Upload
aarushi-kumar
View
259
Download
15
Tags:
Embed Size (px)
DESCRIPTION
Thesis on CraftsVillage
Citation preview
CRAFTS VILLAGE
AT MADHYAPUR THIMI
Submitted in partial fulfillment of the
Requirement for the degree of
Bachelor of Architecture
In the Department of Architecture
Tribhuvan University
Institute of Engineering
Pulchowk Campus
January 2011
Kathmandu,Nepal
March 2010
BY
Rupesh Shrestha
(062 / B.Arch / 231)
Thesis on Crafts Vlllage, Madhyapur Thimi.
RUPESH SHRESTHA B. ARCH. THESIS 2011 062 / B.ARCH. / 231 IOE, DEPARTMENT OF ARCHITECTURE
CERTIFICATE
This is to certify that this thesis entitled CRAFTS VILLAGE at Madhyapur Thimi submitted
by Mr. Rupesh Shrestha has been examined and it has been declared successful for the partial
fulfilment of the academic requirement towards the completion of the Degree of Bachelor of
Architecture.
..
Ar. Rajesh Thapa
(Thesis Supervisor)
Date: .
Thesis on Crafts Vlllage, Madhyapur Thimi.
RUPESH SHRESTHA B. ARCH. THESIS 2011 062 / B.ARCH. / 231 IOE, DEPARTMENT OF ARCHITECTURE
DECLARATION
I declare that this dissertation has not been previously accepted in substance for any
degree and is not being concurrently submitted in candidature for any degree. I state that this
dissertation is the result of my own independent investigation/ work, except where otherwise
stated. I hereby give consent for my dissertation, if accepted, to be available for photocopying
and understand that any reference to or quotation from my thesis will receive an
acknowledgement.
.
Rupesh Shrestha
Date: ...
Thesis on Crafts Vlllage, Madhyapur Thimi.
RUPESH SHRESTHA B. ARCH. THESIS 2011 062 / B.ARCH. / 231 IOE, DEPARTMENT OF ARCHITECTURE
ACKNOWLEDGEMENT
I would like to express my sincere gratitude to all who have offered their help in
accomplishing this thesis.
I would like to thank my teachers; my guides who have continuously helped me with
their guidances and brainstorming ideas. I would like to thank my guide Ar. Rajesh Thapa for
his continuous support and his valuable inputs. Also I would like to thank Prof. Dr. Sudarshan
Raj Tiwari, Prof. Sri Niwas Bir Singh Kansakar for their valuable ideas that has been helpful to
shape this project.
Also I would like to mention a special thanks to Ar. Deepak Pant and Ar. Punya Sagar
Marahatta for their suggestions and continuous encouragement and gestures.
Also I am indebted to the reputed personnel of various craft centres for their valuable
co-operation during the case study. Also I want to express my gratitude towards Mr. Leela
Mani Paudyal- Secretary at Office of Prime Minister and Council of Ministers (OPMCM) and
Mr. Gopal Kalapremi Shrestha a renowned artist for their support while doing case study
and programme formulation.
I would also like to extend my gratitude to my seniors Ar. Abhishek Mananda
Bajracharya, Ar. Monika Maharjan, Ar. Jeny Shrestha, Ar. Manisha Shilpakar, Ar. Timila
Bajracharya and juniors Shashi Mandal, Selma Vaidya and Lona Gm, Anuj, Nirajan, Zubin,
Nayan and my friend Prabin Man Baidya for their assistance and without whom this project
couldn't have fully materialised.
A word of appreciation also goes to my friends who have supported me in this
endeavour and to all whose names I couldn't mention here.
Thank you .
Rupesh Shrestha
062 / B.Arch / 231
Thesis on Crafts Vlllage, Madhyapur Thimi.
RUPESH SHRESTHA B. ARCH. THESIS 2011 062 / B.ARCH. / 231 IOE, DEPARTMENT OF ARCHITECTURE
ABSTRACT
A craft is a branch of profession that requires some particular kind of skilled work. In
historical sense, particularly as pertinent to the Medieval history and earlier, the term is usually
applied towards people occupied in small-scale production of goods. The meaning of craft and
its values are ever-changing with development of new techniques and methods. Craft village is
a one-stop craft destination which offers visitors a unique variety of craft-related activities and
programmes. It is intended to be a must visit" tourist destination. In this village, visitors will
learn about Nepali handicraft through craft demonstrations & hands-on interactive sessions.
Visitors will experience the interactive handicraft making besides viewing the techniques in
which they make such fine masterpieces. It also accommodates various trading units. This
project intends to provide spaces with forms and functions to foster the development of crafts
that Nepal is known for. The art and craft gallery housed in its premises displays wide
collections of handicraft products/artefacts based on time-honoured Nepali craft traditions. The
core concept of the Craft gallery is education and highlights the craft heritage of Nepal and
local handicraft production technologies.
There are many handicrafts promoting agency in Nepal. They are private, semi-
government and government agency with different scope and scale. But the y lack adequate
space which truly acknowledges the production, promotion and display of crafts. The project
has opted for traditional principles in architectural design character of a traditional settlement
(tole).
TABLE OF CONTENTS
CONTENTS PAGE NO
1. Chapter 1: Introduction
1.1 Introduction. 1
1.2 Historical Background.. 3
1.3 Objective of the Study........... 4
1.4 Scope of project . 6
1.5 Project Justification.. 7
1.6 Methodology........ 9
2. Chapter 2: Literature Review
2.1 Literature Review 12
2.2 Objective... 12
2.3 Introduction
2.3.1 General Consideration .... 13
2.3.2 Design of Multifield workspace .. 16
2.3.3 General requirement of studios . 19
2.3.4 Detailed study of studios 20
2.3.5 Library ... 23
2.3.6 Conference rooms and restaurants .. 24
2.3.7 Display Spaces .. 25
2.3.8 Energy Efficient Studies 31
3. Chapter 3: Site Analysis
3.1 Site Analysis
3.1.1 Location ... 34
3.1.2 Physical features .. 34
3.1.3 Site surroundings 35
3.1.4 Site area 35
3.1.5 Access and approaches .. 35
3.1.6 Vegetation . 36
3.2 Physical infrastructure . 36
3.2.1 Infrastructure ... 36
3.2.2 Geology . 36
3.2.3 Climate .. 36
3.3 Few facts about Madhyapur Thimi 37
3.4 Site Justification .. 37
3.5 Bye Laws ..... 37
3.6 SWOT Analysis .. 37
4. Chapter 4: Case studies
4.1 Case Study .. 39
4.1.1 Introduction to Handicraft Association of Nepal 40
4.2 Wood craft
4.2.1 Wood Carving Industries . 41
4.2.2 Wood carving at Bhaktapur .. 44
4.3 Metal Craft
4.3.1 MahaBuddha Handicraft . 45
4.4 Stone Craft
4.4.1 Arniko Stone Carvers 48
4.5 Clay Craft
4.5.1 Pottery Square . 50
4.5.2 Thimi Ceramics . 53
4.6 Gallery and Exhibition Space
4.6.1 Nehru Memorial Pavillion .. 54
4.6.2 National Craft Museum . 56
4.7 Exhibition and Commercial space
4.7.1 Babar Mahal Revisited . 60
4.7.2 Siddhartha Art Gallery .. 62
4.8 Training and Development Center
4.8.1 Handicraft Design and Development center .. 63
4.9 CRAFT VILLAGE
4.9.1 Folk arts and Crafts Museum .. 66
4.10 Energy Studies
4.10.1 Piano's Beyeler Foundation Museum .. 68
5. Chapter 5: Design Inferences
5.1 Elements of Newar settlements . 70
6. CHAPTER 6: Programme and Area formulation 74
7. CHAPTER 7: CONCEPT
7.1 Concept 79
7.2 Design theme 80
7.3 Zoning and site planning . 80
7.4 Proposed Utility and services .. 82
7.5 Fire hazard protection plan . 83
8. CONCLUSION .. 84
9. BIBLIOGRAPHY . 85
Thesis on Crafts Vlllage, Madhyapur Thimi
RUPESH SHRESTHA B. ARCH. THESIS 2011 062 / B.ARCH. / 231 IOE, DEPARTMENT OF ARCHITECTURE 1
CHAPTER 1
1.1 INTRODUCTION
Arts and crafts comprise a whole host of activities and hobbies that are related to
making things with one's own hands and skill. These can be sub-divided into handicrafts or
"traditional crafts" (doing things the old way) and the rest. Some crafts have been practised for
centuries, while others are modern inventions, or popularisations of crafts which were
originally practiced in a very small geographic area. (Word IQ.com 2010)
The specific name Arts and Crafts movement was also given to a design
movement of the late 19th and early 20th century, whose proponents included William Morris
and Edwin Lutyens. They believed that medieval craftsmen achieved a joy in the excellence of
their work, which they strove to emulate.
These activities are called crafts because originally many of them were
professions. Adolescents were apprenticed to a master-craftsman, and they refined their skills
over a period of years. By the time their training was complete, they were well-equipped to set
up in trade for themselves, earning their living with the skill of their hands. The Industrial
Revolution and the increasing mechanisation of production processes gradually reduced or
eliminated many of the roles professional craftspeople played, and today 'crafts' are most
commonly seen as a form of hobby.
Most crafts require a combination of skill and talent, but they can also be learnt
on a more basic level by virtually anyone. Many Community centres and schools run evening
or day classes and workshops offering to teach basic craft skills in a short period of time. Many
of these crafts become extremely popular for brief periods of time (a few months, or a few
years), spreading rapidly among the crafting population as everyone emulates the first
examples.
The term craft also refers to the products of artistic production or creation that
require a high degree of tacit knowledge, are highly technical, require specialized equipment
and/or facilities to produce, involve manual labor or a blue-collar work ethic, are accessible to
the general public and are constructed from materials with histories that exceed the boundaries
of western art history, such as ceramics, glass, textiles, metal and wood. These products are
produced within a specific community of practice and while they differ from the products
Thesis on Crafts Vlllage, Madhyapur Thimi
RUPESH SHRESTHA B. ARCH. THESIS 2011 062 / B.ARCH. / 231 IOE, DEPARTMENT OF ARCHITECTURE 2
produced within the communities of art and design, the boundaries of such often overlap
resulting in hybrid objects. Additionally, as the interpretation and validation of art is frequently
a matter of context, an audience may perceive crafted objects as art objects when these objects
are viewed within an art context, such as in a museum or in a position of prominence in ones
home.
Art and Craft are inter-related in many aspects. They are a form of expression of
ideas and solutions through items they create. Different items that craftsmen have made, during
their civilization has brought a masterpiece and stated about the period of their times. Nepal is
a country with diversified cultures, art and traditions. It is a colorful country. It is because of
these cultures and tradition Nepal is known to the world today. These diversified cultures and
traditions are reflected on the art and crafts of the country, which not only specifies the identity
but has become one of the most important financial gains of the country. As stated in Wikipedia
(2010) Handicraft is known as craftwork is a simple craft. It is a type of work where useful and
decorative devices are made completely by hand or by using only simple tools. Usually the
term is applied to traditional means of making goods. They are usually labour intensive
specialized skills and uses indigenous raw material and resources. In the India Crafts (2010)
it states usually, what differentiates handicraft from arts and crafts is a matter of intent, i.e.
handicraft items are intended to be used, worn, etc, having a purpose beyond simple
decoration. According to Handicrafts are generally considered more traditional work, created
as a necessary part of daily life, while arts and crafts implies more of a hobby pursuit and a
demonstration/perfection of a creative technique. In practical terms, the categories have a great
deal of overlap (Malcolm Tatum 2010).
Thesis on Crafts Vlllage, Madhyapur Thimi
RUPESH SHRESTHA B. ARCH. THESIS 2011 062 / B.ARCH. / 231 IOE, DEPARTMENT OF ARCHITECTURE 3
1.2 HISTORICAL BACKGROUND
Gajurel and Vaidya (1994) suggest that history of Nepalese Handicraft is an old saga.
Traces of Nepalese handicraft dates back to Stone Age, where any kinds of tool were
inadequate. During 5th Century AD, different religions began to form their bases amongst the
people, along with the history of handicraft. Thus handicraft began with faith; a lot of religion
influence can be seen in Nepalese Handicraft. People from different spheres of life following
different religion from Hinduism to Buddhism influenced so much of Nepalese art and craft.
Documentary evidences indicate that Nepalese handicraft dates back to the period of
Kautilya. In 4th
century, Nepal was known for quality rainproof woolen blankets, known as
"bhiringisi", as referred in Kautiliyam Arthashastra. Various Chinese travellers like
Wanghunshe and Huansang, in 648 A.D. have greatly appreciated Nepalese arts and crafts and
the skills of Nepalese craftsmen and artisans, in their travelogues. Terracotta toys, dolls and
figurines discovered at Tilaurakot in western Nepal and bronze peacock at Lumbini are among
the few best examples of the Nepalese handicrafts used by the people during and after the 6th
century B.C.
Production of various handicrafts and their use in the society has been an integral part of
Nepals rural life. Agricultural and other tools(khukuri, Kuto Kodali, Halo, Chulesi etc), rugs
and blankets (Radi Pakhi), Bhangro (Hemp cloth) and Wickerwork (Gundri, Doko, Namlo etc)
have always been the part of rural life. In the same way, hand made paper, handloom cloth,
woolen knitwear and rugs have their own historical background that cannot be confined to a
specific era.
In Lichhavi period, development of artistic handicraft reached its height in various form
of metal/wood/stone craft. The Thangka, which is believed to be Tibetan origin, was also
developed as Pauva from Nepal.
After 1951, when Nepal opened its door to foreigners, such craft products meant for
domestic market also noticed the possibility of exporting to countries in Europe, USA and other
Asian countries.
One walking down the streets of Kathmandu cannot fail to notice the abundance
religious buildings in the city. These religious building became the source of traditional
handicraft. Almost every nook and corner space occupied religious artifacts. The temples were
the sites of magnificent stone and wood carvings. Most of the stone carvings were from the
Thesis on Crafts Vlllage, Madhyapur Thimi
RUPESH SHRESTHA B. ARCH. THESIS 2011 062 / B.ARCH. / 231 IOE, DEPARTMENT OF ARCHITECTURE 4
eleventh and twelfth centuries and reflect the influence of Indian art from the Gupta (5 and 6th
century A.D.) and the Palasena (10th to 12th century AD.) periods. Wood carvings are
predominantly from the eighteenth century used to decorate pillars, door and window frames,
cornices and supporting struts (Craft News 1999). These evidences showcase some of the
magnificent craft of the country proving the skill and ancient techniques still used today; they
are a source of inspiration.
1.3 OBJECTIVE
The main objective of this project would be to share crafts information through
workshops, gallery and exhibitions, and provide innovative craft design classes through latest
technology. In trend, we accumulate all different activities in a rented building with a single
character which results in loss of active participation of dwellers. Objective of this project will
be to transgress from this trend into providing an apt environment of healthy promotion of
Nepali crafts. The project at end will be a place of amalgamation of various trade guilds
distributed in Nepal and provide a platform for creative learning for people interested in craft
sector. This will also act as a community center to promote tourism as there will be a collection
of Nepali cultural traits. The development functions are determined to satisfy three different
parts of community requirements. The first would be an employment / facility center for village.
The second one would be the tourist related functions such as viewpoint and view decks, and
third one would be common for community and for tourists such as bank, information center,
etc.
In FHAN (12 May 2010) it describes that in Nepal there are clusters of crafts such as metal
crafts, handmade paper crafts, wooden crafts, thangkas and modern painting, potteries, stone
carving and so on. They are the basic livelihood of the people. As Nepal is a developing country
one cannot expect a huge global industry in the area but one which survives are small cottage
industry that we are more skilled in. Therefore a handicraft village can be a good platform for
those using them.
Thesis on Crafts Vlllage, Madhyapur Thimi
RUPESH SHRESTHA B. ARCH. THESIS 2011 062 / B.ARCH. / 231 IOE, DEPARTMENT OF ARCHITECTURE 5
So the main objectives are as follows:
1.3.1 Social
An interaction place for craftsmen.
To provide a good working environment for the creation, workshop, exhibition and
presentation.
To fulfill the solitude environment required by artists and craftsmen, coherent with
their way of living and working style.
As a socialization ground for craftsmen.
1.3.2 Cultural
To promote Nepalese culture through crafts.
A cultural center that justifies the Nepali lifestyle.
To blend with the culture of different generations.
1.3.3 Physical
To provide an adequate, controlled and ideal environment for craftsmen.
To promote Nepalese handicraft, both within inside and outside Nepal.
To provide space for seminars and exhibitions, for exchange of their views and ideas.
To create a new attraction for tourist.
1.3.4 Economical objectives
To enable people to understand the relationship between economics, culture and
aesthetics
The place maybe developed as a part of tourist spots in the Kathmandu Valley that
would in turn help in generating certain revenue
Addition of employment.
Thesis on Crafts Vlllage, Madhyapur Thimi
RUPESH SHRESTHA B. ARCH. THESIS 2011 062 / B.ARCH. / 231 IOE, DEPARTMENT OF ARCHITECTURE 6
1.4 SCOPE OF PROJECT
The project basically comprises of Crafts which are contextual to Kathmandu. Nepal is
diversified nation and so is its crafts industry. Thus all of the crafts is impossible to be
accommodated in a single complex. Thus taking this into account, crafts such as
a. Wood Craft
b. Stone Craft
c. Textile Craft
d. Clay Craft
e. Metal Craft and
f. Thanka
g. Mask making has been attempted to be accommodated.
Crafts Village includes
A. Administration : overall management and supervision of activities
B. Research and training: R & D, knowledge sharing, advancement
C. Workshop: demo rooms on prototype designs
D. Craft gallery: craft display, exhibitions
E. Exhibit, Sales and promotion: showrooms, shops
F. Supporting units: To manage the complex an administrative body is required.
G. Facilities and recreation: Such as restaurants, parking and rest rooms.
Thesis on Crafts Vlllage, Madhyapur Thimi
RUPESH SHRESTHA B. ARCH. THESIS 2011 062 / B.ARCH. / 231 IOE, DEPARTMENT OF ARCHITECTURE 7
1.5 PROJECT JUSTIFICATION
Nepal is suffering for serious drawbacks such as poverty and brain-drain. We have not
been able to uplift Nepal and provide even basic requirements for our people. Although Nepal
boasts of a rich civilization and culture we have not been able to fully catch its potential and
develop it into a income generating source. We possess artists renowned in the world for their
craft but still they lack a formal way of training and a platform for information dissemination /
publicity of their skills.
Present status of Handicraft (source:FHAN)
Nepalese handicraft is not curio any more. Although produced in households,
some handicraft products have taken the shape of small industry.
Volume of business / export
Handicraft export from Nepal is to the tune of 2.75 billion Nepalese rupees.
Although there is not any survey on local sales of handicrafts, on the basis of discussion
with peoples engaged in this sector, their sale is estimated to at 4.12 billion rupees.
Thus, total business of handicraft is estimated to at 6.87 billion rupees.
Revenue to Government Import, Export, Income Tax
Handicraft business contributes to national revenue from various ways. Tariff for
imported raw materials, fees paid for Custom clearance and income tax from profit
generated by numerous enterprises are the major forms of revenue from handicraft
sector. Furthermore, enterprise registration and renewal also contribute to national
revenue.
Number of family engaged / population
Population census 2001 indicates that Nepal has a population of craft workers to
the tune of 1 million.
Working environment
As most of the handicraft production is done in household scale, the working
condition is not ideal. In urban areas, space at household scale is felt inadequate to
expand production.
Thesis on Crafts Vlllage, Madhyapur Thimi
RUPESH SHRESTHA B. ARCH. THESIS 2011 062 / B.ARCH. / 231 IOE, DEPARTMENT OF ARCHITECTURE 8
Handicraft industrys problems
Due to lower scale of economy, handicraft industry faces the problem of low
productivity, high cost of production, inconsistent quality and inadequate volume of
production. Each product has their own specific problems too. Absence of proper
infrastructure has been major problem in the areas of production, processing and
marketing of handicraft goods.
Contribution to GDP
Handicraft sector contributes around 1% to the national GDP.
Contribution in the employment
Handicraft sector contributes around 9% in the total employment of the country.
Moreover, it has been a solid base for self employment.
Craft industry is taking a developing route which must be preserved for its sustainability.
As said earlier a good designed environment is provided for creation, workshop, exhibition and
presentation. It employees and trains the people living in a society which in turn will also
promote the national craft to the world.
If there is any such medium to grasp their creative ingenuity then the present situation of
poverty and brain-drain may come to a steep decrease. Further it will be an asset for tourism
industry of Nepal in which tourists can perceive Nepal in form of its natural beauty and also in
terms of its culture and crafts.
Thesis on Crafts Vlllage, Madhyapur Thimi
RUPESH SHRESTHA B. ARCH. THESIS 2011 062 / B.ARCH. / 231 IOE, DEPARTMENT OF ARCHITECTURE 9
1.6 METHODOLOGY
Essential academic steps conducted during the study are simply pointed out as shown below.
1. Preliminary stage:
A. Collection of data and information relevant to the project.
a. From various government and non-government authorities.
b. References from library and Internet.
c. Interview with the craftsmen.
B. Visit proposed site
a. Site analysis
i. Site parameters/ field visits and study
ii. Data required for site planning shall be recorded diligently.
iii. Soil investigation
iv. Assessment of locally available construction materials.
v. Funtional parameters relevant to the design according to the user requirement
i.e, external and internal communication.
vi. Planning and design parameter deals with planning code and design code.
vii. Climatic analysis
viii. Traffic flow analysis
ix. Weather, fire and damp resistances
x. Thermal and sound insulation
C. Empirical enqiry
a. Field case study
b. Library case study
c. Internet case study
After collecting all the data from the preliminary stage, the proposed requirement of
the design was formulated based on all above studies. From the above preliminary
Thesis on Crafts Vlllage, Madhyapur Thimi
RUPESH SHRESTHA B. ARCH. THESIS 2011 062 / B.ARCH. / 231 IOE, DEPARTMENT OF ARCHITECTURE 10
stage the size, shape and function of the particular element of the whole project was
determined.
2. Secondary stage:
A. Planning
a. Development of master planning
i. Conceptual planning of site.
ii. Traffic management and parking
b. Conceptual design of building
i. General layout of building as per requirements
B. Building
a. General layout/arrangement
b. Architectural plans/elevations/sections
c. Perspective views/model.
Design development variables
Need
Space
Relationships
Priorities
Processes
Objective
Maintenance
Access
Equipment
Environment
Context
Site
Zoning
Services
Macro-Climate
Adjacent Building
Geological factors
Vehicular Access
Thesis on Crafts Vlllage, Madhyapur Thimi
RUPESH SHRESTHA B. ARCH. THESIS 2011 062 / B.ARCH. / 231 IOE, DEPARTMENT OF ARCHITECTURE 11
Form
Zoning
Circulation
Structure
Enclosure
Construction type
Construction process
Energy
Climate control
Image
Thesis on Crafts Vlllage, Madhyapur Thimi
RUPESH SHRESTHA B. ARCH. THESIS 2011 062 / B.ARCH. / 231 IOE, DEPARTMENT OF ARCHITECTURE 12
2.0 CHAPTER 2
2.1 LITERATURE REVIEW
A literature review is an evaluative report of information found in the literature related
to your selected area of study. The review should describe, summarise, evaluate and clarify this
literature. It should give a theoretical base for the research and help you (the author) determine
the nature of your research. Works which are irrelevant should be discarded and those which are
peripheral should be looked at critically ( Dr Barbara Webster, 2000)
A literature review is an account of understanding particular topic or a preface to and
rationale for engaging in primary research. Generally a literature review is done to identify the
general topic, issue or area of concerns. For proceeding any project, proper and adequate
knowledge is a must. Almost theoretical knowledge for proper understanding of the project is
gained through study of literature such as books, journals, reports, articles and so on.
2.2 Objective of the study
To collect required data on various aspect
Analysis of requirements and developing concepts
Theoretical standards for general requirement
Theory based on experience and researches, giving guidelines.
Thesis on Crafts Vlllage, Madhyapur Thimi
RUPESH SHRESTHA B. ARCH. THESIS 2011 062 / B.ARCH. / 231 IOE, DEPARTMENT OF ARCHITECTURE 13
Freedom of space
2.3 INTRODUCTION
The general idea behind the production of craft related items is the production, display,
sales. Thus related studies were undertaken to understand these aspects. Various layouts and
working environment were studied thereafter to get knowledge about craft related works.
Following studies were done to understand and review basic design space and
consideration for specific purposes.
1. General Considerations
2. Design of Multifield workspace
3. Display Spaces
4. Energy related studies
2.3.1 GENERAL CONSIDERATION
The following gives guidelines to designing and maintain relation with other activities:
Freedom and Flexibility of Space:
As most of the handicraft production is done in household scale, the working
environment is not ideal. In urban areas, space at household scale is felt inadequate to expand
production. Hence, for ideal working condition - large ventilated rooms, with high ceiling and
transitional areas such as courtyard, or open to sky spaces should be well appreciated in the
studios and work areas. The link between indoor and outdoor space should be maintained as far
as possible.
Thesis on Crafts Vlllage, Madhyapur Thimi
RUPESH SHRESTHA B. ARCH. THESIS 2011 062 / B.ARCH. / 231 IOE, DEPARTMENT OF ARCHITECTURE 14
Natural Lighting
Visual Environments:
Studios must have good amount of natural daylight, with high level windows equal to at
least 25-30% of the floor area. Roof lighting is also preferred. All windows should have some
sort of daylight control.
Artificial light comes into use in absence of natural light, where detail work and
displayed images are to be focused. Lighting should be such that it does not produce any glare,
less maintenance, much saving of wall and ceiling space.
Buffer Zones:
It is possible that noise producing workspace can affect the other. So buffers can
be created by additions of walls or vegetations.
Thesis on Crafts Vlllage, Madhyapur Thimi
RUPESH SHRESTHA B. ARCH. THESIS 2011 062 / B.ARCH. / 231 IOE, DEPARTMENT OF ARCHITECTURE 15
Locating space with respective to activities:
Spaces should be provided according to functional requirement. Work which requires
huge machinery or supply of materials should be placed on the ground floor.
Safety measures:
Fire hazardous activities should be separated and isolated from other activities.
Thermal comfort:
A workspace should be thermally, mentally and physically comfortable.
Thermal comforts can be gained by application of passive techniques. It is quite difficult to
maintain the thermal environment in a workspace. As there is frequent opening for supply of
raw materials, heat produced by machine and vibration, heat gain and loss are frequent. Use of
proper ventilation, growing vegetation as shading devices, using double glazing can be the
solutions.
Thesis on Crafts Vlllage, Madhyapur Thimi
RUPESH SHRESTHA B. ARCH. THESIS 2011 062 / B.ARCH. / 231 IOE, DEPARTMENT OF ARCHITECTURE 16
Space inter-relation:
Spaces created should be inter-related- studios, gallery, caf, outdoor space should be
interesting and inter-related. One cannot sit alone or isolated for longer time, it needs
communication and transition of space.
2.3.2 DESIGN OF MULTIFIELD WORKSPACE:
Generally a multifield workspace includes three basic units of accommodation:
Workspace area which includes various workspace such as machine room, planning and
designing.
Storage area for raw material, finished work, storage space for tools and small,
moveable equipments, workers belonging
Services & amenities such as staff room, locker room, wash room.
The flow sequence should be uninterrupted and carefully arranged such as in and out of the
raw material from store, to the workspace, to the finished store and out. The space provided
should have comfortable working environment in respect with illumination, thermal comfort,
Thesis on Crafts Vlllage, Madhyapur Thimi
RUPESH SHRESTHA B. ARCH. THESIS 2011 062 / B.ARCH. / 231 IOE, DEPARTMENT OF ARCHITECTURE 17
scale of furniture and fittings. There should be provision for services so as any possible user are
adaptable and comfortable. As workspace mainly deals with machinery items, the construction
of the building should be such as to allow admission of any sorts of machinery.
Workspace for individual and group work:
General considerations should be:-
a. Peaceful environment
b. Feeling of freedom
c. Outdoor setting
d. Space arrangement
e. Protective equipment / measure
f. Locating workspace with respect to activities
g. Buffer zone between workspace
h. Lighting
Generally a work space required to be designed is calculated as per place area. The
calculation is based on common combination of fields of study. Per place work space
calculation for any field of activity will have to take an account on:
Individual workspace area plus circulation about the area
The areas for common activities plus the associated circulation areas
An area near one of the individual or other work spaces for tools and temporary
work store and an area for work space.
General practicing per place areas for work area in different countries are given below. It
suggest work space per person
Field of Activity Area Per Place in sq.m.
Wood Working 4.7
Metal Working 5.3
Electricity and electronics 3.3
Spinning and weaving 7.2
Thesis on Crafts Vlllage, Madhyapur Thimi
RUPESH SHRESTHA B. ARCH. THESIS 2011 062 / B.ARCH. / 231 IOE, DEPARTMENT OF ARCHITECTURE 18
Artificial Lighting
Technical requirements are:-
Mechanical exhaust
Dust removal system
Step by step progress
Related areas should be nearby
Sound absorbents
Furnishing equipments
Display racks
Lockers
Tables
Ceramics 5.0
Rattan and Bamboo work 3.9
Leather work 2.8
Masonry 3.1
Thesis on Crafts Vlllage, Madhyapur Thimi
RUPESH SHRESTHA B. ARCH. THESIS 2011 062 / B.ARCH. / 231 IOE, DEPARTMENT OF ARCHITECTURE 19
2.3.3 GENERAL REQUIREMENT OF STUDIOS
The workshops for each craftwork
are likely to have sufficient
number of students to justify
separate accommodation. One
lecture hall is usually adequate
except for the large departments.
Craft workshops do not need true
north light and since many
involve noise in their use, they
may be placed on the noisier
part of the site. The control of
noise emanating from craft room must be carefully considered in order to prevent
disturbance in other rooms. Various craft rooms are better to be grouped together to
facilitate the concentration and distribution of services.
General foundation level studios require floor area of about 50 sq.ft. per person and
height about 3.8m. If really good side light is available, top light may be omitted but
when circumstances permit, some top light should be provided. Although large
windows are essential, blinds for the control of lights should also be installed. For
windows, the blinds should be arranged to lift from sill in preference to being pulled
down from the window head. Sink is another integral part in any studio and workshop.
As an alternative to the sink in the studio itself, it is advantageous to have a small sink
room adjoining the studio and entered from it so that all the water and untidiness may
be kept away from the studio itself.
A store for works- both finished and in progress- may be planned adjoining each studio.
In ceramics studio, the whole space for sink room should be given to sink and clay bins.
The amount of top light should be 1/3rd of the floor area. The windows on the side wall
should have a sill height of about 3. Blind boxes in studios should be sixed at sill level
and the blinds made to draw upwards.
Diagrammatic layout showing functional requirement of
a typical workshop
Thesis on Crafts Vlllage, Madhyapur Thimi
RUPESH SHRESTHA B. ARCH. THESIS 2011 062 / B.ARCH. / 231 IOE, DEPARTMENT OF ARCHITECTURE 20
2.3.4 DETAILED STUDY OF STUDIOS
It is very important to learn about the final product
that comes out from the studio. The character of each
studio depends on the final process involved in the studio
works. Each step and process involved in the studio work
demand separate consideration while planning the studio.
The planning depends on furniture required for studio
work, materials, tools and also equipments used during the
process. Space planning is very much dependent on these
requirements. It gives the idea of the studio area and
storage area.
2.3.4.1 Pottery studio
Pottery is made by forming a clay body
into objects of a required shape and heating
them to high temperatures in a kiln to induce
reactions that lead to permanent changes,
including increasing their strength and
hardening and setting their shape. It ranges
from valuable works of created by
professional potters to simple items made by
amateurs. The industrial product obtained by
baking clay is called ceramics and when an
artist creates something by baking clay, it is called pottery.
The traditional ceramic items can be classified into following groups.
a. Ceramic Building Materials - Bricks, Tiles, Doors and Windows made of clay,
b. Utensils - Cooking Pots, Stoves, Plates etc.
c. Decorative items - Idols, Flower Vase etc
Thesis on Crafts Vlllage, Madhyapur Thimi
RUPESH SHRESTHA B. ARCH. THESIS 2011 062 / B.ARCH. / 231 IOE, DEPARTMENT OF ARCHITECTURE 21
The following were the technique used in traditional ceramic.
a. Pinch Touch Technique - by pressing
with hands.
b. Slab Technique - By joining the
slabs to give desired shape.
c. Beating Technique - Preparing
items by beating with hammer.
d. Wheel Technique - To give shape
with the help of wheel.
e. Coil Technique - by joining the
different pieces in a line.
f. Mold Technique - To prepare item
with the help of mold.
g. Craving Technique - Giving artistic
design to the product.
Materials, Furniture, Tools and Equipment Requirements
(With reference to pottery in Thimi, Bhaktapur)
Basic raw materials for pottery: Clay, water, colors, glazes etc.
Types of furniture
required:
Tools and
equipments:
2.3.4.2 Drawing Studio
Drawing is the basic tool, with the help of which an artist can make a design or image, using
line or tone on any suitable surface. The design or image itself is called drawing.
Design requirement for drawing studio
Drawings can be carried out in general studio space. No special machinery is required.
As a rule, dust proof cubicle and store is required with a spray room about 30 sq.m. An
area of 120 sq.m. is sufficient for 20 students. Benches should be 46 length & 28
width per student
Portable clay cabinets
Damp-proof drying cabinets
Work tables and counters
Spray booth
Kneading table
sinks
Wedging boards
Kiln carts
Gas ceramic kiln
Electric ceramic kiln
Enamel kilns
Thesis on Crafts Vlllage, Madhyapur Thimi
RUPESH SHRESTHA B. ARCH. THESIS 2011 062 / B.ARCH. / 231 IOE, DEPARTMENT OF ARCHITECTURE 22
Natural north and east light is preferred for drawing activities. If daylight is not enough,
artificial light should be provided in preferred way.
Display boards should be provided on the walls. Moreover, studio area should not be
obstructed by any kind of structural member like pillar.
Design requirement for drafting studio
Design requirement is similar to drawing studio except for the furniture. The layout of
the room should be such that each student can work on his own drawing table
Display boards are required for teaching
Storage area for papers, drawing is required
Natural north and east light is preferred for drawing activities. If daylight is not enough,
artificial light should be provided in much preferred way.
Thesis on Crafts Vlllage, Madhyapur Thimi
RUPESH SHRESTHA B. ARCH. THESIS 2011 062 / B.ARCH. / 231 IOE, DEPARTMENT OF ARCHITECTURE 23
2.3.5 LIBRARY
The total need may be divided into five categories, viz.
a) Books
b) Readers
c) Staff
d) Group meetings
e) Mechanical operations
Space for Books
Open reading rooms
7 volumes per lineal foot, or 50 books per foot of standard height wall shelving, or 100
books per foor of double-faced shelving
Book stack areas, 15 books per square foot or 2 books per cubic foot
Space for Readers
As an establishment rule of thumb, minimum allowances are made of 30 sq.ft. per adult
reader seating are in terms of net space for readers, chairs, tables, aisles and service desk.
Seating requirements should be listed according to the several areas of the building.
Thesis on Crafts Vlllage, Madhyapur Thimi
RUPESH SHRESTHA B. ARCH. THESIS 2011 062 / B.ARCH. / 231 IOE, DEPARTMENT OF ARCHITECTURE 24
Space for Staff
There are striking differences in requirements between libraries open 20, 38 or 72 hours
per week. Staff space requirements should be calculated on the basis of 100 sq.ft per staff
member. It includes space for desk, chair, books and equipment. A checklist of staff work areas
should include:
Administrative offices
Work rooms
Staff lunch and lounge rooms
2.3.6 CONFERENCE ROOM & RESTAURANTS
2.3.7
Cafe layout
Thesis on Crafts Vlllage, Madhyapur Thimi
RUPESH SHRESTHA B. ARCH. THESIS 2011 062 / B.ARCH. / 231 IOE, DEPARTMENT OF ARCHITECTURE 25
2.3.7 DISPLAY SPACES
Generally, display refers to show or attract attention. Displaying Spaces are a source of
communication. Craft made and displayed are made commutable through these displays spaces.
Exhibit and display area are important in art and craft centers. Display spaces can be in the form
of a Museum, Gallery, showroom, shops and so on.
Gallery
Gallery is a formal space for displaying various items of art and craft. Spaces provided
can be for permanent, semi-permanent or special exhibits that are held from time to time. Care
should be taken while fixing devices and furniture in walls, floors and ceilings so that maximum
space is left vacant.
For planning and designing of an exhibition hall, following considerations have to be
made:
A clear idea of what would be exhibited
Number of exhibits planned per year
Change in the kind of exhibits
Number of pieces in view in case of permanent exhibits
Scale of displays
3-d objects to be displayed in cases or pedestal
Circulation pattern
A gallery space should have well planned circulation pattern. The entry space should guide
the visitors to the gallery area, so that they are able to survey what is there to see, select a
starting point and moving to it as directly as possible. The circulation pattern should be
continuous and uninterrupted that allow the visitors to move from object to the other, from
one gallery to the other.
Dead end should be avoided in the circulation pattern with exhibits mainly on one side or
with windows in one wall only. The visitors may pass along one side and return along the
other wall, if the lighting permits.
Thesis on Crafts Vlllage, Madhyapur Thimi
RUPESH SHRESTHA B. ARCH. THESIS 2011 062 / B.ARCH. / 231 IOE, DEPARTMENT OF ARCHITECTURE 26
It is human nature that, when visitors enter a gallery he/she tends to turn right, so the
circulation pattern as such should be kept in mind.
Visitors should be able to move as such that one is not forced to walk past object he has
already seen. There should also be enough space for visitors to move at different speed so
that few viewers can move continuously, while others stop to take a detailed look.
Possible Gallery Arrangements
Source: - Time Saver Standard, Fifth edition
Thesis on Crafts Vlllage, Madhyapur Thimi
RUPESH SHRESTHA B. ARCH. THESIS 2011 062 / B.ARCH. / 231 IOE, DEPARTMENT OF ARCHITECTURE 27
Gallery Top Lighting
Lighting
Light is the main source of visual perception. It is important to every living creature on
earth. So lighting any space or area is very necessary. Lighting can be of two types
- Natural and
- Artificial Lighting.
In gallery and display space too, lighting play a vital role. The method of lighting and
the purpose of the space are the major ruling planning factors in a gallery. Every exhibits are
different from one another, and require separate kind of lightings- a room designed to provide
lighting for any art object may not be suitable for the other three dimensional object.
Different intensity of illumination carries an interesting visual effect, it keeps the
observer occupied and interested. To light different objects at the gallery, different types of high
and low intensity lighting is provided. Variation in ceiling height and different wall colors
throughout a sequence of galleries avoid fatigue and keep them interested.
For the display of pictures the source of light should be limited and so controlled that it
is strongest on the parts of the wall which are used for actually display and weakest where the
viewer stands. The source of light should be behind the observer as possible.
Use of Natural light
The level of illumination suggested for different tasks in school are
S. No. SPACES ILLUMINATION
1. classroom & lecture room(desk) 300 lux
2. classroom and lecture room ( chalk boards) 400 lux
3. laboratories 400 lux
4. art room 600 lux
5. work shops 600 lux
6. libraries 400 lux
7. offices 450 lux
8. staff room 250 lux
9. staircases 100 lux
In case of admittance of natural light,
windows sill level should be kept about 3ft. to
3ft.6in. from the floor and should reach up to 12ft.
from the ceiling if flat, or springing line if segmental.
However in some galleries high side light may be
Thesis on Crafts Vlllage, Madhyapur Thimi
RUPESH SHRESTHA B. ARCH. THESIS 2011 062 / B.ARCH. / 231 IOE, DEPARTMENT OF ARCHITECTURE 28
Gallery Side Lighting
need and in such case, sill level is about 6ft to 8ft from the floor level, and hence allowing
medium sized wall art or exhibit cases to be placed below the windows. Such lightings
generally imply that the major objects are displayed in the centered position or on the wall of
the gallery opposite to the light source.
Top light is also a preferred lighting in galleries, although the light must be controlled to suite
the object to be displayed. Direct strong daylight must be avoided on pictures but at the same
time there must not be too great or uneven reduction of light on the picture.
Often objects to be displayed are light sensitive, and will deteriorate if exposed to continuous
high levels of light. Due to the corroding nature of u-v radiation of day lighting, artificial light is
better preferred over natural lighting as it is easier to manipulate and control the artificial
lighting system.
Use of Artificial light
To accommodate changing displays, the lighting design should be flexible. This can be
achieved with track-mounted lights which can be easily adjusted. The quality of light must be
suitable for all objects displayed. Displays can be flat, two dimensional objects on vertical
surfaces, three dimensional objects or display cases.
Thesis on Crafts Vlllage, Madhyapur Thimi
RUPESH SHRESTHA B. ARCH. THESIS 2011 062 / B.ARCH. / 231 IOE, DEPARTMENT OF ARCHITECTURE 29
Shallow angles enhance color,
may cause reflected glare
30 degree angle from
vertical is preferred
Steep angles emphasize
texture, but may cause
shadows from fame
Adjust light cutoff precisely
match illuminated image
Framing projector can make
objects look internally
illuminated
Two dimensional lighting
Thesis on Crafts Vlllage, Madhyapur Thimi
RUPESH SHRESTHA B. ARCH. THESIS 2011 062 / B.ARCH. / 231 IOE, DEPARTMENT OF ARCHITECTURE 30
Three Dimensional Lighting:
Use uplights recessed
into floor to highlight
object.
Keep light within
mass of display
object
Aim luminaire down at sharp
angle to minimize direct
glare
Lighting large objects may cause glare. So
use of ambient diffused light in combination
with narrow beam light is preferred for
highlight.
30 degree angle for small,
low object
High-reflectance
pedestal
Light coming from different direction can
reveal shape and texture. Use of direct light
to add shadow and to express depth,
diffuse light helps to add detail in the
shadow
Thesis on Crafts Vlllage, Madhyapur Thimi
RUPESH SHRESTHA B. ARCH. THESIS 2011 062 / B.ARCH. / 231 IOE, DEPARTMENT OF ARCHITECTURE 31
Elements of typical Water Harvesting system
2.3.8 ENERGY EFFICIENT STUDIES:
Efficient Energy is simply using less energy to provide the same level of energy service.
Due to global energy crisis, alternative efficient energy has taken the priority in saving and
using energy efficiently. So studies of
following were made:
RAIN WATER HARVESTING
WASTE WATER TREATMENT
SOLAR ENERGY
RAIN WATER HARVESTING
Rainwater harvesting is the gathering,
accumulating and storing, of rainwater. Rain
water harvesting is essential because surface
water is inadequate to meet our demand and
we have to depend on ground water. Due to
rapid urbanization, infiltration of rain water
into the sub-soil has decreased drastically and
recharging of ground water has diminished.
RAIN WATER HARVESTING TECHNIQUES:
There are mainly two main techniques of rain water harvestings.
Storage of rainwater on surface for future use: storage of rain water on surface structures such
as underground tanks, ponds, check dams, weirs etc
Recharge to ground water: n Pits, Trenches, Dug wells, hand Pump and so on.
The harvesting technique consists of the following principal:
Rainwater collection and simple
filtration system
Thesis on Crafts Vlllage, Madhyapur Thimi
RUPESH SHRESTHA B. ARCH. THESIS 2011 062 / B.ARCH. / 231 IOE, DEPARTMENT OF ARCHITECTURE 32
Reed Bed Effluent Treatment Plant
1. Catchment Area: The catchment of a water harvesting system is the surface
which directly receives the rainfall and provides water to the system. It can be a paved
area like a terrace or courtyard of a building, or an unpaved area like a lawn or open
ground.
2. Conveying System: The collected water is conveyed for filtration in a filter. The
filter is used to remove suspended pollutants from rainwater collected over roof. A filter
unit is a chamber filled with filtering media such as fibre, coarse sand and gravel layers
to remove debris and dirt from water before it enters the storage tank or recharge
structure. Charcoal can be added for additional filtration.
3. Collection Space: the water is stored in small or big reservoir.
4. The tap system: a simple water tap or a pump, used to extract water from storage
space.
WASTE WATER TREATMENT THROUGH Reed Beds Method
Reed beds are a tertiary treatment with the
process aim of removal of suspended and
dissolved matter. They remove 60 - 80% solids
from the secondary effluent. In the operation of
horizontal flow reed beds secondary treated
effluent is passed uniforml y over vegetation so
that suspended solid matter is retained in the
vegetation. Reed beds have are very good at
removing BOD, ammonia and nutrients, therefore
this is one of the few forms of tertiary treatment
that can be used to improve poor quality secondary effluent.
Very simply, it consists of an area of reeds planted in a soil or gravel medium. It traps the solids
from the effluent during its travel across the bed. Reed beds planted in a soil medium are
capable of removing BOD and suspended solids up to 95% with potential removal of ammonia,
nitrate and phosphate.
SOLAR ENERGY
Thesis on Crafts Vlllage, Madhyapur Thimi
RUPESH SHRESTHA B. ARCH. THESIS 2011 062 / B.ARCH. / 231 IOE, DEPARTMENT OF ARCHITECTURE 33
*Source: Small scale solar electrical (photovoltaics)
energy and traditional buildings, English Heritage.
Solar power is the generation of electricity from sunlight. This can be direct as with
photovoltaics (PV), or indirect as with concentrating solar power. Photovoltaic cell (PV) is a
device that converts light into direct current using the photoelectric effect. The PV cell consists
of one or two layers of a semi-conducting material, usually silicon. When light shines on the
cell it creates an electric field across the layers causing electricity to flow. The greater the
intensity of the light, the greater the flow of electricity. PVs will only produce electricity whilst
there is daylight.
A typical solar panel of 193.75 sq.ft, on a clear day (noon), produces 129 watt/sq.ft. The
amount energy collected is 372000 watt hr, i.e. 372 units per day.
Schematic Diagram for off grid electric
system
Thesis on Crafts Vlllage, Madhyapur Thimi
RUPESH SHRESTHA B. ARCH. THESIS 2011 062 / B.ARCH. / 231 IOE, DEPARTMENT OF ARCHITECTURE 34
3.0 CHAPTER 3
3.1 SITE ANALYSIS
3.1.1 Location:
The proposed site is located at Kamerotar,Madhyapur Thimi, ward no. 9 at
Bhaktapur district. The site is an agricultural land which has been planned by the
government for the future land pooling project. The site lies just below the traditional city
of Thimi. It is situated 10 Km east from Kathmandu and 3 Km west from Bhaktapur.
Location Map (Courtesy: Google earth)
3.1.2 Physical features:
Geographically: Latitude 27o4015 and Longitude 85o1633. The site has
altitude varying from 1330m above sea level to 1320m to the lowest at the southern
boundary. Orientation: South with advantage of slope align southern direction.
Thesis on Crafts Vlllage, Madhyapur Thimi
RUPESH SHRESTHA B. ARCH. THESIS 2011 062 / B.ARCH. / 231 IOE, DEPARTMENT OF ARCHITECTURE 35
3.1.3 Site surroundings:
The site lies in the gorge of a dense residential zone. The site can be referred as the
transitional zone as it has been surrounded by modern feature dwellings more than
traditional ones as traditional buildings are located in the core area only. Araniko
highway lies at the southern side of the site which is 650m away. Tuberculosis Center is
located at the south west side of the site. SOS Childrens Village and Underprivileged
Technical Training Center lie at the north western side of the site. The site has been
facilitated with the presence of post office, health post, police station, cinema hall in a
short distance which further enhances its significance.
Site view
3.1.4 Site area:
The total area for the project is approximately 47 ropanies (24414.1671 sq.m.) . The
slope has an elevation difference of about 6 meters with three levels of contours. It has a
flat land with gradual slope at three sides. The site is elongated in north south direction.
3.1.5 Access and approaches:
Currently there is no particular road linking the site and the highway but
according to the Planning Commission, 9m wide black topped road will be
Thesis on Crafts Vlllage, Madhyapur Thimi
RUPESH SHRESTHA B. ARCH. THESIS 2011 062 / B.ARCH. / 231 IOE, DEPARTMENT OF ARCHITECTURE 36
approaching the site. The secondary road joining the site and the city is 11m wide which
is located 10m above the site. People often use a stone track passing through the site to
get to their homes.
3.1.6 Vegetation:
The site is being used for agricultural purpose. Few number of trees can be seen
within the western side of the site.
3.2 Physical infrastructure: The site lies in the urban expansion zone and is facilitated with the amenities
like electricity, telephone and water supply. The site however lacks the drainage system
so an alternative means of disposal has to be sorted out. The site has the benefit
of natural surface drainage system due to its sloping character.
3.1.7 Infrastructures:
Electricity available from NEA lines.
Water supply available from public supply.
Telephone lines available from NTC.
9m wide road approaching the site.
Natural drainage is possible due to its topography.
3.1.8 Geology:
The site lies in medium liquefaction zone in terms of seismic susceptibility
according to the environmental mapping report by NSET.
3.1.9 Climate:
Mean max. temp.: 29 32 c
Avg. minimum temp.: 12 14 c
Annual rainfall: 1205 mm
Wind direction: North West to South East direction
Thesis on Crafts Vlllage, Madhyapur Thimi
RUPESH SHRESTHA B. ARCH. THESIS 2011 062 / B.ARCH. / 231 IOE, DEPARTMENT OF ARCHITECTURE 37
3.3 Few facts about Madhyapur Thimi:
It is an ancient medieval city, also known as Nikosera.
It is famous for terracotta work, pottery, molded candlesticks, ashtrays, mask
making and dolls.
Western part of the city is still traditional but slowly transforming into modern
with rapid urbanization being taken place.
3.4 Site Justification:
Enhancement of socialization is more prominent through a traditional and settled
community.
The site has very strong social and cultural potentials.
It is near to the culture, nature and community.
It is far away from the hustle and bustle of the city yet easily accessible.
3.5 Bye Laws:
According to the bye laws of Kathmandu Metropolitan City, the site lies in Urban
Expansion Zone. Following are the regulations for the project as per the bye laws:
F. A. R.: 2
Max. Ground Coverage: 40 % of the total plot
3.6 SWOT ANALYSIS
STRENGTH
Facility of Amenities
Natural Surface Drainage
9m wide road
Less Pollution
WEAKNESS
Drainage system
Thesis on Crafts Vlllage, Madhyapur Thimi
RUPESH SHRESTHA B. ARCH. THESIS 2011 062 / B.ARCH. / 231 IOE, DEPARTMENT OF ARCHITECTURE 38
OPPORTUNITY
Flat at middle
Material availability
Traditional settlement
Tourist route
East slope
Thesis on Crafts Vlllage, Madhyapur Thimi
RUPESH SHRESTHA B. ARCH. THESIS 2011 062 / B.ARCH. / 231 IOE, DEPARTMENT OF ARCHITECTURE 39
CHAPTER 4
4.1 CASE STUDY
As according to Soy, Susan K. (1997) case study research excels at bringing us to an
understanding of a complex issue or object and can extend experience or add strength to what is
already known through previous research. Case studies emphasize detailed contextual analysis
of a limited number of events or conditions and their relationships. Researchers have used the
case study research method for many years across a variety of disciplines. Social scientists, in
particular, have made wide use of this qualitative research method to examine contemporary
real-life situations and provide the basis for the application of ideas and extension of methods.
Researcher Robert K. Yin defines the case study research method as an empirical inquiry that
investigates a contemporary phenomenon within its real-life context; when the boundaries
between phenomenon and context are not clearly evident; and in which multiple sources of
evidence are used (Yin, 1984, p. 23).
It is almost impossible to design or propose any project without studying similar cases.
The study will help to analyze the existing case and design a better space to solve the short
comings of the existing building. To gain appropriate knowledge about the subject matter, cases
studies will be performed on:
Various working studios of the artists and craftsmen
Different craft Centers
Different Art Galleries and Museums
Industrials areas
Psychology with respect to audio-visual stimulation
Research on
Working spaces (clay, metal, wood, stone etc)
Display spaces (lighting, circulation, space arrangements, etc.)
Research on the existing traditional forms in the valley.
Thesis on Crafts Vlllage, Madhyapur Thimi
RUPESH SHRESTHA B. ARCH. THESIS 2011 062 / B.ARCH. / 231 IOE, DEPARTMENT OF ARCHITECTURE 40
4.1.1 Introduction to Handicraft Association of Nepal
Handicraft Association of Nepal was established in the year 1971 to promote the
handicraft sector by some group of business men. As it was related to my thesis project I had an
opportunity to visit the place and get some handful information about the handicraft scenario of
Nepal. The main aim of this association is that it helps members to improve their product
nationally and internationally. It is estimated to have export 40 different handicraft to about 70
different countries FHAN (12 May 2010).
Some of the case studies done:
4.2 Wood craft
4.2.1 Wood Carving Industries
4.2.2 Wood carving at Bhaktapur
4.3 Metal Craft
4.3.1 Maha Buddha Handicraft
4.4 Stone Craft
4.4.1 Arniko Stone Carvers
4.5 Clay Craft
4.5.1 Pottery Square
4.5.2 Thimi Ceramics
4.6 Gallery and Exhibition Space
4.6.1 Nehru Memorial Pavillion
4.6.2 National Craft Museum
4.7 Exhibition and Commercial space
4.7.1 Babar Mahal Revisited
4.7.2 Siddhartha Art Gallery
4.8 Training and Development Center
4.8.1 Handicraft Design and Development center
4.9 CRAFT VILLAGE
4.9.1 Folk arts and Crafts Museum
4.10 Energy Studies
4.10.1 Piano's Beyeler Foundation Museum
Thesis on Crafts Vlllage, Madhyapur Thimi
RUPESH SHRESTHA B. ARCH. THESIS 2011 062 / B.ARCH. / 231 IOE, DEPARTMENT OF ARCHITECTURE 41
4.2 WOOD CRAFT
4.2.1 WOOD CARVING INDUSTRY
Location: Patan Industrial Estate
Area: 5 Ropanies
Crafts: Wood work, carving detailing, souvenir
General:
Six sections- sale area, workshop,
store, carpentry, seasoning room
and temporary sheds store.
The numbers of workers are 38 out
of which 14 are administrative and
24 are laborers.
Building Description:
The industry has 3 entry- side
entry, showroom entry and service
entry. The side entry leads to the
administration. Reception, designing,
account, marketing, waiting room is
managed in the hall with removal
partitions. Managing directors room is
separated from the hall which is nearby
showroom. One has to go through the administration to get in the workshop.
Showroom acts as the spine to connect administration and workshop from the elevation
i.e. it can be accessed either from administration or workshop. It can also be accessed from the
main road as it exposes its faade to the main street. The showroom is a double storey building
where only the ground floor comes into use.
View of the Work area: Wood Carving Industry
Plan of Work Space
Thesis on Crafts Vlllage, Madhyapur Thimi
RUPESH SHRESTHA B. ARCH. THESIS 2011 062 / B.ARCH. / 231 IOE, DEPARTMENT OF ARCHITECTURE 42
Area provided and stage of work:
Machines and tools used (Machine room with size of base for each machine)
S NO. MACHINE SIZE
1. SEASONING MACHINE CAPACITY 5 CU. M.
2. PLANNER 5X4
3. HACKSAW 2X4
4. CIRCULAR SAW 4X3
5. DRILLING 3X2
6. GRINDING 3X2
7. LATHE 8X4
Infrastructure:
Buildings
Large open to sky space and covered semi covered
spaces for the storage of raw materials and
finished products.
Large open hall for machine room and workspace.
Workshop and machine room are of load bearing
type with finishes such as plaster, mud motar and
brick finishes.
The halls have sloped roof which uses queen post
truss to hold the GI sheeting slope roof (less than
35)
Indoor workspace ht. 16 ft
S NO. WORK STAGE FLOOR SPACE (SQ.FT.)
1. RAW MATERIAL STORE 4750
2. SEASONING 900
3. MACHINE 1875
4. STORING 3750
5. SKETCHING 150
6. CARVING 1200
Thesis on Crafts Vlllage, Madhyapur Thimi
RUPESH SHRESTHA B. ARCH. THESIS 2011 062 / B.ARCH. / 231 IOE, DEPARTMENT OF ARCHITECTURE 43
Blow up Workshop plan
Large openings Sill ht.-3 , Lintel ht. 9
Working environment
Lighting and Ventilation:
Workshop and machine room requires more light than others.
Both natural as well as artificial lights are provided.
The openings provided for natural light is approximately 35% of the floor area while
16% opening in machine room. As most of the operations are performed in main
workshop, natural light is sufficient.
Ventilation is provided in work area but is not sufficient as the space is heated during
summer season, so electrical fans are used.
Thermal environment:
Floor is the main working surface and is
made of cement finish.
For 18m deep room, sunlight penetrates
mainly from south of window height of
2.7m, sunlight just penetrates up to 6.5m
of the depth.
Roofing is with GI sheet, and there is no thermal insulation so heat loss is more than
heat gain.
Security:
Separate industrial zone.
Separate rooms for workers and guards.
Safety:
No fire extinguishers.
Segregation of fire prone areas. Open area
acts as spill out area.
Adequate Natural Light
Adequate Natural Light
Thesis on Crafts Vlllage, Madhyapur Thimi
RUPESH SHRESTHA B. ARCH. THESIS 2011 062 / B.ARCH. / 231 IOE, DEPARTMENT OF ARCHITECTURE 44
Pros Cons
Workspace (80 sq. ft / person)
Daylighting
(Opening : Ventilation = 1:1.45)
White painted walls
Separation of fire prone areas
Open area, spill out area
Circulation continuous for easy escape
Many Operations
Wall surfaces with no recess.
No Locker room.
Sill ht. at table ht.
No thermal insulation
No skylight
4.2.2 Wood carving at Bhaktapur
Location: Bhaktpur
Area: 5 Ropanies
Crafts: Wood work, carving detailing.
General
Room less ventilated
Less lighting
Storage in dark, damp place
Top lighting
Insufficient space.
View of the work area : Wood Carving at
Bhaktapur
Thesis on Crafts Vlllage, Madhyapur Thimi
RUPESH SHRESTHA B. ARCH. THESIS 2011 062 / B.ARCH. / 231 IOE, DEPARTMENT OF ARCHITECTURE 45
Like wood, metal is also an integral part of traditional Nepalese culture and art. It is
stated that bronze figures, sometimes alloyed with copper, appeared in the valley around 8th
century AD. These images usually represented religious deities or legendary figures. The most
frequently used production technique is that of a form of wax casting. Images often contain
embedded semi-precious stones, usually coral or turquoise, or are gilded with gold.
4.3 Metal Craft
4.3.1 MAHA BUDDHA HANDICRAFT
Location: Patan Industrial Estate
Specialization: Metal works include images
of god and goddess, metal carving detailing,
utilitarian utensils, religious items, souvenir.
General: Maha Buddha Handicraft was
established in the year 2025. Like other
industry in the industrial area it deals with
handicrafts that are made out of metal. The
industry has four section- sales area,
workshop, staff room and store.
Schematic layout of the center
View of the Work area: Mahabuddha Handicraft
Thesis on Crafts Vlllage, Madhyapur Thimi
RUPESH SHRESTHA B. ARCH. THESIS 2011 062 / B.ARCH. / 231 IOE, DEPARTMENT OF ARCHITECTURE 46
Building Description: The industry
has two entry points, one leading to the
show room while the other to the
workspace. The showroom can be
entered from workshop as well.
There is an open court which is
surrounded by semi open spaces i.e.
workspaces, offices and stores. The
workspace is provided for series of
work in process casting, cutting,
carving, buffing, finishing and storing.
Lost Wax Process
The process of lost wax makes it a unique handicraft, which is why metal crafts are popular in
and outside the country.
The process involves:
Firstly a key is prepared of wax model, and then it is covered with varieties of clay. The piece is
then heated so that the wax is melted; the melted wax is then extracted creating a cavity. The
cavity is then poured with melted metal syrup. It is then cooled and the original model is
translated into the metal image.
The metal image out of the casting is very rough. The rough images are made smooth by
buffing; chiseling is done to bring out precision.
The metal image is then painted or plated with gold as per clients requirement.
Infrastructure:
Buildings
Open to sky space and semi covered spaces
for workspace.
Both workspace and showroom are of frame
structure with rough plaster and brick finishes.
Distributed workspace of the industry
Kiln
Thesis on Crafts Vlllage, Madhyapur Thimi
RUPESH SHRESTHA B. ARCH. THESIS 2011 062 / B.ARCH. / 231 IOE, DEPARTMENT OF ARCHITECTURE 47
Ceilings are flat with cement mortar finishes.
Working Environment:
Lighting and Ventilation: Natural light is sufficient in work space as workspaces are semi open
space facing the open to sky court. While artificial lights are used in show rooms and office
areas where light is insufficient. Ventilation are provided on the walls of workspace, which acts
as a cross ventilation.
Thermal environment: Floor is the main working surface and is made of cement finish. Workers
sit down on the floor over straw mat or wooden stools. During summer, due to semi open space
and cross ventilation, it is thermally comfortable but during extreme winters workers have a
hard time.
Safety: No fire extinguishers have been provided. Fire kiln are not separated or isolated to
another room but are visible. In case of fire break out, one can directly run to open areas.
Positive Aspect:
Semi open work space provides good amount of natural light
Clear division of workspace for specific works
Since the ceiling is flat made of cement mortar, it does not get heated like C.G.I roofs
sheets.
Negative Aspect:
Kiln is not isolated or separated therefore harmful smoke and dust affect the surrounding
Cold winters makes difficult for workers to perform their task.
Lack of changing room and lockers.
4.4 STONE CRAFTS
The history of stone goes back to at least two
thousand years ago. The oldest survival sculpture
in the country indicates that stone sculpture was
among the fist art forms to have been developed in
the country. Many sculptures of deities, animals,
serpents, people, bells, vessels, garudas etc. are
made of stone. The crafts men are highly creative
and gifted in their profession. Generally tradition is
Showing kiln (coal kiln) in workspace
Stone Statue
Thesis on Crafts Vlllage, Madhyapur Thimi
RUPESH SHRESTHA B. ARCH. THESIS 2011 062 / B.ARCH. / 231 IOE, DEPARTMENT OF ARCHITECTURE 48
to take the art from generation to generation.
4.4.1.1 ARNIKO STONE CARVERS
Location: Patan Industrial Estate
Specialization: Stone works, large stone works to small souvenirs.
General: From fathers generation to the sons, Arniko Stone Carvers have been continuing the
generation of stone craft from generation to generation. The stone industry basically deals with
stone carving of small souvenir to large carving of images and deities. The industry has mainly
three section- store, workspace and sales unit.
Machines and tools used:
Saw with Rail
Hand Drilling
Hand Grinding
Hammer and Chisel
Scribers
Infrastructure:
Buildings
Open to sky space and covered spaces for the storage of raw materials and finished products.
Room for storage as well as display
Thesis on Crafts Vlllage, Madhyapur Thimi
RUPESH SHRESTHA B. ARCH. THESIS 2011 062 / B.ARCH. / 231 IOE, DEPARTMENT OF ARCHITECTURE 49
Workshops are of both load bearing type and
frame structure with finishes such as plaster,
mud mortar and brick finishes.
Working Environment:
Lighting and Ventilation: As different spaces
are provided for work shop natural lighting is
not sufficient for detail work. Use of artificial
lighting is provides. Large workshop halls
which are both deep and high have minimal
penetration of natural light. Ventilation as such are not provided.
Thermal environment: As stone itself is a cold item, during winter season it is much difficult for
workers to work on stones. In some of the work space sue to large room height the thermal
environment is satisfactory during summers.
Positive Aspects:
Continuous flow of work
Machine section is separated from working area
Display area for the customers is properly utilized within the finished store.
Negative Aspects:
Due to the waste and dust produced, it sometimes become difficult for workers to work
efficiently and effectively.
The spaces are not properly allocated for specific purpose.
Noise producing area is not separated or isolated.
Unmanaged workspace followed with storage
Thesis on Crafts Vlllage, Madhyapur Thimi
RUPESH SHRESTHA B. ARCH. THESIS 2011 062 / B.ARCH. / 231 IOE, DEPARTMENT OF ARCHITECTURE 50
4.5 CLAY CRAFT
Pottery is the ceramic ware made by potters. The place