADHYA PRADESH

IDEOLOGY AND PLANNING CONCEPT

Section through Levels inside the permanent gallery.

Courtyard which connects the galleries.

Cannon shown in the photograph above the permanent

Cannon shown in the photograph above the library.

DILLI HAAT is a project of Delhi tourism and New Delhi

IDEOLOGY AND PLANNING CONCEPT

The proposed site for tourism development is located

5.6 SITE PHOTOS

GROUND FLOOR PLAN

GROUND FLOOR PLAN

 Shifting Sands,Kutch-a land in transition

Gujarat tourism opportunities

Artists of kutch,Nirona village,kukma village, bhujodi, Anjar, bhuj,Khavda

Baster Tribal Craft, Baster leaflet

Khatri community a nd development of handicraft industries in Kutch-Dilip Kataria

Kuttch Coastt –People,Enviironment & Liivelihoods

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