SITE ANALYSIS AND CASE STUDY-ARTS AND CRAFTS VILLAGE

ARUN KUMAR.B
311715251015
INTRODUCTION
Madurai has become a big commercial centre in the south. It is famous for its textile industry which
is growing in stature with time. The city contributes immensely to the textile wealth of the county. The
textile industry still uses its ancient techniques of weaving. The textile from the region is exported to all
over the world. There is a vast variety offered by Madurai in both the textile material as well as the weaving
techniques. Apart from textiles, there are a number of other small industries that contribute to the arts and
crafts of the city.
CHOSEN ARTS AND CRAFT FORMS:

1.Stone Crafts

2.Wood Crafts

3.Clay Crafts

4.Local Dance Crafts

5.Handloom ( Saree ) Crafts

6.Metal Crafts
• Stone Crafts
The beautiful temples that dot the South Indian state of Tamil Nadu have lent the state the sobriquet of "land
of temples". The glory of Tamil temple architecture reaches its pinnacle in the Meenakshi temple at Madurai.
No of artisans in Stone crafts – 300
• Wood Crafts
Madurai is famous for its rosewood carvings. The style is marked by its bold forms, the details being minutely
and thoroughly worked out. The carvers of Madurai, Tamil Nadu, known as asari-s, claim to be direct descendants of
Vishwakarma, the celestial architect.
No of artisans in Wood crafts – 120
• Clay Crafts
Pottery of Madurai is an ancient craft form, in which the articles clay crafts are painted with a special yellow
material and it is famous for an array of clay works that ranges from large figures of deities to toys.
No of artisans in Clay crafts – 120
• Local Dance Crafts
Koothu is an informal dance structure, the performances generally depict scenes from ancient epics like
Ramayana, Mahabharatha and Tamil other classical epics. There are traditionally no dialogues, only songs instead. Artists
are trained to sing in their own voice and in a high pitch to reach the entire crowd, since no amplification technology is
used. The artists are dressed up with complex heavy costumes and have a very bright elaborated makeup
No of artisans in Dance Arts – 86
• Handloom Crafts
Once famous for their expertise, the handloom weavers of Madurai are now living a life in oblivion. As the
weavers stare at a bleak future, uncertainty is all that’s left of the warp and the weft.
No of artisans in Handloom crafts – 33
• Metalware Crafts
Madurai is famous for its metalcrafts and their interest in metal crafts towards gods.
No of artisans in Metal crafts – 80
 SITE STUDY
• SITE LOCATION
Site is situated at the backside of M.G.R Bus terminus,Madurai.
Site Location : Vandiyur Lake, Madurai.
Latitude and Longitude : 9°54′37″N 78°09′37″E
Site Area : 25 Acres.
• ABOUT VANDIYUR LAKE
Vandiyur lake is situated in Melamadai. Melamadai is the 30th ward of Madurai corporation in
Madurai district of Tamil Nadu. In 2012, Melamadai was included in Madurai Corporation. Vandiyur Lake is
the largest lake with over an area of 511 acres.
A study published in the Asian Waterfowl Census of India – 2007 states that nearly 500 species of
birds including a few endangered species, visit the lake every year.
SITE STUDY

SITE CONDITION
Site is a flat land, flanked
with scarce trees and climbers on
the edges.
SITE CONDITION
Site is located near
Vandiyur lake, on Airport –
Maatuthavani Road. Site is
3.6 kms from Maatuthavani
Bus Terminal ( Dr.M.G.R Bus
Terminal).Site is a flat land
0.8 m below from Road
level. Site is flanked by sand
seggregation, 2.4 above the
road level.
SUN PATH
Latitude = 9.9327,
Longitude = 78.1578
Lat = 9 degrees, 56.0
minutes North
Long = 78 degrees, 9.5
minutes East
Pointing at Sat: = 83.0 East
orbit long.
Dish elevation= 77.0,
Azimuth= 155.3 (magnetic
compass), Polarisation= -
25.7.
Polar mounts only: Main
angle= 10.2, Downward
tilt= 1.5, Motor drive
sideways angle= 5.7.

INFERENCE: Most of the

opening should be facing
South and East to allow
max.light.
CLIMATE AND HUMIDITY
In Madurai, the wet season is oppressive and overcast, the dry season is muggy and partly cloudy, and it is hot
year round. Over the course of the year, the temperature typically varies from 70°F to 98°F and is rarely below 66°F or
above 103°F.
Temperature
The hot season lasts for 2.8 months, from March 18 to June 11, with an average daily high temperature
above 96°F. The hottest day of the year is May 13, with an average high of 98°F and low of 80°F.
The cool season lasts for 2.7 months, from October 31 to January 22, with an average daily high temperature below 87°F.
The coldest day of the year is January 13, with an average low of 70°F and high of 86°F.
Clouds
In Madurai, the average percentage of the sky covered by clouds experiences significant seasonal variation over
the course of the year.
The clearer part of the year in Madurai begins around November 11 and lasts for 5.2 months, ending around April 18.
On February 9, the clearest day of the year, the sky is clear, mostly clear, or partly cloudy 54% of the time,
and overcast or mostly cloudy 46% of the time.
The cloudier part of the year begins around April 18 and lasts for 6.8 months, ending around November 11. On July 17,
the cloudiest day of the year, the sky is overcast or mostly cloudy 94% of the time, and clear, mostly clear, or partly
cloudy 6% of the time.

INFERENCE
Temperature
reaches peak at
April- may.
It is mostly
cloudy in June –
September.
Rainfall
To show variation within the months and not just the monthly totals, we show the rainfall accumulated over a sliding 31-
day period centered around each day of the year. Madurai experiences extreme seasonal variation in monthly rainfall.
The rainy period of the year lasts for 10 months, from March 3 to January 18, with a sliding 31-day rainfall of at least 0.5
inches. The most rain falls during the 31 days centered around October 26, with an average total accumulation of 6.4
inches.
The rainless period of the year lasts for 1.5 months, from January 18 to March 3. The least rain falls around January 28,
with an average total accumulation of 0.4 inches.
Humidity
We base the humidity comfort level on the dew point, as it determines whether perspiration will evaporate from the skin,
thereby cooling the body. Lower dew points feel drier and higher dew points feel more humid. Unlike temperature, which
typically varies significantly between night and day, dew point tends to change more slowly, so while the temperature
may drop at night, a muggy day is typically followed by a muggy night.
Madurai experiences significant seasonal variation in the perceived humidity.
The muggier period of the year lasts for 10 months, from March 12 to January 14, during which time the comfort level
is muggy, oppressive, or miserable at least 75% of the time. The muggiest day of the year is October 24, with muggy
conditions 98% of the time.
The least muggy day of the year is February 14, with muggy conditions 68% of the time.
Wind
This section discusses the wide-area hourly average wind vector (speed and direction) at 10 meters above the ground. The
wind experienced at any given location is highly dependent on local topography and other factors, and instantaneous wind
speed and direction vary more widely than hourly averages.
The average hourly wind speed in Madurai experiences significant seasonal variation over the course of the year.
The windier part of the year lasts for 3.2 months, from May 25 to August 30, with average wind speeds of more than 7.0
miles per hour. The windiest day of the year is June 30, with an average hourly wind speed of 9.0 miles per hour.
The calmer time of year lasts for 8.8 months, from August 30 to May 25. The calmest day of the year is October 11, with an
average hourly wind speed of 5.1 miles per hour.

INFERENCE
Wind is predominantly west, with Windward side of
South West and leeward side of North East. Wind travels at an
average speed of 5.1 miles per hour.
The wind is most often from the east for 3.1 months,
from January 10 to April 13 and for 1.0 weeks,
from October 23 to October 30, with a peak percentage
of 62% on March 4. The wind is most often from
the west for 5.6 months, from May 3 to October 23,
with a peak percentage of 95% on July 7. The wind is
most often from the north for 2.4 months,
from October 30 to January 10, with a peak percentage
of 54% on January 1.
SITE STUDY
 CASE STUDY - 1
SARGAALAYA, IRINGAL – KERALA
Located amid the picturesque village of Iringal, a wonderful world of tradition in the form of
finest handicrafts – this exquisite blend of tradition with culture, Sargaalaya has got it all to bestow a unique
and joyful experience for every visitor. With highly skilled artisans from over 20 traditional villages across
the state of Kerala brought together under one roof, the village builds a platform for their cultural and
financial development. The art and craft products at Sargaalaya are not limited within Kerala however, the
astonishing examples of exceptional skills range from various states across the country. Besides getting
familiar with many works of art that take expression on different materials, visitors can satisfy themselves
off the quality of the finished products. Sargaalaya offers a live display of craftsmanship providing a close
look at every aspect of manufacturing for art and craft enthusiasts and even conducts workshops for people
who desire to learn about it. Sargaalaya is expected to energize the traditional craft sector of Kerala, also to
serve as a single source for visitors to appreciate and learn the traditional crafts and craftsmanship of
Kerala.
 SARGAALAYA
Name Of The Architect : Ar.R.Kramesh
Name Of The Client : Uravungal Handicrafts Corporate Ltd.
Site Area : 20 Acres
Site Location : Iringal, Kerala
Year Of Construction : 2009
Year Of Inauguration : 2011
Daily Timings : 9.00 a.m – 7.00 p.m
People Count : 250 – Weekdays, 390 – Weekends, 700 –
1000 – Festive Seasons( Mostly December)
No Of Car Parking : 12 ( 16 max)
No Of 2 – Wheeler Parking : 29 ( 40 max)
Materials Used For Construction : Laterite Block for 1’ thick wall, P.C Sheets
and Mangalore Tiles for Roofing
No Of Craft Person : 80
Crafts : Terracota Sculptures, Dry Flowers Unit,
Cane Furniture Unit, Palm Fibre Unit, Coir
Unit, Sea Shell Unit, Screwpine Unit,
Natural Fibre Unit, Bag Unit, Cocunut Shell
Jewellery Unit, Cora Grass, Sculptures Unit
Handloom Unit, Metal Engraving Unit,
Mural Painting Units, Wooden Toys and
Temple Sculpture Units
 SECTION A-A’

SECTION B-B’
ENTRY
Site Is approached from Kottakal Road, with 2
paths ,of which one leads to Craft Village and
another one to Guest House.

GATHERING SPACE
All the people gather at the OAT
near Car Parking,which holds
around 300 people.

GALLERY
Craft gallery at the Front acts as
a selling unit for Craft works.
Also it holds the records and
Administrative unit for craft works.
It connects to the workshop space and to craft
units at the backside.
 KEY plan

CRAFT UNITS
Every Craft unit consists of a selling desk, an inside
workshop, an inside treatment unit, and a drying spot.
Mostly the outer space between the craft units are used as
drying or treatment unit to ensure maximum sunlight and
ventilation. There are over 18 crafts units with slightly
different dimensions from one another according to it’s
requirements.
CRAFT UNITS
AREA STATEMENT
Site Area : 43720 Sq.m
Built-up Area : 4765 Sq.m
Circulation @35%
Built-up Area : 1620 Sq.m
Total Area : 6385 Sq.m
Ground Coverage : 15 %
 OPEN SPACES
Boating, OAT,Nursery, Parking, Multifunction
Hall, Gallery, Fish Spa, Cafteria, Rest Room.

SEMI – OPEN SPACES

Workshop Lobby, Craft Units, Storage
and Treatment Unit.

CLOSED SPACES
Artists Room, Guest Houses,
Administration, Water Tank, Services.
 DILLI HAAT
The Dillihaat, is an open aircraft bazaar cum food plazasituated in Delhiand run by Delhi tourism and
transportation development corporation (DTTDC). There are two similar bazaars in Delhi, one is placed
near the All India Institute of Medical Sciences on Sri AurobindoMarg that is opposite to INA Market on Sri
AurbindoMarg and it was established in 1994.The second one that is DilliHaat,is situated in Pitampura
location in North Delhi at the NetajiSubhashPlace and it was establishedin 2008.Dillihaat has mant stall of
food that represent each and every state of India and it offers variety in taste and dishes that are available
throughout India. The craft stall of the haat keep on changing every 15 days. The craftsmenregistered with
D.C.Handicraft are only eligible to place their stalls in DilliHaat. In all 62 stalls for selling handicrafts are
allotted on rotational basis to the craftsmen and they comprisefrom all over the state of India.
There are 3 Dilli Haats in Delhi. They are

1.Dilli Haat – Pitampura 2. Dilli Haat – INA 3. Dilli Haat – Janak Puri.
 DILLI HAAT – PITAMPURA
Name Of The Architect : Ar.Pradeep Sachdeva
Name of the Client : Delhi Tourism & Transportation Development
Corporation
Site Area : 7 Acres
Site Location : New Delhi, India
Year Of Construction : 2005
Year Of Inauguration : 2008
Timings : 10 a.m – 9.00 p.m
People Count : 380 – Weekdays, 750 – Weekends
No Of Car Parking : 250 cars
No of 2 – Wheeler Parking : 410
Materials Used for Construction : Brick with lime plaster, Tensile structures for Roofing
Stone Shingles and Green Roofing.
No of Crafts Person : 108
Crafts : Terracota Sculptures, Dry Flowers Unit,
Cane Furniture Unit, Palm Fibre Unit, Coir
Unit, Sea Shell Unit, Screwpine Unit,
Natural Fibre Unit, Bag Unit, Cocunut Shell
Jewellery Unit, Cora Grass, Sculptures Unit
Handloom Unit, Metal Engraving Unit,
Mural Painting Units, Wooden Toys and
Temple Sculpture Units
 PARKING AND ENTRY

BASEMENT PARKING PLAZA ENTRANCE

SURFACE PARKING
 SITE ENTRY

VEHICULAR ENTRY
PEDESTRIAN ENTRY
 SPECIAL STUDY
1.Thannal – Eco-friendly Buildings
Thannal is a natural building awareness group based in a village in Tiruvannamalai, South
India. We strive and enjoy that effort to create natural building awareness like building our own homes
and experimenting with low embodied energy materials and low tech appropriate technologies. We seek
to bring back the indigenous wisdom of ancient practices in modern approach. Presently we are
concentrating in four sections.
Learning natural buildings is a gradual process, to be consumed and assimilated slowly. More
than learning the technicalities, it is about being in sync with the materials, to connect with nature. They
believe that to feel and experience this, is the true learning.
At Thannal They are constantly in the process of experimenting, studying, documenting and exploring the
possibilities of natural materials along with practicing techniques of natural building, both old and new.
For hands on introduction to the possibilities of building sustainably, Thannal conducts workshops for
anyone and everyone who can recognise the value of earth that lies beneath us.
 SPECIAL STUDY

Erikarai Cob home under Arunachala

Tiruvannamalai, Tamil Nadu – Our Works – series 2
A conventional building involves an architect, builder, workers, and owner in their specific roles. What happens,
when these lines are blurred and everyone comes together to work in cohesion? One such interesting concept for a natural
building process at Thannal was to engage and empower learners to build a cob hut. This cob hut at Yerikarai studio
in Anandavanam, Tiruvannamalai was implemented entirely relying on volunteers, conceptualized and guided by Natural
builder Biju Bhaskar, and assisted by local master bamboo craftsmen Swami Anna, Kashi Anna.
With a simple material palette of just lime, mud, terracotta and bamboo, a comfortable space can be created. The
foundation is made of stone and lime while the walls are made of cob. All windows and doors used here are repurposed. The
flooring is made of the cool terracotta tiles, complimenting the earthy shades of the hut. The roof structure is bamboo covered
with coconut thatch, with a steep slope for a comfortable loft headroom. Storage spaces come in the form of niches, clay pots
embellished with broken tiles, and shelves inbuilt in the walls. The total expense of this project is just under Rs 85,000 .
Proper land drainage to channel off excess water.Placing your building in the highest point on-site.A leak proof roof.Minimum 3
to 4 feet high, stone foundation.Proper stabilisation in walls using lime and admixtures.Proper drainage around the building to
avoid standing water and direct the water away from the structure or French drains to remove water in-case it goes into
foundation.Plinth protection with water proof plasters.Plinth Beam with Lime to avoid water seepage into walls from
foundation.Recycled rubber tyre sheet before base layer of flooring to avoid water coming through foundation directly into the
rooms.
 SPECIAL STUDY
Laurie Baker’s Manual Of Cost Cuts For Strong Acceptable Housing
In Kerala during the 1960s and subsequently, Baker developed and applied an approach to architecture derived
from an intimate understanding of the local climate, available building materials and craft skills, as well as from
the detailed attention he paid to the specific needs of his individual, often relatively poor, clients. He applied
this approach to designing many hundreds of homes, hospitals, schools, and religious and government
buildings, and in the process created an elegant, simple and essentially Indian architecture for the late 20th
century, one in stark contrast to the western-influenced, resource-intensive architecture of the time.
To build cheaply, he ruthlessly pruned all non-local materials. Thus cement plasters were eliminated, while flat
concrete slab roofs, window glass and bars were replaced by inventive uses of local bricks, clay tiles, timber
and lime. Window openings were replaced by patterns of small openings (brick jali) in the brickwork, providing
adequate light, ventilation and security.
 PATRICK GEDDES’S PHILOSOPHIES AND OUTLOOK TOWER
The central Geddesian lessons — his emphasis of the fundamental unity and
interdependence of culture and nature, and his emphasis on transdisciplinary education and locally adapted
direct action as a means of cultural transformation — are of profound contemporary significance. For Geddes
the role of the designer was two-fold: i) to contribute to the material adaptation of people and their livelihood
to the specific opportunities and challenges of the places they inhabit, and ii), to affect in the transformation
of culture through education.
“Ecological Planning is that approach whereby a region is understood as a biophysical and
social process comprehensible through the operation of laws and time. This can be reinterpreted as having
explicit opportunities and constraints for any particular human use. A survey will reveal the most fit locations
and processes. Ecological design follows planning and introduces the subject of form. There should be an
intrinsically suitable location, processes with appropriate materials, and forms. Design requires an informed
designer with a visual imagination, as well as graphic and creative skills. It selects for creative fitting revealed
in intrinsic and expressive form.”
As described in Cities in Evolution, Patrick Geddes’
Outlook Tower embodies an approach to urban
planning that maintains currency in planning and
design discourse today. Geddes' tower arranged the
history of the city into a vertical array of exhibition
spaces while offering a broadened perspective of the
city's condition amidst the lateral spread of the
region. In this interdisciplinary project, we speculate
as to how the planning and design community might
draw inspiration from Geddes' work to devise an
Outlook for our own times, one that helps people
appreciate the interrelated and rapidly evolving
dynamics of climate change and urbanization and
motivates them to work collaboratively toward
positive future outcomes.
 LITERATURE STUDY
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

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.
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.

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
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
 WORKSPACE – DESIGN LAYOUT

WOOD CARVING METAL CARVING STONE CARVING

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.
CLAY CARVING
 DCR AND CRZ FOR MADURAI

Planning Parameters of Institutional

Buildings.
Including nursery schools, Primary schools and
religious buildings with floor area exceeding 300 sq.m. Secondary
schools, Colleges, Higher Educational, Technical & Research
Institutions, Students hostels & Dormitories, Research
Institutions, Broadcasting, Telecasting & Telecommunication
centers, Government & Quasi Government Offices, and
Institutions, Government Archives, Museums, Art galleries and
Public libraries, Foreign Missions, Consulates and Embassies.

Note:
(i) In Continuous Building Area (CBA), there shall be atleast
1m wide internal passage from rear to front in ground
level or ground floor, directly accessible to road.
(ii) (ii) In the case of schools, the development shall confirm
to the additional safety standards stated in the Annexure -
XV.
(iii) (iii) The maximum height of the building shall not exceed
18.30 metres provided water tanks, chimneys,
Architectural features such as flag masts, gopurams,
minarets, steeples and other ornamental structures which
are not intended for human habitation may be permitted Coastal Regulation zone
subject to a ceiling of 30.5 metres from ground level. (iv)
The Site Comes Under CRZ -
In cases of Hospital Buildings with Ground Floor/Stilt Floor
+ First Floor and above and floor area exceeding 300 sq.m.
in each floor, the special provisions for Hospital Buildings
prescribed in Annexure – IX shall be adhered to.