Thesis on Crafts Village

CRAFT’S 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 Craft’s 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 “CRAFT’S 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: ……………………….



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: …...…………



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 guidance’s 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



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).

http://en.wikipedia.org/wiki/Skilled_worker

http://en.wikipedia.org/wiki/Middle_Ages

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 Craft’s 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 Craft‘s 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

http://www.wordiq.com/definition/Handicraft

http://www.wordiq.com/definition/Arts_and_Crafts_movement

http://www.wordiq.com/definition/William_Morris

http://www.wordiq.com/definition/Edwin_Lutyens

http://www.wordiq.com/definition/Industrial_Revolution

http://www.wordiq.com/definition/Industrial_Revolution

http://www.wordiq.com/definition/Hobby

http://www.wordiq.com/definition/Manual_labor

http://www.wordiq.com/definition/Blue-collar

http://www.wordiq.com/definition/Ceramics

http://www.wordiq.com/definition/Glass

http://www.wordiq.com/definition/Textiles

http://www.wordiq.com/definition/Metal

http://www.wordiq.com/definition/Wood



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).



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

Nepal‘s 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

http://en.wikipedia.org/wiki/4th_Century

http://en.wikipedia.org/wiki/648



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.



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.



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.



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.



Handicraft industry’s 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.



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



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



Form

Zoning

Circulation

Structure

Enclosure

Construction type

Construction process

Energy

Climate control

Image



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.



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.



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.



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.



Space inter-relation:

Spaces created should be inter-related- studios, gallery, café, 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, worker‘s 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,



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



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



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



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



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 4‘6‖ length & 2‘8‖

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



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.



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.



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



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.



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



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



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.



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



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



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



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



*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

http://en.wikipedia.org/wiki/Electricity

http://en.wikipedia.org/wiki/Sunlight

http://en.wikipedia.org/wiki/Photovoltaics

http://en.wikipedia.org/wiki/Concentrating_solar_power



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 27o40‘15‖ and Longitude 85

o16‘33‖. 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.



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 Children‘s 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



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



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



OPPORTUNITY

Flat at middle

Material availability

Traditional settlement

Tourist route

East slope



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.



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


4.7.1 Babar Mahal Revisited

4.7.2 Siddhartha Art Gallery


4.8.1 Handicraft Design and Development center

4.9 CRAFT VILLAGE

4.9.1 Folk arts and Craft‘s Museum

4.10 Energy Studies

4.10.1 Piano's Beyeler Foundation Museum



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 director‘s 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 it‘s façade 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



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 5‘X4‘

3. HACKSAW 2‘X4‘

4. CIRCULAR SAW 4‘X3‘

5. DRILLING 3‘X2‘

6. GRINDING 3‘X2‘

7. LATHE 8‘X4‘

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



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



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



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


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



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 client‘s 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



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



to take the art from generation to generation.

4.4.1.1 ARNIKO STONE CARVERS


Specialization: Stone works, large stone works to small souvenirs.

General: From father‘s 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



Workshops are of both load bearing type and

frame structure with finishes such as plaster,

mud mortar and brick finishes.


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



4.5 CLAY CRAFT

Pottery is the ceramic ware made by potters. The place

where such wares are made is also called a pottery (plural

potteries). Pottery can also refer to the material of which the

pottery ware is made. Major types of pottery include

earthenware, stoneware and porcelain. Pottery is one of the

oldest human technologies and art-forms, and remains a major

industry today. The definition used by archaeologists tends to

exclude ceramic objects such as figurines which are made by

similar processes, and perhaps the same people, but are not

vessels, or made on a wheel.

Pottery Craft flourished in Patan, Thimi and Bhaktapur. Common forms of pottery are

terra cotta oil lamps used to light homes during the festival Dipawali, and flower pots decorated

with peacocks and elephants.

4.5.1 POTTERY SQUARE

Location: Bhaktapur, Pottery Square.

Specialization: Pots, Utensils, Decorative, etc.

General: The Pottery Square of Bhaktapur is a

conserved traditional village, where the whole

community is based on pottery making.

Pottery is the way of their livelihood. One can

see almost all the houses making pottery

every day.

The potters are called ―Kuma”, a caste for

potters. The whole family of Kuma is engaged

in the workshop. The tradition is- the trade is

handed down from father to son generation.

Plan of potters workplace

Potter at work

http://en.wikipedia.org/wiki/Ceramic

http://en.wikipedia.org/wiki/Earthenware

http://en.wikipedia.org/wiki/Stoneware

http://en.wikipedia.org/wiki/Porcelain



View of the pottery square, Bhaktapur

Space Used: Work is done in ground floor which opens up to a courtyard or community

gathering area. The upper portion of the house is used for residential purpose by the potters.

Raw materials are stored in the ground floor, as it is damp and dark, which is good for storage.

The squares are used for sun drying of pottery items. The crafts are either sold on the local

souvenir shop or are taken to market.

Machines and tools used:

Potter‘s Wheel & Turntables

Shaping Tools(paddles, anvils, ribs)

Rolling tools(roulettes, slab rollers, rolling

pins)

Cutting/piercing tools(knives, fluting tools,

wires)

Finish Tools(Burnishing stones, rasps,

chamois)

Infrastructure:

Buildings

The houses in the square are old traditional

type

Most of the houses are 3 bay types, in ground

floor-the front part is used for Potter‘s wheel,

the second part is used for storing and the third

part is used for staircase. The staircase is

placed in front in case there is lack of space.

Wall is made out of mud mortar and brick exposed façade.

Courtyards or separate room on the ground floor are used for kiln.


Lighting and Ventilation:

Workspace on ground floor, lights are through door openings thus found inadequate.

Ventilation inadequate.



Thermal environment:

As traditional houses are thermally comfortable, extreme temperature does not affect the

workers.

The kiln area produces smoke and dust which may affect the dwellers

Safety: In case the kiln is located inside the house, it can be dangerous if any fire breakout.

Otherwise kiln are isolated and made separate.

Positive Aspects:

Whole community is based on pottery, court spaces are shared.

Working environment is calm and peaceful.

Negative Aspects:

Congested work space, work done in private space at the ground floor

Natural light not sufficient in workspace, have to depend on artificial light

Storage and workspace not separate have to depend on single room.



4.5.2 THIMI CERAMICS

Location: Bhaktapur, Pottery Square.

Specialization: Pots, Utensils, Decorative, etc.

Schematic layout

Features

Production 650 ft.2 (8-9 person)

Storage is 840 ft2

Glazing done in addition but is contradictory to essence of pottery craft practiced in

Nepal.

Is it authentic method to do????????



4.6 GALLERY AND EXHIBITION SPACE

4.6.1 NEHRU MEMORIAL PAVILLION

Location: - New Delhi

Architect :- Raj Rewal

General

It is embedded in grassy mounds.

Its form has been derived from Buddhist Stupas in

Nepal.

It has affinity with Yantra.

There are two levels

o Upper level – with A/V room

Harmonious relation between visitor and displays

Glass bricks which subdue natural light

o Lower level is with 4 sections

o Double height enclosure

There is a sense of monumentality combined with

human scale.

Stepped roof as amphitheatre

Considerable views of Natural and artificial lights

Section

Plan of upper level

Stepped roof provides a kind of

Amphitheatre.



Exterior showing how structure has been embedded in artificial mound

Staircase leading to two levels of

containing exhibitions.

Interior View of the Pavilion



Display of terracotta figures

4.6.2 NATIONAL CRAFT MUSEUM

Location: Pragati Maidan, Delhi.

Architect: Charles Correa

Built – up area:- 6800 sq. m

Introduction

The craft museum- set up in 1956 by

the all India handicrafts board.

The museum is mainly divided into

three sections:

Display gallery and store

Village complex

Crafts Demonstration area

It is organized around a central pathway, going from VILLAGE to TEMPLE to PALACE,

a metaphor for the Indian street.

Objective to collect and display finest specimen of Indian crafts.

Functions contained in the complex

Museum for a large permanent collection of folk art

Workshop area for the craftsmen

Shop and sales area for the crafts

Library

Amphitheatre

Administration

Services

Planning Concept

Galleries, store, administrative areas and library situated around a series of open to sky

courts.



Unique rustic ambience coupled with modern functionality

Analysis

Spatial Character Architectural Character Activity

Spontaneous flow of

spaces

Sequence of spaces

revealed after another.

Work court designed of

the access spine.

Each court has a display

symbolizing tradition.

Eg:- Tulsi

Local construction

material.

Mud plaster and terra-

cotta tile.

Contemporary expression

– carved windows,

perforated iron screens.

Work court off access

spine.

Hierarchy of performing

space.

Open air amphitheatre

for large performance.

Functions held in the complex:

Research and Documentation: The Museum has a specialized library of more than 10,000

books and periodicals pertaining to Indian arts and crafts. Filed research is commissioned with

research scholars to document the living arts and crafts.

Educational Program: Thousands of schools children and students of art colleges visit the

Museum for general exposure to India's rural artistic heritage or for more exercises such as on-

the-spot painting or participating in 'Creativity Workshops'.



Committee room: capacity of 35 persons

holds official seminars, conferences.

Reference library: The reference library

in the museum, houses approximately

10000-books/journals on Art and Culture

with 35 seating capacity.

Conservation Laboratory looks after the

preservation of the Museum's collection.

Auditorium: Museum has an air-

conditioned auditorium, for screening of

educational films, holding of lectures,

seminars and conferences. It has a seating

capacity of 180 persons.

Exhibition Hall: for holding temporary

exhibitions by the Artists.

Crafts Museum Shop: The museum shop

sells books and a whole range of

exquisite handicrafts. The objective of

the Shop is to sell original creations of

the finest Indian craft persons and not to

market mechanically replicated

'souvenirs'

Cafeteria: Museum has an open air

cafeteria in its vicinity, where the visitor

can relax in the rustic rural ambience.

Conclusion:

The Craft Museum has stated a good example by preserving and conserving the tradition

or art and culture in a modern way. The skill full art, the lost tradition must be preserved

as they are our identity; we need not go out and search for our identity if it is preserved.

The craft museum serves and preserves the spirit of art, making awareness. The

thoughtful space planning, the human scale, the tribal and rural display all gives a sense

of belonging.

First Floor Plan

Plan of Craft’s Village

Source:- Charles Correa, The perrenial press, Bombay




4.7.1 BABAR MAHAL REVISITED

Location: Babarmahal Revisited, Babarmahal.

General:

Six Courtyards of elegant shopping and eateries in historic setting.

Sunken court with chautari.

Narrow lanes interconnect courtyard

Semi-open spaces. Eg:- Patis

Neo-classical architecture.

Site plan (Source: KVPT)

Interior with open space plan



Exposed wooden joists

Difference of levels between courtyards

It shows conservation and development moving side by side.

Bird’s eye-view

Site section

Bird’s eye-view



Focus light on pictures

Gallery Space, use of artificial to lit the

display

4.7.2 SIDDHARTHA ART GALLERY

General

The gallery inside the mahal is

accessed through various souvenir shop

restaurant.

The gallery is a two storied building

which has halls of area 750 sq. ft. It

displays temporary exhibits of art from

all around the world.

Lighting:

Artificial lights are used to light the

displayed exhibits. Focus light, spot

light with adjustable support is directly

hung on the ceiling.

Skylight is used to light the stair case

that connects the ground floor with the

upper floor. Windows have low

ceilings, but the natural light provided

is not sufficient.

Space used: As seen, exhibits are mainly those of art that are hung on the walls. Floor space

can also be used for displaying exhibits.




4.2.4.1 HANDICRAFT DESIGN AND DEVELOPMENT CENTER

Location: Pulchowk, Lalitpur

General

Established in 2006 focusing on the preservation and dissemination of knowledge on traditional

arts and crafts Part of their mission is to bring this educational institution one step further into

the future with the development of a resource center and library within the facility that collects

and shares appropriate master research analysis for the archives returning the true meaning and

representation of original art to Nepal.

Functions:

The Center offers seminars, workshops

and exhibitions on the development of

traditional art. Counseling programs offered for

students on marketing, career development and

skill technology. Research analysis and archive

development. It offers trainings to artisans on

Thanka painting, Clay sculpture, Metal carving

(repousse work), wood carving and stone

carving.

Alongside the full 2 year

degreed package and 3 month

workshops, there will be 2-3 day

seminars enhancing one‘s

knowledge on the development of

traditional art.

No. of students: 40

8 students in each stream

For three months package: 8

students in each group

Section

Fig. Section of the main building

Floor plan (Courtesy : Ar. Jeny Shrestha)



Architectural Character:

In a residential bldg.

Three blocks :- a) guard house, handloom workshop

b) design training center

c) administration

14' x 20'-6" computer lab for 20 student - 10 computer

14' x 20'-6" classroom for 22 student - 22 drawing seats

Pros Cons

Interior use of handmade products

reflects craftsmanship.

Provision of enough space for training

purpose.

Visual appearance doesn't define

character

Congested classroom and computer

lab.

Lack of toilets

Floor plan Front view Floor plan



Interior of Training hall Interior of Computer lab

Interior of Conference hall

Floor Plans



4.9 CRAFT VILLAGE

4.9.1 FOLK ARTS AND CRAFT’S MUSEUM

Location: Sonargaun, Bangladesh.

General

Mini Bangladesh = ―Craft‘s village‖

Museum with maximum floors space of

75,000 sq. ft.

Double storied

Accommodate reception, lobby, permanent

exhibition, temporary exhibition, reserve

collection, conservation section, library,

auditorium with 500 seats capacity, offices,

craft shop, cafe and other service areas.

On the campus housing

Typical rural houses reconstructed on the plot

with maximum attention on authentic design,

dimension and materials.

Typical Bangladesh village style architecture

Display galleries around courtyards

―Invisible‖ building

Low and spread out horizontally

Concealed with trees

Very little seen from outside

Avoiding strong contrast

Exterior View

Interior View



.

Inner of Courtyard Entrance View

Ground floor plan



4.10 Energy studies

4.10.1 PIANO'S BEYELER FOUNDATION MUSEUM

Architect: RenzoPiano

Location: Switzerland

General

Naturally lit environment

Museum 395 ft. (120 m ) long

Pavilion running north / south, with a park to the west.

The outermost element is the layer of fritted glass brise-soleil inclined and positioned to

prevent direct sun penetration during all museum opening times but also to maintain

optimum admittance of diffused light.

When the museum is closed, for example, the louvers are closed to prevent exposure of

artworks to daylight.

The louver system lies in the zone between ceiling and roof, which is designed as a "loft

thermal buffer zone" and combines with the exterior brise-soleil of incident solar

radiation from reaching the gallery spaces below. to prevent 98 percent

Thermal buffer spaces extend from the roof to the east and west sides of the facade,

helping to limit the effects of climatic extremes on the building — 12 degrees Fahrenheit

(-11 degrees Centigrade) in winter and 91 degrees F. (33 degrees C.) in summer.

Multi-layered roof system allows for Day lit Galleries

A. BRISE-SOLEIL

fritted glass inclined and positioned

to prevent

direct sun penetration and maintain

optimum

admittance of diffused light

B. WEATHERPROOF LAYER

double glazed skin with an

ultraviolet filter that

removes the parts of the electromagnetic



spectrum most likely to

damage the artwork

C. COMPUTER MOTORIZED

ALLUMINUM LOUVERS

that control light levels in

each room

D. “LOFT THERMAL BUFFER ZONE”

louver system lies in this zone between the

ceiling and the roof, combined with brise-soleil

prevents 98% of incident solar radiation from

reaching the spaces below

E. LAMINATED GLASS CEILING

designed to support maintenance access to the

louver motors and electric lights

F. GRID OF PERFORATED METAL PANELS

incorporates a paper that diffuses the light once

more and hides the ―loft‖

The east facade is climatically buffered by the service and ancillary rooms, and to the

west the "winter garden" performs the same task, while providing a resting place with

views across the countryside.

Exterior View

Interior View



CHAPTER 5:

DESIGN INFERENCES

5.1 Elements of Newar settlements

A. Streets

a. The street for gods/the festival routes

This street connected the palace square with major town centers. The major

festivals are connected and chariots are drawn through these streets .These streets are not

as wide as compared to modern streets but wide enough for chariots to pass through.

b. The streets for people

These streets connected different neighborhoods and also different major

streets.The functions of these streets are mainly for connectivity and trade along with

more intimate socializing .The characters are similar to the main streets , except for the

widths.

c. The streets for dead people /the funeral route

These streets system runs hiding from the major street and the royal palace .This

became a practice after a Malla king .The dead are taken through a system of alleyways

between and through the dwellings ,culminating to the funerary river bank.The streets

surrounding the city running along the city wall also forms a part of this hirerarchy and

possess a signifcants cultural important.



B. Buildings

a. Temple

The temple by virtue of their grand

scale and ornamentation served as visual

relief and also as landmarks along the streets

.Most of the temples of Kathmandu follow a

traditional Newari temple architecture:

symmetrical with square or rectangular plan,

brick clad with a single or multi-tiered overhanging and sloped roof and also odd

number of fenestrations in each wall. Besides the tires temple other temple styles include

the Shikhara style temples and composite types as well. These temples are generally for

religious purpose.

b. Layaku (palace)

Palaces are the dwellings for royal family. Layaku is the old Newari term for the

word ‗Palace‖. The traditional Malla palace of Kathmandu comprise of a number of

buildings surrounding a number of courtyards, these were generally three major

courtyard ,along with family temples ,palace gardens, ponds or other water sources etc.

c. Newa chen (Newari Residence)

Generally, newari houses are 3 and half storied

.According to the utilization of spaces ,there is vertical

arrangement of the spaces in newari houses .Ground floor

called chedi,is used either as shop or for cattle raising ,the

first floor ,called Matan is the beginning of the living space

,used for sleeping purposes ,the second floor of chota is the

living space ,and finally the topmost or the baiga is the

kitchen and the family shrine .The façade of a residential

building is brick exposed with Tiki Jhya (lattice window) in

the matan and Saa Jhya in the choto.The length of the house varies from house to house

but normally rectangular houses are of 4 to 8 meters in length and 6m in depth.

Patan Durbar Square near Jhom Bahal

Newa Residence in Jhom

Bahal



d. Falcha (rest room)

Rest house serves mainly for overnight

stay of the trading traveler‘s .These are placed

along the streets at strategic locations. Besides,

these were also public spaces where people

gathered and interacted .

e. Dyo che (Priest house)

Dyo chen is the house of God .It is also

known as Math and its design and activities are

bound by specific rules .The form should be square

with a two storied courtyard building. The design

of a Math, its location, orientation and its internal

planning correspond to that of a standard dwelling

house .Math has no fixed orientation and if space allows, a Math is built with a central

load bearing wall and the design of the math resembles that of residential house

C. Open Spaces

a. Public squares

Public squares are large open spaces surrounding the palaces .These squares have

different components such as temples ,stone water spouts and rest houses etc .

b. Bahals

Bahals are the buildings with open central courtyards ; these courtyards can be

public or privately owned .The purpose and specific activity of these spaces vary with its

ownership ,occupancy and other religious as well as social factors .

Falcha Pati in Jhom Bahal

Bahal with Chuka- open space in Jhom

Bahal



c. Chuka

Chowks are basically courtyards, generally square in shape and surrounded by a

number of houses ,either residential or others .

D. Services

a. Lohan Hiti(stone water spouts)

The public water spouts are the water supply system that existed in the valley

long before the Malla period .The stone water spout, placed in a depressed spaced

(sometimes a storey deep) ,laid in stone is provided with proper drainage and walled

with brick and stone decorations. The form of the stone water spout represents the

mirror image of the temple profile. This system followed gravitational flow of water.

These were major urban amenities, serving the local community and also the travelers‘

.Usually there used to be a public rest house near the water spouts

b. Water supply

Water supply system was developed in Kathmandu during the Licchhavi times

,the water supply mechanism of the Licchhavi times were very well developed ,they

were used for both irrigation as well as supply to the public water supply systems

.Water supply was also done in the valley by wells and ponds.



CHAPTER 6: PROGRAMME AND AREA FORMULATION

NO. DESCRIPTION SPACE REQ(sq.

m.)

1 A Reception

Entrance lobby + Waiting (0.5

m2 per person) 150

Information counter 14

Ticketing 10

Cashier's office 30

Toilet 24

228

B Administration

Reception 35

Director's office 20

Manager's room 14

Accounts section 18

Marketing section 18

Meeting Room (15 Person) 25

Toilets 20

150

2 Arts and Crafts Gallery

I Gallery permanent collection 500

Store area (4 @ 25sq. m.) 100

Curator's office 15

Toilets 40

655

3 Crafts Section

a Wood carving

Display Area 25

Raw Material Store 30

Seasoning 25

Equipment Room 50

Design Room 15

Carving – Big ( 10 craftsman) 80

Carving – Small 16

Assembling + Finishing 20

Finish Store 32

Staff Area 20

Learner's Area 20

Toilet 16

Pantry 6



355

B Metal craft

Display Area 25


Design 10

Waxing / Mud Moulding 30

Kiln (2 electric kilns) 40

Assembly 15

Finishing 10

Polishing 10

Store 30

Staff Area 20

Casting 10

Learner's Area 20

Face painting 30

Toilet 15

Pantry 6

285

C Clay craft

Display Area 25

Clay Storage 20

Mixing 25

Design Room 10

Working area (15 artists) 250

Kiln (2 Courtyard kilns) 20

Unglazed Item Store 25

Staff Area 20

Learner's Area 20

Toilet 15

Pantry 6

436

D Mask making


Frame 20

Paint 25

Finish store 20

Staff Area 20

Learner's Area 20

Toilet 16

Pantry 6

142



E Textile weaving


Design Room 10

Cone roll 30

Beam Roll 15

Weaving (10 looms) 160

Cutting / Check 18

Packing 18

Store 20

Staff Area 20

Learner's Area 20

Toilet 16

Pantry 6

353

F Stone Craft


Kiln 40

Welding 15

Engraving 42

Polishing 6.8

Gold & Silver Plating 38

Face Painting 30

Design Rm. 13

Lab 6.5

Face painting 30

258.3

G Thanka Painting

Work Studio (20 artists) 100


Preparation 45

Store 10

Toilet 10

185

4 Multipurpose Hall (100 people)

Main Hall with stage (100 @ 1.5

sq. m.) 15O

Projection control room 25

Store 12

Green room with wash (2 @ 18 36



sq. m.)

Rest rooms 35

258

B Open air theatre

5 Design Training and Research

a Administration 115

Conference 75

Product Development 70

b

Training Halls (1 Computer Lab

+ Drawing Rm + A/V Rm.) (3 @

50 sq. m.) 150

c Reference Library

Main Stack area 75

Reading area 50

Issue counter 100

Photocopy 12

Catalogue + Baggage 15

Reference area 125

Librarian office 15

Toilet 30

422

6 Theme Restaurants / Eatery

Dining Area (70 @ 2 sq. m.) 140

Kitchen (70 @ 0.7sq m.) 50

Store 20

Counter 15

Toilets 20

245

7 Souvenir shops 150

8 Sales Unit

Show Room (3 X 192) 576

Account Section 8

Store 16

Toilet 15

615

9 Quarters



Staff Quarters (9 X110) 990

Trainee Hostel ( 2X 240) 480

Indoor Sitting 110

1470

10 Other Facilities

a Cafeteria 100

b Washrooms 20

C Toilets 20

D Store 20

E Generator/ Machine room 120

F First aid room 20

G Guard House (3 @ 20 sq. m.) 40

ANALYSIS

BUILT-UP AREA …………………. 6997.3 SQ.M

CIRCULATION SPACE @ 35% OF BUILT - UP AREA = 2449.055

SQ.M

TOTAL BUILT – UP AREA …………. 9446.355 SQ.M

PARKING AREA ………………….. = 7.5% OF T.A.

= 1602.45 SQ. M

ACCORDING TO BYE – LAW,

MAX. GROUND COVERAGE AREA = 40 % OF T.A.

= 0.4 X 24414.1671 (45 R0PANIES)

= 9765.27 SQ.M

DESIGN INFORMATIONS:

NO. OF STAFFS: 90

NO. OF CRAFT STUDENTS: 48

MAX. NO. OF VISITORS EXPECTED: 450 per day

DESCRIPTION AREA PERCENTAGE

TOTAL AREA: 24414.1671 sq.m. 100%

GROUND COVERAGE:) 6997.3 sq.m. 28.66 % of total area

TOTAL BUILT UP AREA: 9446.355 sq.m. 38.69 % of total area

PARKING AREA 2434 sq.m 9.5% of total area

PARKING NO. OF VEHICLES: 50 cars, 60bikes, 5 buses



CHAPTER 7

7.1 CONCEPT

Craft‘s Village has planning that bears attachment to the

traditional architecture of the Kathmandu valley, yet being

modern in terms of the function and utility. The concept has

been derived from the analysis of site and functional

requirements of the craft activities. The important aspects being

the serial flow of the various processes systematically. The

traditional outlook has been tried to be achieved with the help of

square and rectangular forms, use of courtyards, slope roof, use

of cornices, local materials like brick, timber. It is also important to analyze that the used form

is suitable not only to achieve the outlook, but it is also a appropriate shape with due

consideration to material availability, environmental suitability as well as the tourism potential

within the area.

Since c raft requires both open / closed spaces as per the activities. So courtyard

planning has been opted. For planning of overall site, different forms and doctrines have been

used. The number 8 is considered as sacred both to the Hindus and Buddhists.Eg:-

―The game of chess has a brahmanic origin is proved by the eminently sacerdotal character of

the diagram of 8 x 8 squares (ashtāpada).‖

" It may be recalled that the Hindus recognize eight planets: the sun, the moon, the five planets

visible to the naked eye, and Rāhu, the "dark star" of the eclipse; each of these "planets" rules

one of the eight directions of space.‖

―We have seen that each phase of a cycle, ―fixed‖ in the scheme of 8 x 8 squares, is ruled by a

heavenly body and at the same time symbolizes a divine aspect, personified by a deva. It is thus

that this mandala symbolizes at one and the same time the visible cosmos, the world of the

Spirit and the Divinity in its multiple aspects.‖

Eight nodes for planning



7.2. DESIGN THEME

Design of Craft‘s Village revolves around

four themes:-

a. Nepali Spirit

b. A modern synthesis

c. Structural Rationalism

d. Tradition and Pragmatism

7.3 ZONING AND SITE PLANNING

The whole site has been divided into eight quadrants with centre as a mandala

(Art and Craft Gallery). The entrance is made through south and the visitor reaches the a large

entrance court which is symbolic to ―lacchi‖ of newari settlement. The buildings are arranged in

in the eight nodes in a ―pinwheel‖ kind of arrangement. The serial flow of spaces has been

maintained. The work areas are arranged in a way such that they can be like galleries where

visitors can walk and see different craft skills being executed. Restaurants and souvenir shops

are placed lastly providing refreshments or they can be entered at first also. There are hierarchy

of spaces which a visitor can experience. Through the main entrance visitor can experience a

public space. When they enter they experience semi-public space of workshops and display

areas. Then at the rear end of the site there is placement of quarters for the craftsmen and

learners. Thus basically three level of planning has been opted. Viz.

a) Public

b) Semi-private

c) Private

Design Theme



Functional organization of spaces and its layout gives importance to the visitor flow and

rapid evacuation incase of accidents. The open courts provide visitors as well as craftsmen to

have a space for working and display exhibits. In and out of goods and services have also been

taken into consideration. For this service road is provided.

Zoning and site planning

Juxtposition of different forms



7.4 PROPOSED UTILITY AND SERVICES

Service roads

Since the materials for each of the craftworks had to be supplied to the blocks in a more

effective manner, the whole handicraft complex has been serviced by a 3m wide road.

Two service gates are provided on east and north-east side.

Eleectricity

Electrical unit that monitors and supplies electricity to the whole complex has been

placed near the service entry. It also consists of a stand by generator for continual supply

of electricity

Drainage

Surface drainage provided along the buildings and courtyards for the easy runoff of the

water from paved areas. The water would be filtered and stored in the rain water

harvesting tank.

Water supply

Rain water is the source of all water and rain water harvesting is a technique to collect

and store the rain water at the surface or sun-surface aquifers, before it is lost as surface

run-off. Thus, a system of harvesting rain water from the roof and the paved areas have

been proposed to be used for the craft activities, cleaning purpose and watering plants.

For the purpose, rain water harvesting tanks have been at lvl +1 near service entry& lvl

+2 near amphitheatre

Harvesting potential: Area of the plot = 24414.1671 sq.m.

Avg. Annual ht. of rainfall = 1.6m

Vol of rainfall over the plot = 24414.1671 x 1.6 = 39062.67 cu.m.

Capacity of water that can be harvested = 80% of total volume = 48828.3 cu.m.= 4,88,28,000 lts

Soak pits would be provided at intervals for ground water recharge. This will also help to

reduce the runoff from site and lessen the chances of contributing to the downstream flooding.



7.5 FIRE HAZARD PROTECTION PLAN

Smoke sensors for fire detections are used in all public areas, which are connected to

alarm sensors, at 24 hours attendant area, eg. The Guard House. Localized fire extinguishers

have been provided within an interval of 45m .With due consideration to the fire safety for the

studios, the major fire prone areas have been separated from the main studio space with the

provision of quick access to open space. Moreover, fire hose reels would be places at an interval

of 50m in major areas, like studios, that draws water from the underground water tank with

pressure controlled fire pump that is connected to the fire hose reels- capacity 140,000 litres.

Waste treatment

Wastes coming out from the complex – organic or inorganic – need to be separated at

first, before treatment. The inorganic wastes would be recycled through the recycling

station sand the non- recyclable wastes would be taken away by the municipal vehicles.

Sanitation

For the sanitation, reed bed effluent treatment plant has been proposed as it requires

little energy as compared to conventional mechanized plants.



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.

The Craft‘s Village tries 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. Craft‘s

Village is a modern achievement but the elements provided are traditional and based on culture

and society.

Thus the Handicraft Village has tried to achieve a communicable space for craft,

craftsmen and visitors.



BIBLIOGRAPHY

1. Korn, Wolfgang. Traditional Architecture of the Kathmandu Valley. Ratna Pustak

Bhandar, Kathmandu, 1979.

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4. Maharjan, Sampurna, Craft Center at Lubhu, B. Arch. Thesis, 2005,

5. Khakurel, Sarita, Center for Fine Arts at Kirtipur, B. Arch. Thesis 2000

6. Shrestha, Jeny, Handicraft Center, Kirtipur, B. Arch. Thesis 2009

7. Adamson, Glenn. Thinking through craft , Glenn Adamson. Oxford; New York: Berg,

2007.

8. Tatum, M. 2010 ‗What are Handicrafts？‘, conjecture corporation, viewed 11 May

2010, http://www.wisegeek.com/what-are-handicrafts.htm

9. FHAN 2010, Historical Background, 2008, viewed at 16 May 2010,

http://www.nepalhandicraft.org.np/handicraft_prof.php#t2

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http://www.library.cqu.edu.au/tutorials/litreviewpages/what.htm

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0471752169

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