“MAGGAM” – REVIVAL OF AN ARTISAN COMMUNITY IN

SRIKALAHASTI
(Amalgamation of space, culture and education)

A THESIS

Submitted in partial fulfillment of the requirements for the award of

Bachelor of Architecture degree
By

CHAITANYA SAI JANARDHAN P

(37210007)

DEPARTMENT OF ARCHITECTURE
SCHOOL OF BUILDING AND ENVIRONMENT

SATHYABAMA
INSTITUTE OF SCIENCE AND TECHNOLOGY

(DEEMED TO BE UNIVERSITY) Accredited

With Grade “A” by NAAC
JEPPIAAR NAGAR, RAJIV GANDHI SALAI,
CHENNAI - 600 119

NOVEMBER 2021

i
 DEPARTMENT OFARCHITECTURE

BONAFIDE CERTIFICATE

This is to certify that this Thesis Report is the bonafide work of Chaitanya Sai
Janardhan P (37210007) who carried out the Thesis entitled“MAGGAM” – REVIVAL

OF AN ARTISAN COMMUNITY IN SRIKALAHASTI –“(Amalgamation of space,

culture and education)” under our supervision from July 2021 to November 2021.

Internal Guide Internal Review Member External Guide

Dr. R. Arulmalar Ar. V.V.Sanghavi Ar.Hariesh K. Sankaran

Dean and Head of the Department

Dr. DEVYANI GANGOPADHYAY

Submitted for Viva voce Examination held on 08.12.2021

Internal Examiner External Examiner

Ar. R. Ramkumar Ar. Anup George

ii
 DECLARATION

I, CHAITANYA SAI JANARDHAN Phereby declare that the Thesis Report

entitled“MAGGAM” – REVIVAL OF AN ARTISAN COMMUNITY IN SRIKALAHASTI –

(Amalgamation of space, culture and education)” done by me under the guidance of Dr.
R. Arulmalar(Internal Guide, Ar.V.V.Sanghavi(Internal Review Member) and Ar.
Hariesh K. Sankaran(External Guide) Sathyabama Institute of Science and
Technology is submittedin partial fulfilment of the requirements for the award of
Bachelor of Architecture Degree.

DATE: 06.12.2021

PLACE: Chennai SIGNATURE OF THECANDIDATE

iii
 ACKNOWLEDGEMENT

I am pleased to acknowledge my sincere thanks to Board of Management of

Sathyabama Institute of Science and Technology for their kind
encouragement in doing this Thesis and for completing it successfully. I am
grateful to them.

I convey my thanks to Dr. DevyaniGangopadhay, Dean and Head of the

Department, School of Building and Environment, Our Design Chair Dr. Suresh
Kuppuswamy, Thesis CoordinatorAr.SuryaRajkumar for providing me
necessary support and details at the right time during the progressive reviews.

I would like to express my sincere and deep sense of gratitude to my Thesis

Internal guide Dr. R. Arulmalar, Internal Review member V.V.Sanghaviand
External Guide Ar. Hariesh K. Sankarantheir guidance, suggestions and
constant encouragement which paved the way for the successful completion of
my Thesis work.

I wish to express my thanks to all Teaching and Non-teaching staff members of

the Department of Architecture who were helpful in many ways for the
completion of the Thesis.

CHAITANYA SAI JANARDHAN P

iv
 MOTIVATION

B.P Agraharam (street) is a small community in the temple town of Srikalahasti, Andhra
Pradesh known for their exquisite textile art collections of Kalamkari and other
handicrafts of terracotta and wood carving etc. I was born and grew up witnessing the
colorful growth and flourishment of the artisan community.

Around 15 years back, a walk through those streets would tour you through the hustle
bustle of traditional kalamkari artisan’s street of Srikalahasti with beautiful "muggulu" at
the entrance and children playing on the streets, women working on the thinnai
verandahs and the whole streets busy with common activities of the artform.
Occasionally tourist buses or vehicles could be spotted with groups of tourists from over
India and abroad flushing in to get a first-hand taste of the hand painted kalamkari
sarees and materials.

However, it is not the same anymore. With Globalization and development of the
temple town and infrastructure industry, mechanized kalamkari products entered the
market lowering the standards and originality of the artform and devastating the artisans
involved with it. This resulted in the search for other occupations and new lifestyle
changes and architecture thus leading to the extinction of the original indigenous
artform. However, a group of artisans with their co-artisans have been working towards
it and the government has also brought in several schemes to support and promote the
upliftment of this handicraft on national and international markets after gaining
recognition worldwide. Several NGOs are also working to employ the artisans and
empower others in the neighboring villages.

The intention behind taking up this project was to look at opportunities of revival of the
artisan community and bring back their lost importance in the textile industry of
India.Also, through an amalgamation of space, culture and education, the project
proposal will also ensure widespread knowledge about this historic artform and its
essence amongst various art, design and fashion enthusiast.

v
 THESIS SYNOPSIS

Crafts are an integral part of Indian culture and flourish in the remote parts of the
country resonating the character of the region. In India most of the crafts are practiced
as the heritage of the past and the family. The concept of the centre came into picture
to serve the purpose of bringing most of the crafts specimens and craftsmen under one
roof.

With rapid industrialization and technological advancements, the role of local heritage
and culture is getting deteriorated with the youth completely detaching themselves from
the roots.The crux of the proposal aims at creating a single space for various users and
enthusiasts associated to the textile handicraft to interact and develop the current
scenario in srikalahasti through amalgamation of space, culture and education.

vi
vii
 TABLE OF CONTENTS

CHAPTER No.TITLE PAGE No.

THESIS SYNOPSIS---------------------------------------------------------------------------------------vi

LIST OF FIGURES-----------------------------------------------------------------------------------------x

LIST OF TABLES----------------------------------------------------------------------------------------xii

LIST OF PLATES----------------------------------------------------------------------------------------xii

1 INTRODUCTION------------------------------------------------------------------------------1

1.1. INTRODUCTION -------------------------------------------------------------------------------------------1

1.2. HANDLOOM AND TEXTILE CRAFT INDUSTRY -------------------------------------------------1
1.3. MAJOR TEXTILE CRAFT CLUSTERS OF ANDHRA PRADESH -----------------------------2
1.4. PROJECT FEASIBILITY AND NEED -----------------------------------------------------------------3
1.5. PROJECT BACKGROUND --------------------------------------------------------------------------------------5

2PROJECT SYNOPSIS -----------------------------------------------------------------------6

2.1 AIM ----------------------------------------------------------------------------------------------------------6

2.2 OBJECTIVES ---------------------------------------------------------------------------------------------6
2.3 GOALS -----------------------------------------------------------------------------------------------------6
2.4 METHODOLOGY ----------------------------------------------------------------------------------------7
2.5 DESIGN PRINCIPLES --------------------------------------------------------------------------------8
2.6 SCOPE ----------------------------------------------------------------------------------------------------8
2.7 LIMITATIONS --------------------------------------------------------------------------------------------8
2.8PRINCIPLE ACTIVITIES AND USER GROUPS ------------------------------------------------9

vii
3 LITERATURE STUDY-------------------------------------------------------------------------
10

3.1 INTRODUCTION TO KALAMKARI ART -----------------------------------------------------

10
3.2 THE PROCESS OF KALAMKARI ARTWORK ----------------------------------------------11
3.3 SPATIAL UNDERSTANDING OF THE WORKSPACE -----------------------------------11

4CASE STUDIES---------------------------------------------------------------------------------14

4.1CASE STUDY ---------------------------------------------------------------------------------------14

4.2 UNDERSTANDING DESIGNER INTERVENTION ---------------------------------------------14
4.2.1 The LLDC - The Living and Learning Design Center, Ajrakhpur, Kutch
4.2.2 The Ganga Maki Textile Studio, Uttarakhand
4.2.3 The Handloom School, Maheshwar, Madhya Pradesh

4.3 UNDERSTANDING PRODUCTION UNIT --------------------------------------------------------25

4.4 UNDERSTANDING THE ACADEMIC UNIT ------------------------------------------------------26
4.4.1 IIHT, Kannur
4.4.2 S.V. Institute of Traditional Sculpture and Architecture
4.4.3 NIFT, Kannur

5 DATA COLLECTIONAND STANDARDS------------------------------------------------30

6PROGRAM BRIEF -----------------------------------------------------------------------------33

6.1 INTRODUCTION TO THE PROPOSAL ------------------------------------------------------

33
6.2 PRELIMINARY AREA REQUIREMENTS ----------------------------------------------------
35

viii
7SITE STUDY AND ANALYSIS ------------------------------------------------------------38

7.1 SITE JUSTIFICATION AND FEASIBILITY ------------------------------------------------------38

7.2 SITE ZONING AND GUIDELINES ----------------------------------------------------------------44
7.3 SITE ANALYSIS ----------------------------------------------------------------------------------------45

8 ARCHITECTURAL DESIGN ---------------------------------------------------------------47

8.1 DESIGN IDEATION AND CONCEPTUALIZATION -------------------------------------------47

8.2 SITE ZONING --------------------------------------------------------------------------------------------50
8.3 SITE PLAN -----------------------------------------------------------------------------------------------53
8.4 BUILDING DESIGN -----------------------------------------------------------------------------------54

9CONCLUSION ---------------------------------------------------------------------------------62

10 REFERENCES --------------------------------------------------------------------------------63

ix
 LIST OF FIGURES
FIGURE No. TITLE PAGE No.
1.1 Heritage Craft ------------------------------------------------------------------------------------------1
1.2Textile craft ----------------------------------------------------------------------------------------------2
1.3Textile map of India -----------------------------------------------------------------------------------3
1.4Newspaper clippings ‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐4
1.5 Kalamkari Craft Cluster ------------------------------------------------------------------------------5
1.6 Kalamkari Work ----------------------------------------------------------------------------------------5
1.7 Wood Carving ------------------------------------------------------------------------------------------5
1.8 Craft and training center -----------------------------------------------------------------------------5
2.1Design Methodology ----------------------------------------------------------------------------------7
3.1Types of Kalamkari ----------------------------------------------------------------------------------10
3.2Kalamkari making process -------------------------------------------------------------------------11
3.3 Process of making Kalamkari art -----------------------------------------------------------------13
4.1 Exterior View of Museum Block -------------------------------------------------------------------14
4.2 Museum gallery ---------------------------------------------------------------------------------------14
4.3 Location Map ------------------------------------------------------------------------------------------15
4.4 Design model ------------------------------------------------------------------------------------------15
4.5 Sectional view-----------------------------------------------------------------------------------------15
4.6 Design Program --------------------------------------------------------------------------------------16
4.7 Location -------------------------------------------------------------------------------------------------19
4.8 3D Model-----------------------------------------------------------------------------------------------19
4.9 Program -------------------------------------------------------------------------------------------------20
4.10 Zoning ---------------------------------------------------------------------------------------------------21
4.11 Sectional view -----------------------------------------------------------------------------------------22
4.12 Location -------------------------------------------------------------------------------------------------23
4.13 Model ----------------------------------------------------------------------------------------------------23
x
4.14 site plan---------------------------------------------------------------------------------------------------24
4.15 Design development of the Handloom school (Academic block) --------------------------24

4.16 Floor plan and circulation through the Academic block -------------------------------------24
4.17 Front Elevation of the handloom school -------------------------------------------------------25
4.18 Various IIHT --------------------------------------------------------------------------------------------27
4.19 Article clipping ----------------------------------------------------------------------------------------28
4.20 NIFT Campus ------------------------------------------------------------------------------------------28
4.21 NIFT Floor plans -------------------------------------------------------------------------------------28
4.22 art room & classroom --------------------------------------------------------------------------------29
4.23 Sewing room & Pattern making room ------------------------------------------------------------29
6.1 Program flowchart -------------------------------------------------------------------------------------34
7.1 District map ---------------------------------------------------------------------------------------------38
7.2 Location map -------------------------------------------------------------------------------------------38
7.3 Catchment area -----------------------------------------------------------------------------------------39
7.4 Proposed Master Plan land use 2040 by TUDA ------------------------------------------------40
7.5 Context map --------------------------------------------------------------------------------------------41
7.6 Connectivity -------------------------------------------------------------------------------------------- 41
7.7 Neighborhood context ---------------------------------------------------------------------------------43
7.8 Activity mapping ---------------------------------------------------------------------------------------43
7.9 Site setback ----------------------------------------------------------------------------------------------44
8.1 Integration and disintegration -----------------------------------------------------------------------47
8.2 Critical Regionalism --------------------------------------------------------------------------------- 48
8.3 Context specific architectural elements ----------------------------------------------------------48
8.4 Conceptualization of Ideas ---------------------------------------------------------------------------49
8.5 Site zoning evolution ----------------------------------------------------------------------------------52
8.6 Zoning strategies ---------------------------------------------------------------------------------------52
8.7THEME LINE – Dictates the User flow within the Built space ------------------------------53
8.8 Integration of critical regionalism of Srikalahasti into planning ------------------------------
53

xi
 LIST OF TABLES
Page no
4.1 Parameters of NIFT, Kannur ------------------------------------------------------------------------29
6.1 Area Requirements -------------------------------------------------------------------------------------35
6.2 Area Requirements -------------------------------------------------------------------------------------35
6.3 Area Requirements -------------------------------------------------------------------------------------36
6.4 Area Requirements -------------------------------------------------------------------------------------36
6.5 Area Requirements -------------------------------------------------------------------------------------37
6.6 Area Requirements -------------------------------------------------------------------------------------37
7.1 Heights and setbacks ----------------------------------------------------------------------------------44

LIST OF PLATES
Page no
4.1 case study analysis – LLDC ---------------------------------------------------------------------------16
4.2case study analysis – LLDC ---------------------------------------------------------------------------17
4.3case study analysis – LLDC ---------------------------------------------------------------------------17
4.4case study analysis – LLDC ---------------------------------------------------------------------------18
4.5case study analysis – LLDC ---------------------------------------------------------------------------18
4.6 Ganga maki studio analysis ---------------------------------------------------------------------------21
4.7 Ganga maki studio analysis ---------------------------------------------------------------------------22
4.8 Live study analysis --------------------------------------------------------------------------------------26
5.1 Data standards -------------------------------------------------------------------------------------------30
5.2 Data standards -------------------------------------------------------------------------------------------30
5.3 Data standards -------------------------------------------------------------------------------------------31
5.4 Data standards -------------------------------------------------------------------------------------------31
5.5 Data standards -------------------------------------------------------------------------------------------32
5.6 Data standards -------------------------------------------------------------------------------------------32
7.1 site study---------------------------------------------------------------------------------------------------42

xii
7.2neighborhood context-----------------------------------------------------------------------------------42
7.3 site analysis-----------------------------------------------------------------------------------------------45
7.4 climatic analysis------------------------------------------------------------------------------------------45

7.5 site features-----------------------------------------------------------------------------------------------46

8.1 site plan ----------------------------------------------------------------------------------------------------53
8.2 – 8.9Design drawings and views -----------------------------------------------------------------------53-61

xiii
 CHAPTER 1
INTRODUCTION
1.1 INTRODUCTION
India is known for its complexity and diversity of cultures and skills in various regions
specific and unique in its own way. Art and artisans form the backbone of the rich
heritage that India boasts and hence needs to survive through the phase of technology
and Industrialization to flourish and hence conservation and revival play a major role.

Several artisan communities though recognised are facing downfall due to low labour
force and skilled youth to carry the heritage and culture forward. By creating awareness
about the importance of our roots and the indigeneity of our culture and heritage
amongst the people, the revival and preservation of this cultural heritage can be
grounded.

Tagline The agenda of this project is to preserve and protect the traditional practice of
the folks through education to promote and enhance the current scenario by
visualization of space as the main expression and voice of the artisan community.
1.2 HANDLOOM AND TEXTILE CRAFT INDUSTRY
It is a Heritage Craft of our Country.
The textile industry is one of the largest industries in India with a vast range of
stakeholders from weavers to farmers to artisans and allied workers to designers. The
hand created materials are of high value worldwide due to the resonation of a regions
character and style. There has been a shift and decline in the industry and it is
necessary to understand the trend of the occupation and issues of the industry in the
current context through various literature and live observations before an architectural
solution is proposed.

Figure 1.1 Heritage Craft

1
  Textile designs are associated with special meanings of traditional societies
specific to a particular ethnic group alone.

 Textiles play a major role in the social, economic and religious lives of
communities and the traditional meanings of these societies once lost cannot be
reconstructed and thus efforts are being made to protect and promote the
handloom and textiles industry of India.

 Textiles are thus a major component of material culture and and textile arts are a
fundamental human activity, expressing symbolically that valuability in any
culture.

1.3 MAJOR TEXTILE CRAFT CLUSTERS OF ANDHRA PRADESH

1.3.1 POCHAMPALLY, BHOODAN, NOW TELANGANA:
Pochampally ikat, is a type of silk that finds its origin in a small town of Andhra
Pradesh (now Telangana), BhoodanPochampally. Dubbed as the “Silk City of India”,
the town is known for giving the world a fabric that can rival any other Ikat production
in the country. They have traditional geometric patterns in Ikat style of dyeing.
1.3.2 KALAMKARI, MACHILIPATNAM & SRIKALAHASTI, ANDHRA PRADESH:
Kalamkari is a type of hand printed or hand block printed cotton textile. Kalamkari
refers to the ancient style of hand painting that is done with a tamarind pen, using
natural dyes. Literal meaning of Kalamkari is kalam, which means pen and kari which
refers to craftsmanship; which is derived from a Persian word.
OTHERS INCLUDE:
 MANGALAGIRI
 VENKATAGIRI
 KOSA
 UPPADA, ETC

Figure 1.2 Textile craft

2
 Figure 1.3 Textile map of India

1.4 PROJECT FEASIBILITY AND NEED

 Kalamkari is an artform that flourished since the reign of the King

Krishnadevaraya about 3000 years ago but experienced a surgic decline in the
1900's post industrialization.

 The ministry of textiles and crafts, tourism department etc have taken initiatives
and has come to life since the late 1900's but has not reached the bar yet and is
experiencing a second stage of decline due to improper facilities and socio-
economic status of the artisans. The proposal will create an architectural solution
to the several issues faced by the artisans and their supporting communities.

3
 The project will ensure better opportunities to the communities through tourism
and educational recognition and cultural expression with the proposal becoming
a landmark of the Kalamkari of Srikalahasti style.

Figure 1.4 Newspaper clippings

4
1.5 PROJECT BACKGROUND

 One of the most ancient arts in INDIA originated about 3000 years is Srikalahasti
Kalamkari. The word kalamkari is derived from the words kalam and Kari. Kalam
means pen with which the drawings are drawn, and Kari means craftsmanship.
 Kalamkari involves twenty-three steps and only natural dyes are used in it. This
art form is used to describe the events of HINDU mythology on the fabrics. In the
past, this art is done only on cotton textile. But nowadays this has been extended
to all types of fabrics, wall paintings, dupattas, pillow cushions, etc.
 The government of Andhra Pradesh helps to preserve the art by recognizing the
kalamkari stores. The registration of kalamkari art helps the craftsman to fight
legally if the art or design is copied in any form.
 Performed by around 300 artisans in and around the temple town, women
empowerment programme is also a part of this.

Figure 1.5 Kalamkari Craft Cluster

Figure 1.6 Kalamkari Work Figure 1.7 Wood Carving Figure 1.8 Craft and training center.

5
 CHAPTER 2
PROJECT SYNOPSIS
2.1 AIM
 The aim of the project is to develop a multi-dimensional textile handicrafts
resource centre for the preservation and promotion of the cultural handicrafts of
Srikalahasti.

 The project aims at creating a space that will be an amalgamation of various

activities to train, educate and support craftsperson’s to practice their traditional
crafts for the contemporary markets.

2.2 OBJECTIVES
 To study the history, different processes and the present scenario of the textile
handicraft in and around Srikalahasti in Andhra Pradesh.

 To design a formal space for the artisans, and officials related to the handicrafts
and informal space for the collective amalgamation of artisans, education
enthusiast, tourists and market makers to practice, produce, teach and market
the products.

 To design a space that will revive and revitalize the artisan community and act as
a sorted destination for world class designers and textile enthusiasts.

 To revitalize and restore the character of the vernacular setting of the artisan
village and its neighbourhood through Critical Regionalism and vernacular
approach of AP.

2.3 GOALS
 To understand the trends in the handicrafts industry and identify the needs and
issues that can be addressed architecturally through this project.

 To ensure a multi-faceted approach of production and other associated activities

to increase efficiency.

6
  To provide a platform for the collaboration of the artisans and the designers
directly and thus eliminating the need for middle-men.

 To simultaneously preserve and propagate the indigenous character of the

settlement and thus the cultural community.

2.4 METHODOLOGY

Figure 2.1 Design Methodology

7
2.5 DESIGN PRINCIPLES
2.5.1 PRIDE OF THE PLACE
The designed space must be an iconic attraction for the textile and tourism industry and
thus positively affect the contemporary structure of the industry and the artisan
community growth.

2.5.2 EXPERIENCE
The experience of the space must be inspiring and uplifting space for the artisans and
incoming students and designers and thus encourage new designs and products as
outcomes of new techniques and approaches.

2.5.3 INTEGRATION
The space must integrate the needs of all the users of the space and must create a
holistic environment interweaving all the activities through the spaces.

2.5.4 ARCHITECTURE
The spatial planning should be in accordance to the user’s needs, spirit and context of
the place and the spatial quality necessary for the artisans.

2.6 SCOPE
The growth of the artisan community has drastically deteriorated with the involvement
of middle men and lack of infrastructure and resource availability, lack of knowledge
about this craft all over. Thus, through space, education and culture, involvement of
government bodies and NGOs in upliftment can help in the revival of this artisan
community and the artform on a large scale and create a market for their economic
stability.

2.7 LIMITATIONS
The availability of fresh running water is a limitation for completing the process on a
traditional note.

8
2.8PRINCIPLE ACTIVITIES AND USER GROUPS
To create a holistic platform to glorify the artform, integration of various users and their
activities must be the primary approach of the proposal. The various activity zones
include the production unit, Institute, training Centre, Exhibition and workshop,
administration and public amenities like toilets, cafeteria etc.

The various target groups in the proposal are:

* Artisans
* Tourists
* Art enthusiasts
* Students and Design Interns
* Researchers
* Staff
*Stakeholders

9
 CHAPTER 3
LITERATURE STUDY
3.1 INTRODUCTION TO KALAMKARI ART
In India, there are two distinct styles of Kalamkari. They are the Srikalahasti style and
the Machilipatnam style. The Srikalahasti style kalamkari is made by using a pen
(kalam) for a freehand drawing of the subject and filling in the colours.This is entirely
handwork. Whereas the Machilipatnam style is made at Pedana near Machilipatnam in
Andhra Pradesh. This art is influenced by Persian art and involves patronage of Mughal
and Golconda sultanate.

Figure 3.1 Types of Kalamkari

This art involves 23 tedious steps of dyeing, bleaching, hand painting, block printing,
starching, cleaning and more. Motifs drawn in Kalamkari spans from flowers, peacock,
paisleys to divine characters of Hindu epics like Mahabharata and Ramayana.

3.1.1 HISTORY

Centuries ago, folk singers and painters used to wander from one village to other,
narrating stories of Hindu mythology to the village people. But with course of time, the
process of telling tales transformed into canvas painting and that’s when Kalamkari art
first saw the light of day. This colourful art dates back to more than 3000 B.C.
MUGHAL - MACHILIPATNAM MOTIFS
VIJAYANAGARA RULE - MYTHOLOGICAL DESIGNS

IN SRIKALAHASTI:

 In Srikalahasti, it is now currently practiced in full scale by the Balija community

in B.P. AGRAHARAM situated along the riverbanks of Swarnamukhi, the main
reason for this craft to flourish here.

10
  Itt was regis
stered as one of the geographic
g al indicatio
ons from Anndhra Praddesh,
under handiicraft goodss by Geogrraphical Ind
dications off Goods (R
Registration and
P
Protection) Act,
A 1999.

E PROCES
3.2 THE SS OF KAL
LAMKARI ARTWORK
A K

3.3 SPATIAL UNDERST

TANDING OF
THE WORKSPAACE
Cove
ered spaces – Maggam m space (b black
and white – mo
ostly male oriented,
o co
olour
dyeing – fem
d male
orriented), sto
orage and retail
r
Semi – covvered space
S es – kiln spa ace,
washin ng tanks, mixing and other
o
activvities
O
Open space
e - drying yaards, cleansing
area, fa
arm spaces etc.

Figure 3.2
3 Kalamka
ari making process
p

11
12
Figure 3.3Processs of making
g Kalamkarri art

13
 CHAPTER 4
CASE STUDIES

4.1 CASE STUDY

The chapter details the various case studies that was studied to help in the design
process. Since the proposal involves various user zones, no single space can be
studied for the project and hence the study was divided into categories - SKHT
production unit, Academic unit, exhibition and designer unit.
4.2 UNDERSTANDING DESIGNER INTERVENTION
Designers and fashion enthusiasts form a major group that can bring a massive
upgrade over the textile industry and thus the artisan community. Predominantly, the
artisan units do not hold accommodation facilities for the designers and researchers
which makes it difficult to engage and collaborate with the artisans.
The following case studies was chosen keeping in mind the scope, needs and
character of the project and the context to act as a wayfinding study into the depths of
the design project.
4.2.1 The LLDC - The Living and Learning Design Center, Ajrakhpur, Kutch
The LLDC was primarily meant to be a tactile visual repository of the various crafts of
Kutch. The main intent of the project was to define its position as a resource center for
artisans, the museum being its public face that houses galleries of the various crafts
especially the textile antiquities. It was an initiative by the SHRUJAN NGO for the
revival of the artisan community through interaction and engagement of local master
artisans with designers and practitioners to synergize and educate new young artisans
and thus ensure a stable income growth for the artisans.

Figure 4.1 Exterior View of Museum Block Figure 4.2 Museum gallery

14
Architect: Uday Andhare&MausamiAndhare
Client: Living & Learning Design Center- LLDC – Ajrakhpur – Kutch
Site Area: 8 acres
Building Area: 11150 m2 (25%)
Typology: EducationalCultural › Cultural Center Museum, Public institution for the
arts/crafts of Kutch

4.2.1.1 Location
The resource center is located in Ajrakhpur, Kutch in Gujarat in the outskirts of the city,
10 km away from Bhuj. It is well connected and dwells on the concept of community
living and sustainable design strategies to creative an eco-sensitive space. It responds
to the local climate, program, economic realities and the various user interventions.

Figure 4.3 Location Map

The various users of the project are

Craftspersons> Tourists > Art and craft enthusiasts > Textile and design students >
Staff and Shrujan trust members.
The proposal has three zones on the site with the museum block as the primary usable
public zone that is completed in the first phase, the craft school and residential enclaves
form the secondary phases.

Figure 4.4 Design model Figure 4.5 Sectional view

15
Figure 4.6 Design Pro
ogram

Plate 4.1

16
Plate 4.2

Plate 4.3

17
Plate 4.4

Plate 4.5

18
4.2.1.2 Inference

 The spaces are defined based on the context, users and local climate.
 Properly designed masterplan to ensure a sustainable space with services etc.
 The zoning of various spaces and the user movement through the site is public to
semi- public to private.
 The climate responsive design strategies, display patterns, use of locally
available materials and artisans creates an identity for the project.
 Various required program and area statements based on the artisan craft and its
standards is arrived at.

4.2.2 The Ganga Maki Textile Studio, Uttarakhand.

The Ganga maki studio is a collaborative project undertaken by the Japanese designer
of Maki studio and was designed by Studio Mumbai - a leading architecture firm in India.
Architect: Studio Mumbai
Client: Chiaki Maki, Rakesh Singh venture
Built Up Area: 1300 Sq. m
Location: Bhogpur, 30 kms from Dehradun,
Uttarakhand.
Purpose: Integrated Weaving Studio

Figure 4.7 Location Figure 4.8 3D Model

19
 Figure 4.9 Program

Beautifully designed and built in a scenic environment, the spaces are located based on
the user groups and their needs to ensure the interaction between man, nature and the
built form with outdoor pockets and is a good example of the progressive craft industry.

The 1300 sq. m complex took 4 years to complete and was designed by Bijoy Jain
through locally sourced materials and artisans. The studio is a venture by the Japanese
textile designer Chia Maki and Rakesh Singh, an entrepreneur. The overall planning of
the studio and factory is composed of a series of four L-shaped volumes (Designer
studio, gallery, residences, canteen and dye house) arranged in a horse shoe pattern
around the courtyard which is the heart of the project with a water trough to reflect the
moon.

The majority is built with bricks and lime and is stone pavered. Local plants form
landscape elements and bamboo inspired from Japanese architecture was also used as
a framework in the studio space.

20
4.2.2.1 Zoning
Z
 The hierarc
T chy of spacces ascend ds from most
m public accessed zones to very
private zonee.
 T spaces are carefu
The ully located based on the user community
c and the ne
eeds,
th
he interactio
on between
n man, natuure and buillt form with outdoor po
ockets.

Figurre 4.10 Zoning

g

Plate 4.6

21
 Plate 4.7

4.2.2.2 Inferen
nce

 The dessign is base ed on the lo

ocal
environment off the weave ers and with
h
courtyard as an n inclusive design featture.
 The ligh hting is diffu
used (optim
mum
for weaving)
w an
nd the dye house is
locaated separaately to avoid fumes an nd
heating.
 The stud dio space shows
s how to
integrate the weavers
w andd the designners
and has space e for 16 loomms in 4
erent roomss to avoid overcrowdin
diffe o ng.
 Tradition nal elements of design n
have been recrreated on a contempo orary
scalle to add "id
dentity" andd a "sense of
placce" to the project.
Figure 4..11 Sectional view

22
4.2.3 The Handloom School, Maheshwar, Madhya Pradesh
The school was an initiative launched by Women weave in 2015 to help revive the
handloom industry of the town. The proposal focusses on the younger age groups
between 18 -25 years and equips them with training in weaving and pre-order weaving
activities. The project agenda is to create self-made new and own innovative designs.
The school also offers 4-month and 1- month courses as well.

Figure 4.12 Location Figure 4.13 model

4.2.3.1 Location
The Handloom school is in Maheshwar, which is a small town in Khargone district in the
state of Madhya Pradesh famous for its forts and maheshwar sarees. It lies in the banks
of the narmada river with good accessibility from the city in 15mins and has a single site
access for all users.
The spatial planning is related to the process of weaving from spinning the thread to the
final finishing of product.
The architecture language was inspired by the local traditions of building, pattern of the
facility and the functional and socio-cultural parameters of the region.
4.2.3.2 Program
 Studio
 Administration
 Residential dorms
 Recreational outdoor facilities like amphitheatre and parks.
 Dyeing block
 Handloom unit

23
 Figure 4.14 site plan

4.2.3.3 Zoning
 The hierarchy of spaces ascends from most public accessed zones to very
private zone.

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

Figure 4.15Design development Figure 4.16 Floor plan and circulation of the Handloom school
(Academic block) through the Academic block

4.2.3.3 Architectural Planning

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

24
  The building is carefully planned based on the amount of light necessary for the
studios
and the ambience it creates for the users.
 Several considerations based on the user groups has been taken to create the
flow of the various user groups of artisans---visitors----students.

Figure 4.17 Front Elevation of the handloom school

4.2.3.4 Inference

 Owing to the climatic considerations of the process and its impact, openings
should be located only on the north and south walls to allow only diffused light
inside the studio space since harsh light makes it difficult to weave.

 Good natural and cross-ventilation is a must for the studios to allow constant air
flow throughout to remove any dust or thread particles from the air.

 The dyeing unit is placed separately to avoid the fumes and heat into other
usable spaces and the planning is such that it imitates the local clusters and
hence the weavers feel at home in the studio.
4.3 UNDERSTANDING PRODUCTION UNIT

 The selected unit is a typical workspace in the skht town where government-
maintained artisan groups work and produce the kalamkari products. The
production unit is a cluster of covered, semi-covered covered and open spaces.
It has 9 units with common kilns, washing and drying yards.

 The unit is typical space but not specifically designed for the artisans to work at
and hence the plate below discusses the positives and negatives of the space
and its perceptions.

25
 P
Plate 4.8

4.4 UNDERSTANDING THE

E ACADEMIC UNIT
HT, Kannurr
4.4.1 IIH
The Indian Institutes of Hand dloom Tech hnology are
e a group of governmment run public
p
institutess of higher education in the handloom secttor. There are
a six institutes in ce
entral
sector and four in State
S sector.

Ts provide a three-ye
All IIHT ear Diploma in Hand dloom and Textile Te
echnology. The
Varanassi and Sale
em campuses also offfer a one and
a half yea
ar Post Dip
ploma in Te
extile
Processsing.

4.4.1.1 Courses
C off
ffered in the
e institute: -

 For diploma of handloo

F om technolo
ogy -75 seaats available
e -6semestter course
 F Post dip
For ploma of handloom tecchnology - I O seats - 3 semesterrs
 B
Bachelors in
n Handloomm Technologgy -50 seatts -8 semessters

26
4.4.1.2 Facilities offered in the institute: -
 Classrooms equipped with LCD and Computers
 Faculty rooms
 Weaving Labs with at least 20 looms
 Dyeing and printing lab -Textile testing lab
 Computer Aided Textile Design Lab
 Computer colour matching lab
 Computer lab with 75 computers
 R & D lab for product developments
 Library - Workshops
 Display Halls
 Administrative wing with administrative office and examination cell

Figure 4.18Various IIHT

For providing opportunities to the upcoming generations, it is important to educate them

of the technology presently used and provide opportunities to upgrade these
technologies. The structure of IlHT campus and the SVITSA structure is studied to
understand the spaces necessary, course to offer and NIFT Kannur is studied to
understand the area requirements of the space.

4.4.2S.V. Instituteof Traditional Sculpture and Architecture

Location: Chennai - Anantapur Highway, Srinivasa Nagar, Dwaraka Nagar,
Tirupati, Andhra Pradesh

BRANCHES / DEPARTMENTS:

1. Temple Architecture
2. Stone sculpture
3. Sudai sculpture
4. Metal sculpture
5. Wood sculpture
6. Traditional painting

27
It also provides all the facilities for boarding and lodging during the tenure of the course,
with the whole expenditure being met by the management of T.T.D., with a view to
promote the Indian art and culture which is a desideratum.

SVITSA offers two level courses.

 One is the Certificate Course for
eighth class- passed students
 other is the Diploma Course for
tenth class-passed students.

 The Certificate Course is offered

in Kalamkari designing.
 This course is of two years.
 4 semester courses
 Strength: 10 students
 No fees
Figure 4.19Article clipping

4.4.3NIFT, Kannur
NIFT Kannur is in Dharamshala in Kannur district of Kerala. The campus is situated in
10 acres of land and was designed by Indigo Architects.

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

Figure 4.20NIFT Campus

Figure 4.21NIFT Floor plans

28
 Figure 4.22 art
a room & cla
assroom

Figure 4.23 Sewing room & Patte

ern making ro
oom

able 4.1 Para

Ta ameters of NIF
FT, Kannur

For provviding oppoortunities to the upcom ming generaations, it is important to

o educate them
t
of the current
c skillls, techniqu
ues and teechnologiess and proviide forums to create new
technolo
ogy. In the process off revival, the history and knowled dge of the artform
a musst be
passed on to futu ure generattions to ke eep the community alive a and th his is focussed
through education.. A course e of two years with a bare min. strength off 10 studen nts is
providedd in the proposal.

The stru
ucture of IIH
HT to unde
erstand the spaces ne ecessary, thhe backgrouund of svitssa to
understa
and the co ourse objecctive and contextual
c d
detail, T to underrstand the area
NIFT
requirem
ments of spa
aces.

29
 CHA
APTER 5
DATA COLLECT
C TION
5.1 STA
ANDARDS
S

P
Plate 5.1

P
Plate 5.2

30
Plate 5.3

Plate 5.4

31
 Plate 5.5

 The
T colleccted data standards are
from the National building coode and TUDA
AP bye laws 2017 - chapter ivv.

 The
T basicc requirem ments for an
institutio
onal buildin
ng are arrivved from these
and the e basic requuirements for
f the prop posal
is arriveed from ressearch stud dy, case stu
udies
and livee studies onn the site re
egion.

Plate 5.6

32
 CHAPTER 6–PROGRAM BRIEF

6.1 INTRODUCTION TO THE PROPOSAL

6.1.1 Program flow of the various process and users in the textile craft industry
of Srikalahasti
 Based on the literature and live interaction with the artisan community at a
minimal level and on research based on the textile industry of India, the flow of
the program for the Textile Handicraft of Kalamkari has been derived.

 The project is primarily aimed at a government generated and funded proposal to

preserve and promote the handicrafts of the State of Andhra Pradesh.

 Several NGO organizations like DWARAKA (Development of Weavers and Rural

Artisans in Kalamkari Art) have already initiated self-help group societies and is
raising funds to help the artisan group.

 The flow of the proposal aims at the amalgamation of space, culture and
education to promotes the craft and educate the future designers and train them
into the needs of the contemporary market with new innovative branching from
the traditional style.

 The various target groups of the project include

1. Artisans
2. Supporting labours
3. Students
4. Researchers
5. Designers
6. Tourists

33
Figure 6.1 Program flowchart

34
6.2 PRELIMINARY AREA REQUIREMENTS

MAIN ACTIVITIES SUB- ACTIVITIES AREA REFERENCE AREA

raw material storage 60*2 = 180 sq m 6 sm / unit raw material

drying yard 100 * 2= 200 sq m 10 sqm/ saree
sketching studio 300 sq m ( 15 no’s) 15sq m/ saree
washing and furnace yard 50 sq m (5 no’s) 10 sq m/ saree
PRODUCTION UNIT kalamkari 35icke studio 300 sq m (15 no’s) 15 sqm/ saree
100 artisans working at a contemporary product
time design studio 150 sq m
10-12 saree/ day packing ans storage 200 sq m
wc = 5+ 2
urinal = 5 1.5sq m/ wc
toilets 35icket35 = 40 sq m 1sq m/ urinal
Table 6.1 Area Requirements

MAIN ACTIVITIES SUB- ACTIVITIES AREA REFERENCE AREA

classroom ( 20 students) 70* 2 = 140 sq m 1.5 sqm/ person

faculty rooms
and research ( 5+2 ) 90 sq m 1.5 sqm/ person
dyeing and textile lab ( 20 users) 90 sq m 4.5 sq m/ person
design lab ( 20 users) 60 sq .m 1.6 sq m/ person
R & D lab ( 10 users) 50 sq m 1.6 sq m/ person
INSTITUTE AND library ( 30 -35 users ) 1.4 sqm/ person
TRAINING CENTRE (material+ book+ reading room) 150 sq m 1.7 sqm/ person
Design studio ( 20 users) 80 * 2 = 160 sq m 4 sq m/ person
total of around 100 people cafetaria 40 sq m 1 sq m/ person
training unit ( 20– 30 users) 300 sq .m 4 sq m/ person
wc = 12+ 6 1.5sq m/ wc
toilets urinals = 10 1sq m/ urinal
Table 6.2 Area Requirements

35
MAIN ACTIVITIES SUB- ACTIVITIES AREA REFERENCE AREA

gallery spaces
( 100 users at a time) 200 sq m/ gallery 1.2 sqm/ person
Info centre ( 2 staff)) 15 sq m
reception + lobby + waiting area 50 sqm
EXHIBITION AND
EMPORIUM workshops ( 10 users) 100 * 2 = 200 sq m 4 sqm / person
expo / mela 1.5 sqm / person
( permanent and temporary) 1000 sq m ( max of 500 people )
storage 100 sqm
wc = 16 + 6 1.5sq m/ wc
toilets urinals = 10 1sq m/ urinal
Table 6.3 Area Requirements

MAIN ACTIVITIES SUB- ACTIVITIES AREA REFERENCE AREA

reception + waiting lounge 35 sq m

VIP lounge 40 sq m

conference room ( 15 users) 50 sq m

staff room + lounge 30 sq m

ADMINISTRATION directors office 30 sq m

managers room 20 sq m

press room 40 sq m

record section 40 sq m
wc = 3+2
urinal = 5 1.5sq m/ wc
toilets 36icket36 = 40 sq m 1sq m/ urinal
DWARAKA office
APTDC 36icket36l room 60 sq m
Table 6.4 Area Requirements

36
 MAIN ACTIVITIES SUB- ACTIVITIES AREA REFERENCE AREA

students hostel facility ☹ 50 users) 300 sq m

2 sharing room = 25 sq m 20 girls =200 sq m
with bathroom 20 boys = 100 sq.m
100 sq m
single room with ( 10- 15 ) male – 50 sqm
bathroom = 12 sqm female 50 sq m
ACCOMODATION Intern stay 50 sq m
faculty (5= 1:8) and
artisan quarters 200 sq m
guest house for stakeholders
and visitors 300 sq m
Table 6.5 Area Requirements

ALLIED ACTIVITIES SUB- ACTIVITIES AREA REFERENCE AREA

restaurant + kitchen 300 sq m 1.2 sqm / person

37icket counter 10 sq m

security 10 sq m

amphitheatre 300 sq m

DEWARTS unit +
farm 2000 sq m

parking

services
Table 6.6 Area Requirements

Based on Andhra Pradesh rules, NBC and research study from textile-based colleges
like NIFT and IIHT

37
 CHA
APTER 7
S
SITE STUDY AND ANALYS
A IS
7.1 SITE
E JUSTIFIC
CATION AN
ND FEASIB
BILITY
7.1.1 Ab
bout
Location n: Srikalahaasti, Andhra
a Pradesh
District: Chittoor
Site areaa: 18 acres s
Climate:: Hot and Humid
H
Govt typpe: Municipality
Area of town:
t 24.500 sq. km
Populatiion: approx x. 80,056 peeople (2011 1)
Proposa al: Revival of
o the Kalam mkari artisa an
commun nity of Srika
alahastiFigurre 7.1District map

Figure 7.2
7 Location map
m

 Kalamkari of
K o mytholo
ogical them
mes is practiced in Srikalahastti temple town
popularly kn
nown as " Dakshin Kailash" in the Chittoor disttrict of Anndhra
P
Pradesh, Ind
dia.

 The kalamkari style off Srikalahassti is the ancient pracctice of han

T nd painting and
dyeing techn
niques.

38
  The town house around 300 families of artisans practising this artform with new
designs and innovation into the contemporary market.

7.1.2Catchment area | Justification and feasibility

Figure 7.3 Catchment area

 The site is easily accessible from major urban centres of AP with good
transportation connections and other infrastructure facilities.

 The site by itself is a pilgrimage town and is surrounded by pilgrimage centres

that concentrates the tourist population in vicinity- who form one of the major
user groups of the project and hence it is an added advantage of the prime
location.

 Also, the selected site is only 10 km from the core of Srikalahasti town, major
centre for Kalamkari with good infrastructure facilities and connectivity with other
states too.
 Another important reason is the mapping of neighbouring villages from where the
kalamkari wage workers hail from and the raw material centres for this textile
handicraft.

39
7.1.3PROPOSED MASTER PLAN LAND USE 2040 By TUDA

Figure 7.4 Proposed Master Plan land use 2040 by TUDA

SURROUNDING LAND TYPE

 The land use of the site is a mixed-use parcel with a waterbody canal running
adjacent the chosen site.
 The surrounding land use comprises mostly of mixed use and residential use
with the areas around the site in immediate proximity are either vacant or used
as farmlands.

GENERAL FEEDBACK OF THE PROJECT

 The surrounding region has positive outcomes with introduction of the project
there for the neighbouring villages and will also result in development of various
infrastructure facilities in the rural end along the Highway.

FEASIBILITY
 Presence of abundant water in the close proximity for the successful
manufacture of this artform, along the main tourist network of Andhra Pradesh.

40
7.1.4 WHY??

Figure 7.5 Context map

Figure 7.6 Connectivity

 Prestigious educational institutions (IIT, IISER), Industrial Hubs (Sri city) are
located near the proposed site.
 Tirupati and Srikalahasti form major pilgrimage centres and heritage places in the
country and the world.
 The kalamkari and wood craft communities reside in close proximity in
dilapidated state at a radius of 5 km from the proposed site.

7.1.4.1 Neighborhood context

 Temple - 11 min 5 km
 Tirupati- 42 min 32 km
 Nearest bus stop- 3 min 1.8 km
 Skht arch- 6 min 3 km
 MGM Hospitals - 16 min 7.4 km
 Fire station - 12 min 5.5 km
 SKIT college - 10 min 4.5 km
 Haritha hotel, APTDC office - 2 min 1.5 km

41
Plate 7.1

Plate 7.2

42
 Figure 7.7 Neighborhood context

The immediate neighbourhood of the site within 1 km distance houses 2 residential

villages, public utilities like CETP, WTP and a mosque building. The SKIIMS college is
located parallel to the site on East. Vacant land engulfs the site in all the directions and
hence faces no issues of ventilation or vandalism.

7.1.5 Activity mapping

The people residing in the villages practice agriculture and dairy as main work,
kalamkari craft as secondary work and wage workers in factories and shops as tertiary
occupation. There is no specific movement of user groups along the site except the
vehicles through the Highways.

Figure 7.8 Activity mapping

43
7.2 SITE
E ZONING AND GUID
DELINES

Figure 7.9Site setba

ack
BUILDIN
NG HEIGHT TS:
 Provided
P tha
at the miniimum clearr head wayy under an ny beam sh hall be not less
th
han 2.4m.
 Maximum
M height permmissible for all the com
mponents of o the buildding mentiooned
above is 4 m.m 3. The maximum
m h
height of bu
uilding shalll not excee
ed 1.5 timess the
w
width of roadd abutting plus
p the front open spa
aces.

LEGAL:

Private ownership-
o Venkata Ramaiah
R
(Farmerr and traderr in kapugunneri)

Legal - Srikalahast
S i court
Under TUDA
T Development Au
uthority

Table 7.1 Heights

H and se
etbacks

Railwayy’s guideline
es:
 The
T distance e between the Railwayy Property Boundary and
a the edg
ge of the
building shall be 30
0m as per Indian Railw
ways Workss Manual orr as per No
o
on Certificatte (NOC) given by the Railway Authorities.
Objectio

44
7.3 SITE
E ANALYSIS

Plate 7.3

Plate 7.4

45
Plate 7.5

46
 CHAPTER 8
ARCHITECTURAL DESIGN
8.1 DESIGN IDEATION AND CONCEPTUALIZATION
SUSTAINABLE DESIGN THROUGH CRITICAL REGIONALISM IN THE REVIVAL OF
A SUSTAINABLE HANDICRAFT

 Critical regionalism is an architectural concept that seeks to balance local needs

and capabilities with the progressive lessons of modernisation.

 Critical regionalism is an approach to architecture that strives to counter the

place lessness and lack of identity of the International Style, but also rejects the
whimsical individualism and ornamentation of Postmodern architecture. • Critical
regionalism is not simply regionalism in the sense of vernacular architecture. It is
a progressive approach to design that seeks to mediate between the global and
the local languages of architecture.

 Sustainability is Design that seeks to minimize the negative environmental impact

of buildings whilst enhancing the social and economic environment for all
demographic parts in society.

8.1.1 Design considerations:

 Create spaces that creates a sense of place for the various users of the space.

 Integrate the prime focus (core activities) with the allied and supporting activities
to weave a storyboard of the handicraft and its essence.

 Introverted and extroverted design, hierarchy of spaces -- semi open -- open --

closed and so on.

 Textile guidelines

Figure 8.1 Integration and disintegration

47
8.1.2 Basic Ideas of
CriticalRegionalism

 Context-specific Architecture

 Historical Knowledge

 Climate Responsiveness

 Materiality

 Ecology and Landscape

Social and Cultural AppropriatenessFigure 8.2 Critical Regionalism

 Technology

Figure 8.3Context specific architectural elements

48
Figure 8.4 Conceptualization of Ideas

49
8.2 SITE ZONING

50
51
 Figure 8.5 Site zoning evolution

8.2.1 Zoning Strategies

The interlocking of spaces creates an integrated approach to the different activities
within the site creating a holistic space.

Figure 8.6 Zoning strategies

The primary spine and the focal zones coincide with each other to create a theme of
wayfinding through the building and it also ensures mutual shading similar to street
planning strategies in Srikalahasti.
 The vertical zoning brings the major activities of public and semi-public at lower
level and the private education zone at the first-floor level with their
accommodation facilities.
 To create a sustainable space for the sustainable textile craft, Dewats system for
water management in the production process and farms growing the native trees
required for the process involved in the production.
 Zoning based on various user approaches and segregation of pedestrian and
vehicular at outer ends to create a traffic free site circulation.

52
8.3 SITE PLAN

Plate 8.1

Figure 8.7THEME LINE – Dictates Figure 8.8Integration of critical regionalism of Srikalahastithe

User flow within the Built space into planning

53
8.4 BUILDING DESIGN
8.4.1 Ground floor plan

Plate 8.2

8.4.2 Users and their Spaces

54
 Plate 8.3

8.4.3 First floor plan

55
 Plate 8.4

8.4.4 Section

56
 Plate 8.5

8.4.5 Elevation

57
 Plate 8.6

8.4.6 Design Elements

58
 Plate 8.7

8.4.7Dewats System

59
 Plate 8.8

8.4.8 Views

60
Plate 8.9

61
 CHAPTER 9
CONCLUSION
9.1 CONCLUSION
The aim of this project was to design an architectural solution for the fast-evading
importance of the artisan community in Srikalahasti, Andhra Pradesh. After
understanding the flow of the textile industry and its business and economic loops, it is
realized that fragmentation of the community is the main reason for the fall and can be
revived through an architectural influence.
Hence, the design aimed at integrating the various activities of the industry in a single
space for the revival and flourishment of the artisans in and around. The campus
designed provides scope for research and innovation through amalgamation of space
culture and education.
It also provides opportunities for the designers and students to interact with the artisans
and reside and understand their lifestyle for new approaches and creations using the
Kalamkari craft in the contemporary world.
Most importantly, the project eliminates involvement of middlemen and directly brings
to light the government marketing companies and NGO run business organizations. It
also has mela spaces where large exhibitions and bazaars can be held and the space
designed resonates the story and glory of the Kalamkari art and the artisans of
Srikalahasti and creates employment opportunities in the sector.

62
 CHAPTER 10
REFERENCES

10.1 BIBLIOGRAPHY

10.1.1 Research papers

 https://www.researchgate.net/publication/318529485_Tradition_and_Transition--

-_A_study_on_Kalamkari_of_Srikalahasti

 https://www.sahapedia.org/kalamkari-introduction

 https://ijcrt.org/papers/IJCRT2009102.pdf

 https://www.academia.edu/5448860/Kalamkari_The_painted_temple_cloths_Kal

amkari_The_painted_temple_cloths

 https://www.ijsr.net/archive/v9i7/SR20713172207.pdf

 https://www.researchgate.net/publication/334598625_Evaluating_students'_lear

ning_from_and_appreciation_for_the_hand_painting_workshop_of_traditional_K

alamkari_art

 https://commencement-archive.wustl.edu/postmodern-kalamkari/

 http://the-kalamkari-painting-and-printing.blogspot.com/2017/?m=1

 https://www.scribd.com/document/299052640/Design-Guide-Arts-Crafts-Centers

 https://www.behance.net/gallery/22237637/The-making-of-Kalamkari

 https://architecturecasestudies.wordpress.com/category/uncategorized/

63
  https://archinect.com/anushreeraina/project/shilpgram-promotion-center-for-

handicrafts

 https://puremitti.com/blogs/blogs/kalamkari-a-timeless-art

 https://www.archinomy.com/case-studies/traditional-house-in-andhra-pradesh/

 https://www.researchgate.net/publication/280940901_Standardisation_of_Desig

n_and_Maintenance_of_DEWATS_Plants_in_India

 https://aphrdi.ap.gov.in/documents/Trainings@APHRDI/2017/6_June/ias/siva%2

0nagireddy.pdf

10.1.2Reference books

 https://books.google.co.in/books?id=wKGKLdMirSIC&pg=PA211&lpg=PA211&d
q=do+people+from+other+villages+come+for+kalamkari+work+in+srikalahasti&s
ource=bl&ots=0dycPNi1AQ&sig=ACfU3U0FQV2hoVkM-
gHcCRbj2qqiqXBn9A&hl=en&sa=X&ved=2ahUKEwiu3eD2zYPyAhXxheYKHSlB
AqYQ6AEwEnoECBoQAw#v=onepage&q=do%20people%20from%20other%20
villages%20come%20for%20kalamkari%20work%20in%20srikalahasti&f=true

64