Thesis on Craft’s Vlllage, Madhyapur Thimi (B.Arch) PDF

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CRAFT’S VILLAGE AT MADHYAPUR THIMI BY Rupesh Shrestha (062 / B.Arch / 231) 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...

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CRAFT’S VILLAGE AT MADHYAPUR THIMI

BY

Rupesh Shrestha (062 / B.Arch / 231)

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

Thesis on Craft’s Vlllage, Madhyapur Thimi.

CERTIF ICATE 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: ……………………….

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Thesis on Craft’s Vlllage, Madhyapur Thimi.

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: …...…………

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Thesis on Craft’s Vlllage, Madhyapur Thimi.

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 who m 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 RUPESH SHRESTHA 062 / B.ARCH. / 231

B. ARCH. THESIS 2011 IOE, DEPARTMENT OF ARCHITECTURE

Thesis on Craft’s Vlllage, Madhyapur Thimi.

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, semigovernment 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).

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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

..………………………………………………………………………………..

2.3.2 Design of Multifield workspace

13

………………………………………………………………….. 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 ………………………………………………………………………….. 4.10

66

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

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

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Thesis on Craft‘s Vlllage, Madhyapur Thimi

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).

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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 RUPESH SHRESTHA 062 / B.ARCH. / 231

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Thesis on Craft‘s Vlllage, Madhyapur Thimi

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.

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Thesis on Craft‘s Vlllage, Madhyapur Thimi

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 excha...