ETHNIC VILLAGE

By Mir Iqbal Ali Khan

7th Semester; 12091AA021

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S.NO. TOPIC NAME PAGE. NO.

1 INTRODUCTION 3

1.1 CULTURE IS THE ART OF LIVING 3

1.2 ORIGIN AND ETHNICITY 3

1.3 CULTURE 4

1.4 SOCIAL CUSTOMS AND TRADITIONS 4

1.5 ART 5

1.6 ARCHITECTURE 6

1.7 LITERATURE 7

1.8 CUISINE 7

1.9 CLOTHING AND FASHION 8

1.10 RELIGION AND PHILOSOPHY 8

2 DATA COLLECTION 9

2.1 RESTAURANT 9

2.2 BARRIER FREE 12

2.3 BARS 13

2.4 KIOSK 16

2.5 LARGE KITCHEN 17

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2.6 SHOPS 20

2.7 FOOD COURTS 21

2.8 GALLERY DESIGN 22

2.9 JEWELLERY SHOP 22

2.10 DANCE ANTHROPOMETRY/VIEWING ANGLES 23

2.11 AUDITORIUM 24

2.12 SEATING 24

3 INDIAN TOURISM STATISTIC DATA 29

4 DESKTOP STUDY 31

4.1 SHILPARAMAM 31

4.1.1

INTRODUCTION 31

4.1.2

ABOUT THE BUILDING 31

4.1.3

SITE 32

4.1.4

PLAN AND SECTION OF THE BUILDING 33

4.1.5

SPACES 33

4.1.6

ARCHITECTURAL CONSIDERATION 34

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4.1.7

SERVICES 35

4.2 DILLI HAAT 36

4.2.1

AWARDS AND RECOGNITION 36

4.2.2

LOCATION 36

4.2.3

SPACES 37

4.2.4

HEIGHT OF THE BUILDING 37

4.2.5

FURNITURE SEATING 37

4.2.6

SERVICES 37

4.2.7

ARCHITECTURAL CONSIDERATIOIN 38

4.2.8

REGIONAL FOOD STALLS 38

4.2.9

BARRIER FREE 38

5 COMPARASION 39

6 CONCLUSION 40

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7 BIBLIOGRAPHY 40

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1. INTRODUCTION

Ethnicity of a person is related more with his racial affinities while culture of a particular people is a shared set of beliefs, morals, values that are reflective of way of life.

Culture is passed down from a generation to another and serves as a sense of identification. It is reflected in the art of a particular group of people.

ANDHRA PRADESH CULTURE

The rich and varied culture of Andhra Pradesh can be perceived from its melodious music, scintillating dances, delectable cuisine, ingenious arts &crafts, glorious religions and wonderful people. In the earlier times,

the state was ruled by several dynasties and empires, which influenced its cultural heritage. Eventually, Andhra Pradesh culture became rich and creative with the touch of diverse civilizations.

In the world of creativity, Andhra Pradesh has procured a high position with its work of art. The state is undoubtedly a prized gem in the crown of the Indian glory. The ethnicity of the state is also visible from the

different communities and religions followed by them. The relishing dishes of Andhra cuisine boast of the 'Nawabi' style of the royalty.

1.1 CULTURE IS THE ART OF LIVING

The history of origin of the people of Andhra dates back to the pre-Christian era. They are supposed to be the Aryans who migrated to the state of Andhra Pradesh far beyond from the Vindhyas. There are recorded

history of them in the Aithareya Brahmana and the Mauryan period. The Salivahanas of the Satavahana dynasty were one among the earliest dynasty to rule over the Telugus.

1.2 ORIGIN AND ETHNICITY

The major portion of the Telugu areas was brought under the control of the notable rulers, Kakatiyas during the 13th century AD. It was during the rule of the Kakatiyas that the area was in its zenith of the various

culture like literature, temple art and the fine arts. However after the decline of the Kakatiyas in the 14th century, the Vijayanagar Empire ruled the state till the 16th century. There was a rapid development in

agriculture, commerce and arts which reached to the peak during the reign of the Vijayanagar dynasty. The Vijayanagar dynasty was taken over by the Golconda kings, who succeeded in building a strong Hindu-

Muslim unity and in fact the Telugus reached their pinnacle in all fields during this period. Though they were the Muslim Kings they still patronized the culture of the Telugu-speaking people and gave them

distinguished position in their courts.

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Andhra Pradesh which has its roots from the oldest of South Indian civilizations is considered to have a high ethnic value divided into various categories as per religious priorities and geographical location. There are

lots of communities of the Telugu people residing peacefully for years thus proving high ethnic value of Andhra Pradesh. The state of the Telugu people is the fifth largest populated region of India with dynamic

Ethnic groups. Though people from all over India live in this place, the rural area is primarily ruled by the tribes of the Telugu origin. Some of the tribal communities of the telugu people are Gadabas, Koyas, Kolamis,

Bhagatas, Khonds, Savaras, Nayakpods,Kondadoras, Valmikis, Jatayus, Chenchus, Yanadis, Balasanta and Davaluru.The Telugu governing bodies are very careful in maintaining a harmonius condition in the state thus

avoiding external elements of disruption from not entering even the borders of the state.

1.3 CULTURE

The Telugu people with a sparkling social structure are a blend of resonant conglomeration of culture and traditions. Having ruled by great Dynasties of the past the people and the state exhibit a mix of rich Nizami

tradition and royal heritage. The cultural heritage of the country is contributed a lot by the state and the Telugu people. Being under the rule of various dynasties like the Chalukyas and the Mughals, the culture of the

state is beautifully controlled and shaped. The Telugu people are very much influenced by the culture of their roots giving a creative touch of varied civilizations. Its rich culture is discernible in its mellow music,

dazzling dances, crispy cuisine, aboriginal arts & and crafts, pious people, religions, and fairs and festivals. The culture has become inseparable from its people for it is adhered by the Telugu people living even in

different parts of the country and the world.

1.4 SOCIAL CUSTOMS AND TRADITIONS

Muggulu is one of the most common tradition followed by the Telugu people where a threshold design is done at the entrance of the house with white rice powder. But now rice powder is slowly getting replaced by

lime stone powder and on special occasion’s colored powder is added and then it is called as rangoli. There is a traditional belief of the Telugu people that the kolam keeps away evil from the house. Ugadi is the

Telugu New Year and on this day people mix cow dung with water and sprinkle it on the ground in front of their houses and many other customs and rituals are carried out on this day. Also many new ventures are

started on this day.

1.5 ART:

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Annamayya, Tyagaraja, Kuchipudi summarize the rich artistic traditions of Andhra Pradesh. Contributions of Annamacharya and Tyagaraja to the "grammar of sound" made Telugu language the preferred language of

composition for Carnatic Music and made Andhra Pradesh the mother of all modern music. Their influence not only on Carnatic but global classical music and the organisation of sound as a medium of emotional

resonance has no parallel in human history. Kuchipudi as a refinement of the ancient Tamil art of Bharathanatyam, and in the context of the unique religious and cultural traditions of Andhra Pradesh stands on par with

all the great global traditions of Classical Dance.

1.6 ARCHITECTURE:

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There are three distinct and rich architectural traditions in Andhra Pradesh. The first traces back to the building of the legendary city of Amaravathi under Satavahanas. This unique style of architecture emphasizes the

use of intricate and abstract sculpture with inspiration from religious themes. The second tradition draws on the enormous granite and lime stone reserves of the region and is reflected in the various temples and forts

built over a very long period of time. The Temples and the ruins of Warangal stand as examples to this tradition.

1.7 LITERATURE:

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As a recognized ancient language, Telugu has a rich and deep literary culture. Nannaya, Tikkana, Yerrapragada, Srinatha, Pothana, Molla (poet), and Tarikonda Venkamamba made Telugu language "The Italian of the

East" - lingua franca for religious, musical composition and philosophy. The contributions of Charles Phillip Brown,Vemana, Gurram Jashuva, Sri Sri (writer) and Viswanatha Satyanarayana made Telugu a vibrant and

evolving modern language. The contributions of various Telugu/Tamil/Sanskrit grammarians to the formalization of English Grammar gave Telugu Literary traditions a truly global reach.

1.8 CUISINE:

Andhra Pradesh culinary traditions are some of the richest in the world. Bandhar Laddu, Avakaya, Gongura, Pulusu, pappu charu, jonna kudu, bobbattu, kaza, arisa Etc. draw on unique spices and rich fruit and

vegetable harvests of the region. Various sauces and ancient bread making techniques that use a very diverse and rich variety of pulses are a testament to ancient Telugu culinary innovation. It is rumored that Roman

king Nero lamented Romans paying more to the Chili farmers of Andhra Pradesh than to Roman treasury as taxes during the effort to rebuild Rome after the great fire. It is documented that he banned all imports from

Andhra Pradesh during Rome rebuilding era. Andhra Pradesh spice traders and their ancient global trading traditions are considered the precursors to modern option-and-derivatives pricing models for commodities.

Rich wine making traditions are evident in the Taati kallu and Etha Kallu produced by the region to this day.

1.9 CLOTHING/FASHION:

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Andhra Pradesh is home to some of the finest historical cloth making/fashion and dying traditions of the world. Its rich cotton production, with its innovative plant dye extraction history stand next to its diamond

mining, pearl harvesting and jewelry traditions to form an impressive fashion tradition that has stood the test of time. The ancient Golconda mine is the mother of the numerous legendary gems such as the Koh-i-Noor

and Hope Diamond. Andhra Pradesh had a virtual monopoly in the global jewelry industry till 1826 (founding of the diamond mines in Rhodisia - Africa) and eight of the 10 most valuable jewelry pieces on earth today

trace their history back to Andhra Pradesh. Langa-Voni (Half saree), Sarees made in Kalamkari, Bidri, Nirmal paintings, fascinating weaves from Pochampalli, Gadwal, Venkatagiri are the result of this time tested

(3000 year) fashion tradition. Vaddaanam, Aravanke, Kashulahaaram, Buttalu and various standard gold jewelry designs are fine examples of this continuously evolving ancient tradition.

1.10 RELIGIOIN AND PHILOSOPHY:

These contributions can be classified into four distinct eras. Ancient Hindu traditions of Andhra Pradesh, Medieval Buddhist traditions, Modern Islamic-Hindu fusion traditions and the currently emerging Hindu-

Christian fusion traditions. Dharanikota, Nagarjuna Konda monasteries and the associated literary contributions stand as a testaments to Andhra Pradesh's central role in the evolution of Ashokan Buddhism. Tirupati,

the associated religious traditions of Lord Venkateswara as a personification of the merger of various Shivite and Vaishavite Hindu traditions stands as a testament to the rich and progressive religious-philosophical

schools of Andhra Pradesh. The contributions of Andhra Religious traditions to Bhakti Movement (Fusion movement for Islamic, Hindu and Buddhist Traditions) inspired numerous world-renowned modern secular

philosophers like Jiddu Krishnamurti to draw on this rich and progressive intellectual tradition of religion and philosophy. A living history of this rich tradition is daily visible in the lives of the people of this region and

historic snap shots are frozen into stone at various times on the walls of the temples. Telugu arts and literature are an embodiment of this vibrant philosophical tradition.

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2. DATA COLLECTION

STANDARDS

2.1 RESTAURANTS:

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2.2 BARRIER-FREE

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2.3 BARS

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2.4 KIOSK

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2.5 LARGE KITCHENS

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2.6 SHOPS

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2.7 FOOD COURTS

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2.8 GALLERY DESIGN

2.9 JEWELLERY SHOPS

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2.10 DANCE ANTHROPOMETRY / VIEWING ANGLES

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2.11 AUDITORIUM

The 3 – dimensional volume of an auditorium is conditioned by the need for all members of the audience to be able to see the whole of the platform or stage; and to hear the actor, singer, musician or speaker.

Seating density, floor rake and seating layout are partly determined by visual and aural limitations, partly to give the audience an appropriate level of comfort and essentially to ensure a means of escape in an

emergency, such as a fire, within the time required by safety considerations and by legislation.

Visual and Aural limitations:

(a) Plan: for a performer at Centre stage B there is an arc Y beyond which visual and aural perceptions are impaired. However, for performers nearer the sides of the stage at A and C produce more restrictive curves X.

(b) Section: Similarly, visual and aural limits in section also set an arc centered on the performer

2.12 SEATING

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An area of at least 0.5sq.mts / person is to be used for sitting. This number is derived from a seat width x row spacing of at least 0.45sq.mts / seat, plus an additional minimum of 0.5m x 0.9m i.e. approximately

0.05sq.mts / seat.

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LENGTH OF ROWS:

A maximum of 16 seats / aisle, 25 seats / aisle is permissible if one side exit door of 1m width is provided / 3-4 rows.

EXITS, ESCAPE ROUTES:

1m wide / 150 people (minimum. Width 0.8m)

VOLUME OF ROOM:

This is obtained on the basis of acoustic requirements (reverberation) as follows: play houses approx. 4-5 cubic MT / spectator; opera approx. 6-8 cubic MT / spectator. For technical ventilation reasons, the volumes

should be no < these mentioned requirements so as to avoid air changes.

VISUAL LIMITATIONS:

It determines the maximum distance from platform or stage at which the audience is able to appreciate the performance and for the performers to command an audience. The distance varies according to function type

and the scale of the performance.

For dance the audience needs to appreciate the whole body of dancers and facial expression: the distance should not exceed 20m.

ALTERNATIVE SEATING ARRANGEMENT:

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Row width – 16 seats Row width – 25 seats + necessary door width

(a) Straight rows on flat or sloping floor (b) Straight rows with separate angled side blocks on flat or sloping floor

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(c) Curved rows on flat or sloping floor(d) Straight and angled rows on flat or sloping floor

(e) As (d) but with curves at change of angle

(g) Separated stepped blocks focused on stage

(f) Straight stepped rows and separated angled side blocks

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Ceiling shape and sound reflection

3. INDIAN TOURISM STATISTICS DATA – 2012:

```

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4. DESKTOP STUDIES

1. Shilparamam, Hyderabad

2. Dilli Haat, Aurobindo, New Delhi

4.1 SHILPARAMAM

4.1.1 INTRODUCTION:

It’s a crafts village in Hyderabad which was established in the year 1992. Sublime beautiful, like an oasis in a concrete desert. It is for promotion and preservation of arts and crafts. It is a kaleidoscope of Awarded for

“Intach Heritage Award 2007”. India’s color, diversity and talent.

4.1.2 ABOUT THE BUILDING:

Architect – Cate Consultants Hyderabad.

Client – Shilparamam Arts, Crafts and Cultural Society.

Area Of the Plot – 63.29 acres.

Establishes in the year – 1992.

Location – Madhapur Road in Hitec-City, beyond Jubilee Hills in Hyderabad.

Significance – Crafts Village.

Attractions – Meals, Boating, Stage Performance.

Specifications – Exhibits arts and crafts from all parts of the country.

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4.1.3 SITE:

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4.1.4 PLAN AND SECTION OF THE PROJECT:

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4.1.5 SPACES:

Parking

Toilets

Artisans Bazar

Boating

Rural Museum

Amphitheater

Grameena (Food Court)

Prakruti Raga (Rock Museum)

Shilpa Kala Vedika (Auditorium)

Rock Height

Mountain Heights

Sampradava VEdika

Koanaseema

Training Center

Administration

Main Lawn

Special Melas

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4.1.6 ARCHITECTURAL CONSIDERATIONS:

Shape – Most of the shapes are in geometrical forma with irregular forms of open spaces.

Surface – Walls are decorated in simple and rustic styles, rangoli motifs done on walls and also folk frescos.

Heights of the building – Most of the building are single storey with sloping roof. Height

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4.1.7 SERVICES SPECIALLY PROVIDED IN SHILPA KALA VEDIKA:

A separate car parking is provided for 500 cars and 700 two wheelers.

Orchestra pit, acoustic false ceiling, Bose sound system (25000 watts).

Multi-level and multifunctional stage lighting with zoom follow sports and cyclorama.

Well-designed water supply dispensers and chillers.

Access for disabled.

Easily accessed seating areas.

Reserved car parking for Disabled.

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4.2. DILLI HAAT, AUROBINDO MARG, NEW DELHI

Client – Delhi Tourism & Transportation Development Corporation

Date – 1992 – 1994

Area – 2.4 Hectares (6Acres)

Architect – Pradeep Sachdeva

Cost - 3 crores

The “Dilli Haat” – a food & crafts bazaar has emerged as a core of Delhi’s most loved urban leisure spaces. Designed to be a public space – it’s a platform forshowcasing regional crafts and food of India.

The site was retained by covering a storm water drain with a slab. Dilli Haat is a place of celebrations; an ever-changing kaleidoscope of crafts and cuisines from different parts of India.

4.2.1 AWARDS & RECOGNITION:

1995 – PATA Gold Medal

2005 – National Award for Promotion of Barrier Free Environment

4.2.2 LOCATION

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4.2.3 SPACES:

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4.2.4 HEIGHTS OF THE BUILDING:

Most of the buildings in the complex are single storey. 3M height is provided except store room whose height is 6M.

4.2.5 FURNITURE &SEATING:

Seating is made of brick and stone platforms.

4.2.6 SERVICES:

Two bore wells are provided in the complex and which is sufficient

Separate pump room, electric substations is also provided which is close to the service road.

There is a large back-up generating capacity for electric failures.

4.2.7 ARCHITECTURAL CONSIDERATIONS:

The architectural features are complex have been especially designs in the traditional north Indian Style, with brickwork jail (lattice) and stone roofs.

A hall in complex caters specifically to exhibitions of handlooms and handicrafts. A souvenir shop, also displays attractive ethnic products.

The small thatched roof cottage and kiosks, without any concrete structures provide a village atmosphere.

The shops are set-up on platforms, which acts as a link in the Bazaar design. The courtyard between Shops are paved in stone and interspaced with grass to retain a visual softness.

The landscaping of the area incorporates colorful flowering shrubs and trees, thus the entire complex is in the harmony with the environment.

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4.2.8 REGIONAL FOOD STALLS:

Maharashtra, Nagaland, West Bengal, Tamil Nadu, Kerala, Mizoram, Karnataka, Rajasthan, Punjabi,

Awadhi, Manipur, Sikkim, Arunachal, Meghalaya, J&K and Lakshadweep.

4.2.9 BARRIER FREE:

IN 2003, Dilli Haat became one of the first public places in the country to be made completely Barrier-

Free.

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SERIAL NO. SHILPARAMAM DILLI HAAT

1AREA

63.29 acres

AREA

6 acres

2STYLE OF DESIGN

NORTH INDIAN

STYLE OF DESIGN

TYPICAL INDIAN VILLAGE

3AWARDS

1995 – PATA GOLD MEDAL

2005 – NATIONAL AWARD FOR PROMOTION FOR

BARRIER FREE ENVIRONMENT

AWARDS

NONE

4CIRCULATION

CIRCULAR

CIRCULATION

LINEAR

5BUILDING MATERIALS

BAMBOO, MUD, CLAY, DRIED GRASS

BUILDING MATERIALS

BRICK WORK, LATTICE WALL, STONE ROOF,

THATCHED ROOF, KIOSKS

6PARKING

500 FOUR WHEELERS700 TWO WHEELERS

PARKING

250 FOUR WHEELERS250 TWO WHEELERS

7HEIGHT OF THE

BUILDING

HEIGHT AT CENTER – 5.4M, 2.4M

HEIGHT OF AUDITORIUM – 3M

HEIGHT OF THE BUILDING

SINGLE STOREY – 3MSTORE ROOM – 6M

5. CONCLUSION

Traditional crafts, visual arts and other forms of traditional cultural expression are closely related to the identity, heritage and socio-cultural well-being of indigenous and local Communities. Tradition referring to

cultural expression generally were first created a long time Ago, which have been transmitted from generation to generation and are regarded as pertaining to a particular people or its territory. Craft as such are a source

of tradition which has been passed on from one generation to the other. It is our duty to continue this generation of craft, a skill to be preserved and promote. This Project will try to achieve this continuation of

generation. It will space a space for craft as well as craft people to house different craft in a single community. It will continue the culture of craft and inspire people to be indigenous. Modernization has crept into scene

but it is also true, that forgetting our tradition and culture is like losing our identity. Both should go hand in hand - preserve and develop. Ethnic Village is a modern achievement but the elements provided are

traditional and based on culture and society.

As for the conclusion of this report, the traditional Indian culture should not be forgotten by every generation as it shows the identity of the Indian people. Efforts should be made to promote, sustain and make the world

admire Indian culture .This project will surely have a impact on such issues.

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6. BIBLIOGRAPHY

• Time Saver Standards

• Neufert Architects’ Data

• http://tourism.gov.in/

• www.shilparamam.net/

• http://www.delhitourism.gov.in/delhitourism/tourist_place/pitampura.jsp

• http://www.indianmirror.com/culture/states-culture/andhra-pradesh.html

• http://www.google.com/

• https://en.wikipedia.org/

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