UNIVERSITY OF MYSORE

SCHOOL OF PLANNING AND ARCHITECTURE

Manasagangotri, Mysuru – 570006

“FOLK ART AND CULTURAL CENTRE”

Performing arts centre for Karnataka’s folk art

Architectural Design thesis report in partial fulfilment for the award of the Degree of
Bachelor of Architecture

Submitted By
NAINIKA GUPTA
REG NO: 2017AR26
IX Semester (2017-2022)

Guide

Ar. Yashaswini. S.
Assistant Professor

March – 2022

1
 UNIVERSITY OF MYSORE
SCHOOL OF PLANNING AND ARCHITECTURE
Manasagangotri, Mysuru – 570006

“FOLK ART AND CULTURAL CENTRE”

Performing arts centre for Karnataka’s folk art

Architectural Design thesis report in partial fulfilment for the award of the Degree of
Bachelor of Architecture

Submitted By
NAINIKA GUPTA
REG NO: 2017AR26
IX Semester (2017-2022)

Guide

Ar. Yashaswini. S.
Assistant Professor

March – 2022

2
 UNIVERSITY OF MYSORE
SCHOOL OF PLANNING AND ARCHITECTURE
Manasagangotri, Mysuru – 570006

BONAFIDE CERTIFICATE

This is to certify that this project report “FOLK ART AND CULTURAL CENTER
(OF KARNATAKA)” is the bonafide work of “NAINIKA GUPTA” with Register
No.2017AR26 who carried out the project work under our supervision.

Prof. Dr. Shankar B Prof. Pramod M Gawari

Director Head of the Department

Asst Prof. Yashaswini S Asst Prof.

Thesis Guide Thesis Coordinator

Internal Examiner: External Examiners:

Examiner Examiner 1

Date: Examiner 2
3
 DECLARATION

I, NAINIKA GUPTA with Register No. 2017AR26, is a bonafide student of School

of Planning and Architecture hereby declare that this thesis report entitled “FOLK

ART AND CULTURAL CENTER (KARNATAKA)”, is a bonafide work carried

out by me for the award of Bachelor of Architecture Degree of School of Planning

and Architecture, The University of Mysore, Mysore under the guidance of

Ar.Yashashwini S. This report (partially or in full) is my original work and has not

formed the basis or submitted to any other University or Institution for the award of

any other degree or diploma. The references from various sources are duly

acknowledged.

Date:

Place: (Signature of candidate)

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 ACKNOWLEDGEMENT

It is with great pride that I hereby present my Bachelor of Architecture Thesis. During
this process, I have gained a lot of knowledge and it has been beneficial to my overall
development in furthering studies and future career.

My deepest acknowledgement is to my college, School of Planning and Architecture,

Mysore. I hope they recognize their influence and contribution and accept my
gratitude. Foremost, I would like to express my sincere and absolute gratitude to my
Thesis guide Ar. Yashaswini S for her kind words, guidance, encouragement, and
persistent support in my undertaking of this Thesis.

I would also like to thank our director Prof. Dr. Shankar B and HOD Prof. Pramod
M Gawari for all the Coordination, support and help.

Finally and most importantly, I would like to extend my deepest gratitude to my

parents, and friends for their constant moral support and also the Almighty God, for
his Grace on me.

Candidate’s Name: Nainika Gupta

Date:

Place: (Signature of candidate)

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 TABLE OF CONTENTS

BONAFIDE CERTIFICATE............................................................................................................. 3

DECLARATION ................................................................................................................................. 4

ACKNOWLEDGEMENT ................................................................................................................... 5

CHAPTER 1: INTRODUCTION....................................................................................................... 9

1.1 Abstract ........................................................................................................................................ 10

1.2 Introduction ................................................................................................................................. 10

1.3 Aim .............................................................................................................................................. 11

1.4 Objective...................................................................................................................................... 11

1.5 Need To Study ............................................................................................................................. 11

1.6 Scope And Limitations ................................................................................................................ 12

1.7 Methedology ................................................................................................................................ 12

1.8 Outcome ...................................................................................................................................... 13

CHAPTER 2: LITERATURE STUDY ............................................................................................ 14

2.1 Proposition & Phenomenon ......................................................................................................... 15

2.2 Project .......................................................................................................................................... 16

2.3 What Is Folk Art? ........................................................................................................................ 16

2.4 Folk Art Of Karnataka ................................................................................................................. 17

2.5 Evolution Of Folk Art In Karnataka – The Ever Changing Faces .............................................. 18

2.6 Folk Art In The Present Day........................................................................................................ 19

Early Spaces Of Performing Folk Arts .............................................................................................. 20

2.7 Role Of Culture And Tradition In Folk Art ................................................................................. 20

2.8 Feasibility Of Having A Folk Art And Cultural Centre In Heggodu .......................................... 21
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3.0 Performing Arts– Ways Of Folklore ........................................................................................... 23

3.1 Visual Arts ................................................................................................................................... 24

Wood And Stone Carving ................................................................................................................. 24

3.2 The Folk Art Forms Of Dakshina Karnataka And Malenadu ..................................................... 26

3.3 Folk Theatre In The Villages: ...................................................................................................... 35

3.4 Folk Art Literature: ...................................................................................................................... 35

3.5 The Art Of Storytelling ............................................................................................................... 35

3.7 Vernacular Architecture Of Dakshina Karnataka And Malnad................................................... 36

3.7.1 Features Of Vernacular Architecture ........................................................................................ 36

3.9 Design Guidelines For Art And Cultural Centre ......................................................................... 39

4.0 STANDARDS AND NORMS ..................................................................................................... 42

4.1 Library ......................................................................................................................................... 43

4.0.2 Museum And Gallery ............................................................................................................... 45

4.0.3 Cafeteria.................................................................................................................................... 47

4.0.4 Admin Area .............................................................................................................................. 48

4.0.5 Auditorium And Theatre .......................................................................................................... 49

4.0.6 Parking ...................................................................................................................................... 53

4.0.7 Toilets ....................................................................................................................................... 56

CHAPTER 3: LIVE CASE STUDY ................................................................................................. 58

4.1 Mgm Yakshagana Kendra ........................................................................................................... 59

4.2 Janapada Loka ............................................................................................................................. 68

4.3 Dakshinchithra ............................................................................................................................. 82

CHAPTER 3: LITERATURE CASE STUDY ............................................................................... 100

4.4 Bharath Bhavan ......................................................................................................................... 101

4.5 Kala Mandalam.......................................................................................................................... 108

CHAPTER 4: INTRODUCTION TO SITE .................................................................................. 113

4.7 Site Study And Analysis ............................................................................................................ 114

4.8 Building Program Performing Art Centre ................................................................................ 126

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5.0 Zoning........................................................................................................................................ 127

5.1 Masterplan ................................................................................................................................. 128

Bibliography: ................................................................................................................................... 129

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CHAPTER 1: INTRODUCTION

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1.1 ABSTRACT

Karnataka is a state which is rich in culture and art. Folk art is a huge part of its culture, region and
tradition, it is also the way of living along with the occupations for local traditional communities.
Folk art reflects the cultural life of a community. These artistic traditions are shaped by values and
standards that are passed from generation to generation, most often within family and community,
through demonstration, conversation, and practice, since ages.
With the changing society, the traditional art and culture is diminishing over time and so are the
practices and knowledge of these. This study aims to understand these dying traditional art forms and
conserve them through institutional and performing spaces. The method which will be used is study
of the spaces which are essential to the art forms around Malnad and Dakshina Karnataka region,
along with user groups catering to these and creating a centre which is a congregational point for both
local communities and artists around this region.

1.2 INTRODUCTION

A folk art and cultural centre is an organisation, a building or a complex which promotes culture
and folk art, both tangible and intangible. As the times change, the practises of communities and
traditions which have been passed through generations are lost with the growing society.
Urbanisation has caused people to move from smaller regions to the cities and the age old practises
and art is losing its importance along with the remaining communities which practise it.
Culture and art play important roles in any community and is the life of the region, reflecting the
history and tradition. Art forms are the best expression for cultural identity of communities. It is one
of the aspects of creativity that a community has in store, originating individually or in groups.
Heggodu is a village located in the Sagar Taluk of Karnataka. It is a very important cultural and
educational hub in South India, because of the organizations at this place, along with the various
tourist destinations nearby. This village has an identity as a place which is culturally active,
promotes art and brings awareness and also educates people through established institutions with
both community participation and congregation of intellectuals and artists.

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 1.3 AIM

 Providing a platform to promote performing folk arts to be a part of community living in an exemplary
manner to the global audience.

1.4 OBJECTIVE

 To design a centre which congregates all the art forms, tangible and intangible in one place with all
the necessary facilities to develop them.
 To provide training and educating institutional facilities in both performing and visual folk arts forms.
 To design spaces which can host performances to the floating tourist population and also the local
community.
 To identify the spatial needs of traditional folk art and design spaces where people can engage
themselves with the art form and artisans.
 To make the centre functional throughout the year through active community participation with
different activities and workshops.

1.5 NEED TO STUDY

 In the present day, culturally rich regions like Malnad and Dakshina Karnataka have people moving
to the cities from smaller places, the communities practising folk art as part of their lives are growing
less in number.
 Though this change is seen evidently, the art is still prevailing among people, almost every household
has its members performing art or interested in it, with no approachable platform.
 Art also being a means of living, has disconnected small scale home schools which is spread-out
throughout the region.
 Tourist and local people who visit the place are not aware of the traditional art and culture of the
people.
 The centre would bring awareness, information and history about the art forms along with attracting
tourists and increasing local economy.

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 The community living in the place would improve along with the centre creating an identity for all
artisans in the state.

1.6 SCOPE AND LIMITATIONS

 The project will help in preserving the folk art and culture of the communities.
 The project will be the combination of art, and traditional architecture of the region.
 The centre would increase the identity of the place along with the famous institutions already in place.
 The project would help in promoting mutual understanding between people of the local community
with the traditional art forms and their culture.
 The project would not only promote the culture and educate people in art forms but also help in giving
globalised awareness about them.
 The centre would cater to only the folk art forms of Malnad and Dakshina Karnataka region.
 To develop facilities and amenities at the centre, in the most functional and aesthetic way, such that
the artists and the community can interact effectively.
 The main functions of the centre would be: training and performing spaces, seminars and workshops,
organisation of festivals and exhibitions.

1.7 METHEDOLOGY

 Research work: Study about the topic, importance and need of the project, collection of data,
formulation of aim, objective, scopes and limitations.
 To visit folk art practising communities and artists and understanding the way of living and the
requirements for the art along with mythology, stories and history relating to it.
 Design parameter analysis.
 Framing requirements through: Literature studies, Articles, Case studies.
 Site analysis and understanding the context and the impacts the design proposal could have.
 Analysis and conclusions based on the observations made during the research, thus evolving a concept
and further structuring the design.
 Designing and planning stage: design demonstration and conceptualisation, understanding layout of
spaces.
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1.8 OUTCOME

The outcome of the project is to create a platform for folk artists of Malnad and Dakshina Karnataka
to practice, promote and have active local community participation in it, to create an identity and
spread awareness with increasing the economy by their traditional practises throughout the state.
Creation of a space which involves growth of local community culturally along with the centre
through various activities.

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CHAPTER 2: LITERATURE STUDY

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2.1 PROPOSITION & PHENOMENON

Folk art and the culture has been a major part in the day to day life of people of traditional living. The
protection and preservation of it, along with the growth of knowledge regarding it is the present need,
with tourism and community participation being the major catalyst. The folk art and culture of
authentic villages today is diminishing with time as urbanisation grows, as people look for new means
of income, recreation and entertainment. Thus there is a growing need of cultural institutions to cater
to the traditional arts and culture. Heggodu is one such village which is rich with culture and arts,
residing in the Malnad region of Karnataka, in the Shimoga district, which was formed around the 3rd
century to which about 160,000 people visit annually. The village has been recognised to be a hub of
arts and culture located in the forested region of west Karnataka. Cultural institutions and drama
schools such as Ninasam hold annual festivals and workshops attracting number of tourists and art
intellects throughout the country. With just a stroll through Heggodu’s streets, you can hear
conversation about theatre and references to the world’s playwrights from the mouths of shopkeepers,
farmers, students, and almost every other local of the village. It is also located in a region which is
close to many tourist destinations. It has been recognised as a place which is involved in promoting
art, literature and culture.
Currently, the institutions in the village such as Ninasam and Akshara Prakashana, are institutions
focussing on training in theatre and expression of literature, though these also promote folk arts, there
is no institution which is dedicated to the regional art and culture, highlighting the need for an
institution that provides spaces for appreciation, training and experiencing the art and culture to both
tourists and the local community. Moreover, annual programmes such as Saahitya sammelana, and
small events are kept among the traditional communities to keep the art alive and going. There is a
lack of ownership for these art and the artists among the local populace, and result of urbanisation
which is leading to gradual decay and loss of awareness which gives the institution the responsibility
to connect the general public, community to its long lost roots and its culture.
At the same time, institutions which are present are becoming static in nature as they work on funding,
and are mostly active annually during festivals, and workshops. Hence, they are unable to support
themselves financially from just these methods. Incorporating an institution within the cultural
framework by providing self-generating assets would provide income to the community and also be
able to function independently with local growth, having common resources. Creating opportunities
for living, working and entertainment in the same place can facilitate micro-level tourism, allowing
each function to support and strengthen the efficiency of the institution.

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 Creating a centre for the promotion, preservation
and dissemination of knowledge regarding the
folk art and culture of Dakshina Karnataka and
Malnad region of Karnataka.

Incorporating functions that reinforces the centre as

a resource for growth of local economy, tourism
and community identity.

Tying all the functions together through engaging

and lively community space, public realm with
spaces drawing from the traditional architecture of
Dakshina Karnataka and Malnad

2.2 PROJECT

The project is a Folk art and cultural centre proposed in Heggodu, located close to the proximity of
cultural institutions present. It is proposed to have the following components in the centre:
 Performing arts centre focussed on creating a space for local performing folk art forms training spaces
with the instruments facilitating the art.
 Learning centre with a full-fledged library, workshop and studio spaces for folk theatre, and literature
along with accommodation for artists and students.
 Museum and exhibition spaces to display the traditional folk heritage along with visual folk art
gallery.
 Local community centre, with working spaces and retail focussed on the famous sandalwood carving,
sculpture, hand block printing and weaving found in this region.

2.3 WHAT IS FOLK ART?

The term folk includes all those persons, living within a given area, who are conscious of a
common cultural heritage, and have some constant traits e.g. occupation, language and religion.
The behavioural knowledge is based on oral tradition and not on written scriptures. The group
should have a sense of identity and belongingness regardless of its numerical strength. The way of
life of the group of people is more traditional, more natural, less systematic and less specialised in

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 comparison to the so called civilized people.(Folk Arts and Social Communication - Durgadas
Mukhyopadhyay, n.d.)
The traditional decorative or utilitarian art of the people that is often an expression of community
life and is distinguished from academic or self-conscious expression.
Folk art covers all forms of visual art made in the context of folk culture. Definitions vary, but
generally the objects have practical utility of some kind, rather than being exclusively decorative. The
makers of folk art are typically trained within a popular tradition, rather than in the fine art tradition
of the culture.
Folk arts reflect the cultural life of a community. The art form encompasses the expressive culture
associated with the fields of folklore and cultural heritage.
Categorisation of the arts into:
 Tangible
 Intangible

Tangible Folk arts: Tangible folk art can include objects which historically are crafted and used within
a traditional community. Such as objects used and made for performances by the folklore which has
an important significance in the act, or even costumes and traditional props including musical
instruments that have a historical background associated with the art.

Intangible Folk arts: Intangible folk arts can include such forms as music, dance and narrative
structures. These include oral traditional narratives of epics, scriptures, and local events which are
passed on from generation to generation. And also the steps and versus of each folk art form which
developed over centuries.
Each of these art forms, both tangible and intangible, typically were developed to address a practical
purpose. Once the purpose has been lost or forgotten, there usually is no reason for further
transmission unless the object or action has been imbued with meaning beyond its initial practicality.
These artistic traditions are shaped by values and standards that are passed from generation to
generation, most often within family and community, through demonstration, conversation, and
practice.
Folk artists meld process and form, life experience and story, often with a whimsical sense of irony.
These artists cross racial, gender, religious, ethnic, political, and class boundaries, and they defy what
it means to grow old.(i roeer Cmtl e, 2017)

2.4 FOLK ART OF KARNATAKA

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The culture of Karnataka revolves around its dance, music folk art, drama, puppetry and literature.
Karnataka is a treasure house of ritualistic dances or Kunita. It has different folk art forms based on
the lifestyle of people of different regions. The folk art form of Karnataka dates back to centuries.
Major regions which have these folk arts are, Mysore, North Karnataka, Dakshina Karnataka and
Kodagu. Mysore having a history of various empires ruling it, has distinctive arts such as the
Mysore painting and kunita like Somana kunita, Suggi kunita, Kamsale etc. North Karnataka region
being influenced by Maharashtra has art forms like the Lavani, Jaggahalige kunita, and Karadi
Majalu etc. Kodagu- the Kodavas are a unique group who differ in customs, traditions and religion
from the surrounding populace, and have an annual harvest dance. The men, dressed in traditional
Kodavas costumes with decorative knives, perform this slow dance to background music. The
dance has different varieties: like bolak-aat, Ummatt-aat, and Komb-aat.

Dakshina Karnataka and Malenadu region is known to be a cultural hub and has native communities
still practising folk arts. Yakshagana and Bhoota Aaradhane are the main folk art practice that can be
seen in this region. The surroundings and natural elements like the vegetation, topography, climate
has a major role to play in the lifestyle of people thus influencing the art of this region.

Figure 1 Veeragaase kunita

2.5 EVOLUTION OF FOLK ART IN KARNATAKA – THE EVER CHANGING FACES

Folk art is the art which is associated with the way of living and thus it has evolved since centuries
with the evolution of traditions, religions and social conditions of people. Most of the folk arts in
Karnataka have a religious origin. They evolved as part of the cosmic communication with the Gods.
This dates back to the ancient scriptures and epics from where the creation of folk art started through
oral communication.

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The first instances of folk art emerged as narrations of everyday events, celebrations, occasions and
ritualistic practices of primitive communities that had formed by settling in a place after a nomadic
way of living and the influences of caste system. Karnataka has been ruled by many kingdoms like
the Vijaynagara Empire, Hoysalas, Chalukyas; the living of people along with the folk art styles have
been influenced by this too.
Although the folk art tradition takes sects from the mythological epics of Mahabharata and Ramayana,
the Bhakti movement was when folk arts evolved to a larger extent through the 11th century and it
also started including versus, Vachanas, paddhyas from poets and religious figures. Folk art and its
traditional practices have been changing from its religious context, social life to also providing and
voicing out social issues. Folk art has been a medium of communication of moral teaching and with
post-independence era, it has gradually changed from oral narratives to a documented format with
technology. In this process, the folk art forms in Karnataka are dynamic, responsive, potent, and
always contemporaneous and an integral part of the process of living of the people.

2.6 FOLK ART IN THE PRESENT DAY

The folk art is changing its structure continuously over centuries, modifying itself to the needs of the
changing situations, making it functionally relevant to the society today. Folk art prevails among
native people, who reside mainly in rural sectors. The rural, tribal and arts of the nomads constitute
the matrix of folk expression. The rural society is a complex social system with different castes,
classes, creeds and tribes. Majority of the population lies in rural areas which have primitive societies.
Folk art and tradition are part of the community’s values that have been passed from generation to
generation among themselves and families who practice it. Being connected with religious notions,
some folk art traditions are also considered as a part of rituals. The folk traditions have adopted the
characteristics of technological advanced cultures of the elite tradition like the improved plough,
bicycles, radios, torches, television, etc., which are extensively used in folk societies. Although with
the changing technology through the years the art forms have been using the platforms for
documentation and demonstration through media, it still lacks in providing awareness and exposure
to people.
With urbanisation, and the emergence of information technology, people are moving from the rural
to the urban in search for a better living, thus the traditions and folk practices that were being passed
done from generation to generation were being discontinued with decreasing numbers to pass it down
to. Agriculture and the authentic way of life of people was disrupted with the change in social ways
causing folk art and traditions to remain existing in fragments of rural areas. Folk art became more
of a performing and showcasing aspect to local audiences and tourists than a means of living
currently.
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 Early spaces of performing folk arts

Folk being the way of life among communities, started out in spaces with religious affinity, to god
and festivities, such as front of temples, or ritual paths as it is associated with traditions, hence
performing a Pooja or offering respects to the deity before any performance can be seem through the
studies . Performances were also held at common points, gathering spaces, socializing zones which
bought audiences together or people in attention. Open fields and shaded areas under trees where
people socialize was often used as areas where stages would be laid out for performances, which take
place throughout the night. Folk theatre is timed with occasions, harvest seasons, local events and
stories of the people, which is evolving as social conditions change.

Figure 2 Preparation for an outdoor performance - Bayalaata

While most tribes and traditional folk artist communities are assimilated into the familiar kind of
civilised life, they still continue to practice their art. Unfortunately though, market and economic
forces have ensured that the numbers of these artists are dwindling. A lot of effort is being made by
various NGOs and the Government of India to preserve and protect these arts and to promote them.

2.7 ROLE OF CULTURE AND TRADITION IN FOLK ART

Culture is the characteristics and knowledge of a particular group of people, encompassing language,
religion, cuisine, social habits, music and arts. Each region has a specific culture of native inhabitants.
Culture is:
 Learnt through active teaching and passive habitus.
 Shared meaning it defines a group and meets common needs.

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 Patterned meaning that there is a recourse of similar ideas. Related cultural beliefs and practices
show up repeatedly in different areas of social life of people.
 Adoptive which helps individuals meet across variable environments.

The southern state of Karnataka has distinct art and culture informed by a long history of diverse
linguistic and religious ethnicity. Tradition is not only a repetitive behavioural pattern or some
persistent symbol or motif in community culture; it is also an assertion of an identity, a revival and
regeneration of the life-force of the community. The traditional performing art is an aesthetic
component of the constant concept of belongingness and affinity in a cultural context. In the culture
of societies, art is an integral part of the general life of the people.
Tradition is a huge part of culture in every society. Tradition is the cumulative heritage of society
which permeates through all levels of social organization e.g. the value system, social structure and
the structure of personality. The tradition which is the cumulative social heritage in the form of habits,
customs, attitudes and ways of life, is transmitted from generation to generation, either through
written words or words of mouth. The tradition transmitted through the word of mouth is called oral
tradition. (Folk Arts and Social Communication - Durgadas Mukhyopadhyay, n.d.)

Communities: Dakshina Karnataka is the home to many groups of people who have their own
distinctive culture such as the Tuluva, Deewaru community, Brahmins, Koragas, Holeyas, Devadigas
etc. Folk arts reflect the constancy of belongingness and affinity in a cultural context of communities.

2.8 FEASIBILITY OF HAVING A FOLK ART AND CULTURAL CENTRE IN HEGGODU

Heggodu is a village located in the Sagar Taluk of Karnataka. It is a very important cultural and
educational hub in South India, because of the organizations at this place.
Institutes which educate and promote art and culture along with community participation, Ninasam,
is a world famous drama institute cum organisation dedicated to the growth of art and culture.
NINASAM was founded in 1949 by Kuntagodu Vibhuthi Subbanna, an acclaimed dramatist and
writer in Kannada, which focuses on theatre and literature and has a floating intellectual population
every year with its programs and workshops.
Akshara Prakashana, a Kannada publishing house. It thrives to reduce the barrier between artists and
literature by publication of many books and translations of stage-play at affordable price. The
presence of Akshara Prakashana in Heggodu has further established Heggodu’s identity as a culturally
vibrant place. It is now an organisation which is widely known.

21
Charaka, an institution which focus on design and promotion of sustainable wear along with
improvement of economical state of women and workers.
Tourist visiting places near Heggodu which is about 350kms from the metropolitan city of Bangalore-
Sagara a small town located in the Western Ghats famous, Keladi a temple town which is famous
for its Rameshwara temple, Museums containing manuscripts and artefacts from Keladi dynasty rule,
Ikkeri known for its temple complex and Aghoreshwara temple, Jog Falls the second highest falls
of India, Sigandoor and Sringeri known for their temples, Varadhalli known for its Ashram,
Honnemardu known for its water sports, etc.
Every year there is a floating tourist population around this place and thus a folk and cultural centre
could cater to these audience to spread awareness about the art forms along with increasing local
economy.
From literary debates between local residents and shopkeepers to lively dialogue exchanges between
farmers as they work in the fields, everyone in Heggodu has made literature and theatre a part of their
lives. Heggodu acts as a congregational place for all intellectuals, and people interested and also
involved in all forms of art including folk art. All the nearby villages and towns have communities
which perform the arts at different scales.

Figure 3 Ninasam

2.9 HOW DOES FOLK ART INFLUENCE COMMUNITY LIVING?

Traditionally, arts have functioned as indispensable parts of humans’ lives. Folk Arts were considered
as one virtue of a good person which stood for a wealth of cultural, intellectual, and aesthetic value
since older times, and almost each household had members which were into art or interested in the
specific art form.
Influence on individuals: Various factions within the arts, such as public art, murals, festivals and
fairs, museums, and performances provide people a chance to enjoy themselves and participate in the
arts. A desire for an escape from one’s daily routine is fulfilled through arts experiences, while having
fun, feeling free, and taking a rest. However, adding to hedonic pleasure or aesthetic appreciation,

22
folk arts and cultural activities provide further benefits to participants in the way of self-expression,
learning new skills, or even promoting their health and well-being. Daily instances and way of living
in communities is also taken into consideration in the process of artistic creation and evolution.
Providing arts spaces and introducing the process of creating arts promote health in the following
ways: by bringing people together, promoting positive feelings, and building artistic skill and
confidence. Arts and cultural participation is a way to increase social identity in a community by
fostering a feeling of belonging and a connection to a particular culture or group among community
members. Many works of art and art programs in areas of social deprivation help regions become
revitalized, while gathering community members’ collective abilities to address social problems and
increase their community resilience.
Economical influence on the community by generating employment, training of new skills, increasing
audiences for art performances and displays, attract further community resource. Also, local historical
sites reflect the characteristics of the community. When it comes to arts and culture as amenities,
these cultural entities attract visitors and tourists. In this sense, arts and culture can represent a local
community’s character and image, bringing recognition and awareness along with identity.(Sung,
2012)

How all the factors of folk art would influence and work:

Figure 4 "How art works" illustrated by Iyengar et al. (2012,p. 17)

3.0 PERFORMING ARTS– WAYS OF FOLKLORE

Music in primitive days marked their beginning with natural language and sound. Music and dance
was considered a means for communicating the feelings and emotions. Thus, the natural way of
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expressing the music gave rise to folklore which imitated the daily activities through songs sung
naturally in native language without support of any specific instruments, and dancing became part
celebrations and dramas. People who practised folk music and dance interacted with the nature so
much, that they consider nature as integral part of their lives. Music and dance has the strong tendency
to bind folk in some common action and experience. It can be found in the most diverse contexts. The
occasions on which music and dance are performed are varied such as marriages, funerals, rituals,
initiations, festivals, and other social functions.
As the folk is a small society of people with common interests, follow common rituals in functions,
possess common mind set. These people have distinctive characteristics maintaining a special order
of life and beliefs, identified with rituals, worship, food habits, and way of living, traditional arts and
crafts. Thus, the folk songs are scripted by group instantaneously. (Bharathi and Mamatha, 2020)
Folk dances are also ritualistic and have evolved, traditional dancing and ways are associated with
religious significance and some dances are linked with the folk music, traditional instruments which
are equally involved in the performance. Performing arts are often performed in specific places, when
these spaces are linked to performance, they are considered to be cultural spaces by the Convention.
(UNESCO, n.d.)

3.1 VISUAL ARTS

Visual arts is a broad category ranging from, painting, sculpture, ceramics, video film making, crafts
etc. Apart from being methods of expression or storytelling, it gives insights to the particular time
period in history, events in history and into a community and its culture. It is personal in nature,
meaning that it may narrate stories which may have escaped or been removed from official historical
narratives. The styles employed in creating the art form, may also indicate regional and international
influences, thus painting a large narrative than that encompassed in the art work itself. Sculpture,
wood carving by the Gudigars and hand block printing and weaving introduced by the institution of
Charaka are famous around the region of Heggodu.

Wood and stone carving

The art of woodcarving, prevails in the Shimoga district due to the family of Gudigars. The first
sawmill was started at Kannigeri in 1845 near Yellapur. The availability of raw material and
favourable atmosphere helped the craft to flourish in the region, with the Gudigars excelling in the
art of wood craftsmanship. The Gudigar families migrated to Shimoga and Canara coast from Goa,
after the Portuguese invasion, and were employed by the kings of Kannada dynasties. Keladi rulers

24
in Shimoga, particularly Keladi Dodda Sankanna Nayaka, promoted this art and encouraged artisans
to excel.
Sandalwood carving is predominantly famous in Sagara taluk and Sirsi, which happens to be couple
of kilometres away from Heggodu. To preserve and promote this tradition, Karnataka State
Handicrafts Development Corporation (KSHDC) started a two-year certificate course in stone and
wood carving art in 2011. In spite of the support, the art is still struggling in today’s time due to
urbanisation and availability of talent. (Neelesara, 2018)

Figure 5 Sandalwood carving

Figure 6 Stone carving- idols

25
Weaving and hand block printing
The organisation of Charaka aimed to facilitate about 120 weavers from Shimoga district and
provide them better means of living my employing about 700 people, which sold its products
through different global outlets, this caused smaller such institutions to open up other than Charaka
involving in the same work. An annual income used to be generated with the number of people
coming over to Heggodu to involve in the programs of Ninasam. The functioning of this institution
is at a halt due to lack of funding. The folk art and cultural centre would provide working space for
these smaller groups of people to promote their business, which needs support along with local
economy working in hand with the centre, thus this would also make the centre active with the local
community involvement.

Figure 7 Hand block printing

3.2 THE FOLK ART FORMS OF DAKSHINA KARNATAKA AND MALENADU

The diverse communities of Dakshina Karnataka and Malenadu have their own performing art
traditions and ritualistic forms, most of which are tied strongly to religious roots. Hinduism has the
greatest number of performing art traditions to its credit that lie at the intersection of music, dance
and theatre. Various number of art forms which are regional and linguistic, and also with history and
mythology being important parts of functioning of these art forms. The community living and lifestyle
also plays a role in the participation and tradition of folk art. Study of the art forms helps in
26
 understanding the historical background, community, and traditional practice, music, instruments
involved, religious significance with gods and rituals which would assist in creating traditional spaces
and stage designs used for performances.
Folk Art can be categorised into:
 Performing Art forms (including the traditional instruments required for the performances)
 Visual Art forms
 Literature

PERFORMIN
G ART
FORMS
S Name Description
l
.
N
o
1 Yakshagana  The earliest extant Yakshagana play,
in the form of a palm-leaf manuscript,
dates back to 1564.
 Presentations of Yakshagana are either
as Tala Maddala, performed indoors
without costumes, make-up, or dance;
or as Bayalata, the fully costumed and
acted performance in the outdoor
arena.
 A typical Yakshagana performance
consists of background music played
by a group of musicians (known as

Figure 8
the himmela); and a dance and
Yakshagana dialogue group (known as
Prasanga
the mummela), who together
enact poetic epics on stage. The
himmela is made up of a lead singer
(bhagawatha)—who also directs the

27
 production—and is referred to as the
"first actor" (modalane vesha).
 The performances of Yakshagana are
taken from the instances of Ramayana
and Mahabharata.
2 Veeragaase  The dance got its name from
Veerbhadra, a great Hindu warrior in
the state of Karnataka.
 Community- Lingayats, Vokkaligas,
maheshwaras.
 The basic tenets of Veeragaase are
drawn from Veer agama (One of the 28
key Shaiva Agamas) and usually
Veeragaase performers during their
acts will convey some stories from the
main six Shaiva puranas. The most
famous is Daksha Yagna.
 It is mostly performed during Dussera
and even during the Shraavana and
Figure 9 Kartika 'Masas' i.e. During August
Veeragaase
and October (months).
 The dance also involves a ritualistic
piercing of a needle across the mouth.

3 Jaanapada  Jaanapada is a word made by two

words Jana - People or tribe Padas
 Small songs which are sung on every
occasion like marriage, festival, travel
and most importantly on every work
done mostly from harvest to cooking.
 Religious pada like those
of Dasa Saahitya and Vachana Saahit
ya and probably even the literature of
Guru Shishya tradition which is

28
 known to only be passed through ears
and not on papers can be put into this
broad term.
 Janapada Tradition has generally
described as the expressions of the
illiterate.
 Jaanapada Saahitya, theatre and
literature
4 Dollu kunita  This expressive literature its oral
tradition goes by the legend called
'Halumatha Purana' or Kuruba Purana.
Dollu or drum is associated with Lord
Shiva.
 Community-Kuruba
 It is performed during the harvest

Figure 10 season.
Women
performing dollu
 Woven around the presiding deity of
kunita Beereshwara or Beeralingeswara.

5 Bhavageethe  Bhaavageete or Bhavageeth (literally

'emotion poetry') is a form
of poetry in India.
 Bhavageethe started but in 1920s and
30s there were many attempts to set
tunes to poetry.
 Bhavageethe also known as Sugama
Sangeetha, is the semi-classical form
of Music, influenced by both the
systems of Music Folk as well as
classical.

29
6 Krishna  Krishna Parijatha is a folk theatre that
Parijatha is drawn from the ancient religious
books. Revolving around Lord
Krishna.
 Parijatha literally means the wish
granting trees. There are various
legends that are related to this
anecdote.
 It is also a variant of Yakshagana
Figure 11
Krishna
Parijatha

7 Huli vesha  Huli Veesha in "Tiger Masque" is

a folk dance unique in
coastal Karnataka.
 It is performed during Navratri to
honour the Goddess Durga whose
favoured animal is the tiger. It was
originated in Udupi District of
Karnataka and initially performed
during Krishna
Janmashtami/Mosarukudike and Gane
Figure 12 Huli sh Chaturthi.
veesha dancers
 This dance form is usually a part of a
religious vow, and the dancers also go
on processions and perform in
religious places.

8 Somana Kunita  Somana kunita or the ‘Mask dance’ is

a celebratory form of spirit worship
prevalent in south Karnataka region. It
is performed mostly in village shrines
dedicated to the Mother Goddess.
 Community-Gangemata

30
  Associated with worship of village
deity
 The masks are made of the ‘Indian red
tree’.
 Somana kunita is a form of folk dance
associated with rituals. Somana kunita
Figure 13 is celebrated mainly after yugadi and
Somana Kunita
before the onset of Monsoon in Jaatre
(celebration and worship of village
deity and rituals). It starts at
Shivarathri.

9 Nataka
 Kannada Nataka or Drama can be
understood in 4 stages, the period of
mythological plays and translations—
1880 to 1920; the period of revolt—
1915 to 1930; the period of New
drama—1925 to 1945; and the period
of reconsolidation since Independence.
Figure 14  From classical plays as the time
Malegalalli
Madhumagalu, a evolved, Drama and theatre even
play reflecting
folk life locally focused on daily life and social
issues and circumstances, bringing
new light to theatre till the present.
(Literature, 1958)

1 Bayalaata  It features stories from Indian epic

0 poetry and the Puranas rendered as
dance and
drama. Bayalāṭa means open theatre
drama and marks the end of harvest
season

31
  There are generally five types of
Bayalaatas – Dasarat, Sannata,
Doddata, Parikatha, and Yakshagana.
 The Yakshagana stage is set before
the village temple on a sandy beach or
in open fields. A low platform about
16'X10’X20' with bamboo poles at
each corner garlanded with
flowers, plantain and mango leaves,
and roofed with matted palm leaves.
1 Chowdike mela  The descendants of the Yellamma cult
1 bless the world with a storytelling
music form called Chowdike
Padagalu. The name of the music form
comes from the instrument that is
integral to it- the ‘Chowdike’- a
Figure 15 symbol of the goddess ‘Yellamma’. It
Chowdike Mela
is a single stringed instrument that
accompanies every song.

1 Gombeyaata  Gombeyaata in Karnataka is of 2

2 types- String puppetry (gombeyaata),
shadow puppetry (Togalu
gombeyaata).
 Episodes enacted in Gombeyaata are
usually based on Prasanga of the
Yakshagana plays.
 Shadow puppets are flat figures. They
Figure 16 are cut out of leather, which has been
Gombeyaata
treated to make it translucent.
 The maximum size of the puppet is 4 x
3 feet and the minimum is 6 x 3 inches.
 A stage is set up using bamboo stems
and woollen blankets. A white, semi-

32
 transparent cloth is strung across the
stage to serve as a screen on which the
images of the puppets are projected,
acting as a screen with shadows
produced by the manipulation of light
from oil lamps.
1 Nagamandala  Nagamandala also referred to as
3 Nagaradhane is a multi-day festival
and worship program in honour of the
snake god, it is one of the unique folk
practises of Dakshina Karnataka.
 According to the tradition cobras have
their own snake shrines in a sacred
grove known as Nagabana. The shrines
have images of cobras carved of

Figure 17
stones.
Nagamandala  It can be mainly seen to be performed
during the festival of Nagarapanchami,
in Dakshina Karnataka among the
native people who are into
agriculture.(Kannada et al., n.d.)
 Areas around Nagabana are
extensively decorated with natural
colours and designs. A ‘chappara’ or
temporary roof made of coconut leaves
is often laid part of the stage.

1 Bhootha  Butha Kola or Bhootha Aaradhane is

4 Aaradhane an Animist form of Spirit worship
 Idols representing ‘bhoothas’ are taken
out in a procession to the beating of
drums and bursting of firecrackers. As
the procession ends, the idols are
placed on a pedestal. With a sword and

33
 jingling bells, a dancer whirls round in
imitation of the devil he represents.
Frantically pacing up and down, he
enters into a possessed state and acts as
an oracle.

Figure 18 Bhoota
aaradhane

VISUAL ART
FORM

1 Chittara  Chittara is a folk art form in which clay

paste is used to create geometric
patterns on the floors and walls of
entrances of houses
 This art form, which originated from
ancient cave paintings.
 The community makes its own colours
Figure 19 by natural elements such as bark of
Chittara
trees, minerals, rocks and vegetables.
The colours used are red, black, white
and yellow. Yellow is derived from the
Gurige tree which is found in Sagara
and Malnad region.
 They use straw and a natural fibre to
make brush. The art is done on walls,
baskets, pots and other paper made
from rice husk.

34
3.3 FOLK THEATRE IN THE VILLAGES:

The rural scene has undergone a great deal of change in the past, to the detriment of culture, but
thanks to its size and the vitality of its traditions, it has retained its core character.
The numerous forms of folk theatre all share some common fundamental values. They all have an
epic approach to story-telling in the theatre. Nearly all of them abound in songs, dances, imaginative
movement, and slapstick comedy, stylised acting, even acrobatics, which are placed in scenic stage
settings within open fields or community areas within the village community.
Almost all of them usually cover a large canvas in their stories and denote change of location by
movement and word of mouth rather than by a change of sets and décor, and are based on social
settings and local events.
The rural audience normally sits on the ground on three or on all four sides of the acting area, usually
a simple rectangular platform or a circular clearing in the middle.(Scientist, 1974)

3.4 FOLK ART LITERATURE:

Folk literature has evolved with time, folk art form was started from the age where illiteracy prevailed
along with instils taken from religious manuscripts and epics such as the Ramayana and Mahabharata.
Folk became the art of words and an oral tradition. During the Bhakti movement had a literary
component of lasting value in Vachana Saahitya. The movement was self-critical what with its major
proponents like Allamaprabhu and Basavanna being stark opponents of
false Bhakti. Vachanas played a prominent role in the spread of this movement because they were
composed in ways such that a common man could understand and this became a part of folk songs,
and literature. With the increasing rate of literacy, documenting these oral traditions in written
formats. Padhyas (poems), gaade (sayings), stories and songs became known to a larger audience.

3.5 THE ART OF STORYTELLING

Influence of storytelling on folk art and community: In a culture like Karnataka’s, however, and
certainly in villages and certain communities to this day, writing lives within the context of oral
traditions, such as the Harikathe. Storytellers learn by listening and interacting with all individuals in
their immediate, native culture's surroundings. Oral storytelling was always functional and purposeful
and remains so today. Oral tradition plays a vital role in educating the younger generation. The simple
tune of the song enlightens the tender minds of the children with the useful knowledge of geography,
history, politics and simple arithmetic. The moral songs teach them the norms and conducts of the
35
 society. For storytelling to happen, participants - tellers and listeners - are of equal status, whose
shared life experiences consist of more than acts of story and actual events, this keeps the community
knit together in their experiences. (Ryan, 2008)

3.7 VERNACULAR ARCHITECTURE OF DAKSHINA KARNATAKA AND MALNAD

The vernacular architecture of a region is climate responsive and strongly reflects the social and
cultural identity of community and place. Folk art is interlinked with the means of living of folklore
or the people who practice it. Traditional and vernacular architecture reflects the lifestyle of local
community, hence understanding vernacular aspects would aid in the design of spaces which people
can co-relate to, reflect on traditional living, use climate responsive methods and materials.

3.7.1 FEATURES OF VERNACULAR ARCHITECTURE

Open Verandah-Platform or the Jagali

 The jagali is the Kannada word for what may be rather inadequately described as an open verandah
with a raised platform. This is invariably located in the front of the house. It is associated with a large
number of functional and symbolic values.
 It is the buffer between the shared community area in the front of the house and the privacy of the
inner house. The pleasant and relaxed feeling which a jagali often suggests is indeed an expression
of the invitation and hospitality extended to a visitor. In its simplest form, it is a semi-open raised
platform. In a rural household it is the major domestic activity space. The variety of uses to which
this space can be put is really endless. It is probably the most versatile living space of the house,
giving symbolic expression to its inner character.

Courtyards or the thotti

 A court, which is open to the sky and surrounded by a building, is a fairly common architectural
feature throughout the tropical world. It serves essentially as a modifier of the local climate by
providing lighting and ventilation in an area of complete privacy.

36
 It provides circulation space, knitting closely as it were the different parts of the structure. There
could be several activities peculiar to the court even as it serves as a spill-over space for other
activities in the interior.

A jagli katte of a normal household.

Roofing

 The roofing of rural houses, in general, dominates the expression of the form of the house as well as
the village cluster itself. Depending upon the climatic situation, we have the gabled tile and the gabled
thatch, or the flat mud roofs of the drier tracts using stone slabs or wood as supports.

37
 The tiled villages are probably more common, the gables being of different proportions and elevations
jutting out of the earth in a very, harmonious fashion. No two roofs are completely alike, even when
they carry the same cultural stamp. Thatch roofing was also seen for smaller houses and huts of
different communities in the caste system.

Windows
 Window covers area of about 10% of the floor area. Exterior windows are relatively smaller and
have high sill level compare to interior windows, those are facing courtyard. This kind of
arrangement of openings helps to enhance the cross ventilation and keeps the interior cool by
venture effect.
 Jaalis like wooden screens are used in the exterior walls, which cut down the solar radiation into
inside space, at the same time it allows light and ventilation. There are double height spaces with
clerestory windows which enhances the venturi effect where hot air rises up and passes through upper
level windows. This will keeps interior cool.

Walls
 Walls are about 1m thick taking the load of the super structure made of stone and brick masonry with
mud and lime plaster on it which acts as good thermal insulation. Thickness of the wall and material
used for plastering plays a major role in reducing the heat transfer through wall.
 Provision of ample perforation on the vertical surfaces also contributes to the cross ventilation within
the building. The massive walls finished with brick, jaggery and straw act as efficient thermal
insulators. Also the mud walls on the outside continue to hold out against the rains that lash the region
for more than four months at a stretch every year.

38
 Flooring
There are 2 types of flooring we can see in the most of the buildings
 Red oxide flooring 2) Patikallu (type of stone) flooring. Patikallu is a good thermal insulator.
 Upper level floors are made of timber with mud flooring and stone slab placed on it. All together
thickness of the floor is about 60cm, which provides thermal insulation.

Columns
 The timber columns support the weight of a double-storey structure i.e. the ground floor and the clearstory.
The provision of eave boards at roof edges prevent the rainwater splashing.

A traditional home in Malenadu

3.9 DESIGN GUIDELINES FOR ART AND CULTURAL CENTRE

An art and cultural centre has immense diversity as their varied use in communities across the globe
has resulted in multiple interpretations, each one unique with its own set of characteristics.

Though distinctive in nature, art and cultural centres have a common thought process that governs
their ultimate design involving aspects of regionalism of the place they are located in.

 Resonating with the people

The project’s current cultural context is a

more direct parameter needed to design it.
The impression of the structure should
attract a young demographic that will use the
centre to its fullest. The keen insight into the
current trends is pivotal in defining spaces
and influencing people in the right way.

39
 Understanding cultural along with historical context and the present evolution of the culture and
catering the needs of people today with amalgamation of both traditional parts and contemporary
aspects of the present.

 Historical references

A cultural centre plays a vital role in retaining values and beliefs for the community. The integration
of architectural features, forms, materials, and artwork help imbibe the past as an active part of the
future. Moreover, a fundamental feeling of oneness is established, creating a unity within the
community.

Connecting people with historical references both through functionality as well as architecture
through usage of architectural elements of the region such as intricate carved pillars, traditional spaces
and through functionality like screening of old plays, theatre, museums showcasing artefacts, and
innovative stage designs.

 Multidisciplinary architecture

Recognizing spaces and their utility before construction is important. Though a community’s likes
and dislikes can be studied, designing an individual space with keeping the community in mind.
Multidisciplinary spaces are conceptually open-ended as they look to cater to multiple functions.
Whether the space is a closed room or an open plaza, they have a massive footprint with minimal
obstructions.

Multidisciplinary spaces such as courtyards, plazas, open spaces to accommodate different functions
such as hosting festivals, occasions and fairs while also acting as practice spaces for artists, students
or relaxation spaces for the community in the evenings.

 Finding function

Identifying the cultural centre’s use is the first step in defining it. The function is more often than not
derived from the passions or needs of the community.

40
 Resonating with the present and opening the community to different variants of culture and also
educating people of the community with social scenarios from traditional community in the villages.
Providing spaces to host talks, and lectures for people locally.

 Integrating nature

Nature is a timeless part of any culture and demands the respect and attention of architects that choose
to build on it. Aside from determining the energy efficiency of a building, the integration of nature
into a structure connects people to the land.

Designing learning spaces and stage designs with natural elements. Agriculture is the primary
occupation in the region and growing plants, involving community in farming and teaching children
by having community farming, gardens. Also providing selling points in the centre for plants and
products of harvest to bring about awareness of the plants and culture of the region every year when
inflow of tourists is high due to different programs and workshops hosted by the centre.

 Contributing to future

Sculpting the community for the years to come is another intricate part of any cultural centre. A vision
for the society in the coming years is just as important as retaining the values of old.
Scope for future development along with functionality of the centre to run independently and help
the community to participate and progress in the learning of the art through time.

 Material and form

The built form surrounding people for every second of every day influences them and, in turn, the
community. As a direct result of this influence, culture is established. Hence, retaining the structural
context is vital to the success of any cultural centre looking to harness the community’s spirit.

Use of local material and construction methodology, involving vernacular architecture of the
regional place gives a sense of belonging to the people.

 Religion

41
 Nothing brings a community together like religion. Identifying the people and their faiths while
devising a project is another way of translating culture into design.

Involving religion through designs of shrines required for ritualistic art forms and their performances.
Also taking architectural features, use of materials from traditional architecture and implementing it
in the centre.

 Intuitive Design

An engaging facade and an abundance of versatile spaces are pivotal in the assimilation of a cultural
centre. Designing facades with building and climate responsive technology.

4.0 STANDARDS AND NORMS

The folk art and cultural centre would provide common facilities other than the traditional stage
designs such as art gallery spaces for artists to display work, auditorium, library, museum, parking,
administration block and utilities etc

42
4.1 LIBRARY

43
Libraries perform a range of functions in society. Academic libraries, for example,
obtain, collect and store literature for education and research purposes, and are usually
open to the general public.

Public libraries provide communities with a wide choice of more general literature and
other information media, with as much as possible displayed on open shelves. The
functions of academic and public libraries are often combined in a single library in
larger towns.

44
 4.0.2 MUSEUM AND GALLERY

45
 Different ways of dividing spaces for display Methods of natural lighting in the gallery space

Objective of a Museum

To collect, preserve, study and exhibit significant objects, and provide related educational
services in order to increase public knowledge and stimulate creative activity.

The size of the rooms and height of the ceilings is determined by, the nature and dimensions of the
works to be exhibited.

For silver, jewellery, or precious objects:

 Use of showcases set in the wells
 Equipped with locking devices and anti-burglar safeguards lit from within
 The rooms being left in semidarkness.

46
 For drawings, engravings, sculptures and art –Rooms lit by artificial lighting is better than sunlight,
long and narrow space than a square one rather like corridors or galleries-as the visitor has no need
to stand back in order to look at the exhibits, which will be arranged in showcases against the
longest walls.

Display area is only about 40 percent of the area of the building.

The "small museum" will not consist of more than 10 to 12 medium-sized exhibition rooms (16 X24
sq. ft.)

Museum Services:

Services such as (heating and electrical apparatus, storerooms, workshops, garage, etc.) can
be housed in the basement or, if possible, in special outlying buildings to be built as
annexes, at a convenient distance from the main building.

Area left for the services:

 50% of the total space available.

 In small museums this proportion may be reduced.

4.0.3 CAFETERIA

To be able to eat comfortably, one person requires a table area of around 0.6m wide by 0.4m deep.
An overall width of 0.8m - 0.85m is suitable for dining table with additional 0.2m space in the centre
for dishes. Round tables with 6 or 8 sides, with a diameter of 0.9m-1.2m are ideal for 4 people and
can also take one or two more diners. Floor area required for round tables are more compared to
square or rectangle.

47
 The ceiling height of dining should relate to the floor area:
 For 50m2 or less area, 2.5m height
 More than 50m2 area, 2.75m height
 More than 100m2 area, 3m height or more.
 Above or below galleries, 2.5m height or more.

The minimum width of escape routes is 1m per 150 people. General walkways should be at least
1.1m, with clearance heights greater than or equal to 2.1m. Total space requirements for dining
room 1.4-1.6m2/ place.

4.0.4 ADMIN AREA

It is the first contact point which is always placed near the main entrance opening into the lobby
space.
For work room the minimum area: 8m2

48
Free circulation space per employee: 1.5m2

4.0.5 AUDITORIUM AND THEATRE

Design features of ancient theatres:

Size of auditorium
Area per spectator 0.5m2 (minimum).
(0.5m x 0.9m = 0.45m2 per seat with an additional 0.05m2per seat)
Length of rows
A maximum of 16 seats per aisle.
25 seats per aisle is permissible if one side exit door of 1m width is provided per 3-4 rows.
Exits, escape routes
1m wide per 150 people (min. width 0.8m)
All seats apart from boxes must have fixed, self-operating folding seats with the above minimum
dimensions
Row width: 16 seats
Row width: 25 seats + necessary door

49
50
51
52
 4.0.6 PARKING

Parking standards
Minimum parking size,
 Car: 2.5m X 5m (12.5sq.m)
 Bike: 2m X 1m (2 sq. m)
 Handicapped: 6.3m X 5.4m (34sq.m)
 Minimum drive way width: 3.5m.

53
54
55
For buildings having floor area more than 10, 000 m2, and fire engine shall have an access to at least to half
of the perimeter of building which shall be minimum 6.0 m wide and having 9.0m turning radius.

4.0.7 TOILETS

56
57
CHAPTER 3: LIVE CASE STUDY

58
4.1 MGM YAKSHAGANA KENDRA

Introduction

Location: Udupi, Karnataka, India

Year of construction: 2005
Architect: Raghavendra Rao U K
Site Area: 1337.12 sq.mtrs
FAR: 0.92
Built up area: 1324.27 sq.mtrs
Typology: Institutional
Major Components: Administration
Museums
Residential accommodation for students and gurus
Canteen and dining
Amphitheatre
Practice halls
Guest rooms
Conference hall
Library

Located in Udupi, Karnataka.

About the Kendra:

Yakshagana Kendra was founded in 1970 under the direction of the litterateur of the century,
Jnanapeeth awardee, Dr. K. Shivarama Karanth.
The college provided the platform for many seminars and demonstrations of Yakshagana music and
dance initiated by Dr.Karanth. The Yakshagana Kendra itself is a training school in the traditional art
of Yakshagana and Yaksharanga, a kind of ballet introduced by Dr.Karanth.

Interested students are selected after an interview for training of one year duration. It is a residential
school where the teachers and the students are taught to live together in the Gurukula system.

59
Training in Yakshagana is an all-round training including make-up, costume designing, costume
repair, dance and bhagavaths.

Location of the Kendra in the town of Udupi

Site conditions

The rectangular shaped site is flanked by

roadways on four sides and is
surrounded by residentential complexes
on either sides, and is connected through
secondary roads from the Udupi-
Manipal highway, placed in Hayagreeva
Nagar.

Accessibility to site

The site has one entry and exit which is towards the road to its west and which connects to the main
Udupi- Manipal highway. The traffic medium on the road at which the entry points are placed is
less than the highway as it is also surrounded by residential complexes.

Cities and Distance

transport from Kendra
facility in kms
01. Manipal 2.5
town
02.
58
Mangalore

60
 International
Airport
03. 60

Mangalore
city
04. Udupi 3.2

bus stand
05. Udupi
2.1
railway
station
06. KSRTC 3.3

Bus stand

Zoning

The Yakshagana Kendra has built up

spaces over 3 floors G+2 with different
spatial requirements.

The functions are divided into 2 blocks:

01. Residential block for gurus and
museum.
02. Academic block with student
accommodation, administration and
practice spaces.

61
Zoning in each floor

Ground floor Spaces:

1. Museum 8. Music room

2. Staircase and service area9. Library
3. Residents for gurus 10. Director’s room
4. Green house 11. Parking
5. Canteen and dining 12. Amphitheatre
6. Toilets 13. Landscape and
7. Store seating space
Area: 392.81 sq.mtrs

First floor Spaces:

2. Staircase and services

3. Residents for gurus
6. Toilets

14. Meeting room

15. Rooms for students
16. Guest rooms
Second floor spaces: Area: 416.68 sq.mtrs

2. Staircase and services

3. Residences for gurus
6. Toilets

17. Store and make up room

18. Stage
Area: 416.68 sq.mtrs

Area Program of the Kendra

62
 Space Area in sq.mtrs
01. Director’s room 12
02. Library 15
03. Music room 18
04. Canteen and dining 45
05. Amphitheatre (stage) 52
06. Museum 48
07. Store and makeup room 13.5
08. Stage 30
09. Green room(Chowki) 15
10. Room for students 50

The Kendra

Aim of the institute: Revive, preserve, propagate and popularise Yakshagana

The institute is a full time all-year-round training Gurukula system for both boys and girls. The
students are residents and also the students who do not stay and learn due to their academic schedule
attend mostly in batches during the weekends.

Students and teachers: About 50 students train in the institute currently being taught by 6 teachers
who also reside in the 2bhk facility provided to them.
The practice timings that take place for students start at 5am in the morning

63
 Programs by the Kendra:

01. Yakshagana training

02. Educational activities
03. Yoga and meditation
04. Workshops and seminars
05. Community based activities
06. Placement for professional troops

Spaces and structure:

01. Entrance

The entrance towards the block is paved, the

plinth is at 0.45m, and parking space has
been provided for the vehicles of the
residents and can also accommodate a
college bus. The entrance was not disable
friendly and had no ramp system. The
parking was inadequate for people who
would come to watch the performances that
take place in the Kendra. They would have
to park outside the premises.

02. Corridors

The corridors were linear and varied

from 1.5-2m and had spaces opening
from them. The corridors were lit by
natural lighting through terracotta
Jaalis which also provided ventilation

64
 through the space. The vents which were used were also of terracotta. Artificial lighting is provided
indoors by fluorescent bulbs and tubes, solar lamps. Use of terracotta Jaalis in the facade lessens
ingress of heat in the day time, Udupi being a coastal region having hot-humid, this helps to cool the
spaces within the building. It also softens the harsh day light during afternoons
The climate in Udupi is hot in summers and pleasant in winter. During summers (from March to May)
the temperature reaches up to 38 °C. And in winters (from December to February) it is usually
between 32 and 20 °C.

03. Amphitheatre

The amphitheatre has a stage which is about 8mX6.5m with

green rooms called Chowki next to it. The seating’s for the
audience is put up in the area front of it with temporary shading
provided as they would do in a traditional Yakshagana
performance.
Seating capacity around 100. The flooring of the stage and the
indoor spaces is red oxide flooring which can be commonly
found in traditional Guthu houses in Udupi.

Red oxide flooring also helps in keeping the space cool during
hot summers and warm during winters.
Yakshagana performers perform a small puja on the stage
before giving a performance
The amphitheatre here is the most common space used, to
practice and also host activities for kids, it is being used as a
dining space for students also.

04. Museum

The museum in Yakshagana Kendra is being

used as practice space for students mostly on
weekends, when the number of students is
higher and classes are held in batches for 40-
50 students
The museum has history and portraits of

65
 famous Yakshagana artists and dolls or puppets of the puppetry form of Yakshagana. The museum is
well lit and ventilated by open windows with wooden grates which is an adaptation from traditional
Mangalore homes. This is one of the spaces which is used the most.

Indoor practice and performance hall

This hall is about 220 sq.mtrs. All indoor performances take place here.
This is also used as a space to practice and teach makeup application of the art to the students.

05. Student accommodation

The student accommodating rooms are spaces with oxide

flooring and ventilation on both ends, with one set of windows
opening towards the corridor space.
The storage space is minimum with a set of racks and students
usually sleep on the floor. This space is also used to dry
clothes.
The space is about 10X5 mtrs and is used by students who
reside in the Kendra during vacations from their academic schedules also, other than the few students
who stay here throughout the year.
There are 4 such rooms in the institution.

Sketches and function

The Amphitheatre is a space which is used for practice,

performance, dining, relaxation spot for students and
gatherings too.
The Kendra also holds educational programs for children
and yoga classes which is also held in this space.

The Museum is a space which is used as practice space for

children and students mainly on weekends when the student
capacity is higher.
This space is one of the spaces which is used mostly by the
people of the Kendra. It also has articulated elements such as
the wooden closing for the windows.

66
Traditional Yakshagana stages

Traditional Chowki
(Green room and
make up room) and
showing the
placement of artists
within it

Inferences:

The institution has used natural modes of ventilation to deal with the humidity that the region has.
The daylighting throughout the day lits up all the spaces within the built space for a considerable
amount of time.
The flooring provides coolness during the day and warmth during the nights.
The staircase is naturally ventilated and each floor has a utility.
The student accommodation rooms lacks in sufficient furniture’s and storage space.
The character of an artistic environment for a traditional folk art form can be developed.
The seating space for the amphitheatre is not defined.
Practice spaces for the current number of students cannot accommodate all of them, and thus classes
have to be taken in batches.
There is no defined dining area.
There is no spill out space or recreation spaces for students and teachers along with activities like
yoga and educational programmes.

The present day Yakshagana artists of the Kendra stated that, the preferred seating arrangement of
today for performances would be the Greek amphitheatre stepped seating’s, for the audience to view
the show.

67
4.2 JANAPADA LOKA

Introduction

Location: Ramanagara, Karnataka, India

Year of construction: Established 1994
Founder: H L Nagegowda
Site Area: 61,000 sq.mtrs, 15 acres
Built up area: 40%
Typology: Museum
Major Components: Administration Amphitheatre Library
Museums Play area Shops
Residential accommodation for Guest houses Restaurants and dining
students Workshop spaces

Janapada Loka or "Folk world" is an institution that is dedicated to preserving and propagating the
rural folk culture of Karnataka. It is a part of the Karnataka Janapada Parishat and is situated in
Ramanagara district on the Bangalore-Mysore highway.

Janapada Loka is divided into separate wings — Folk arts museum, Loka Mahal, Chitra Kuteera,
Doddamane, Shilamala, Arghyamala etc. The museum has a collection of 5,000 folk artefacts.

The museum provides an opportunity for rural artisans, musicians and craftspeople to showcase their
art and provides a platform for marketing these works of art.

Location

The Janapada Loka is located right next to the highway between Bangalore and Mysore.
Ramanagara district is known for its silk production and wooden toys.

68
 Located in the state of Karnataka

Site Conditions

Janapada Loka is established in the private property owned by the HL Nagegowda trust. It is located
Doddamannugudde forest area.

Accessibility to the site

The site has a single entry and exit from the north towards the vidhyaranyapura-Nanjangud road
which is the highway. The Museum being located near the high way is advantageous in terms of
accessibility but also has high traffic and noise from the road.

Cities and Distance

transport from Kendra
facility in kms
01. Mysore 94
02. 53

Bangalore
03. 7

Ramanagara
04. 10

Channapatna
train station
05.
5
Ramanagara

69
 railway
station
06. 10

Channapatna
bus stop

Zoning of built

01. Entrance 08. Lokamatha mandira

02. Generator 09. Chitra kuteera
03. Doddamane 10. Lokasarovara
04. Kamasale 11. Saraswathi mandira
05. Play area 12. Office
06. Loka mahal 13. Amphitheatre
07. Heritage village 14. Loka ruchi upchar mandir
15. Shilamala

Climate

In Ramnagar, the average annual temperature is 25.7 °C | 78.3 °F. The rainfall here is around 982
mm | 38.7 inch per year. The climate is warm and temperate in Ramnagar. In Ramnagar there is a
lot of rain even in the driest month.

The warmest month of the year is May, with an average temperature of 33.4 °C | 92.2 °F. The
lowest average temperatures in the year occur in January, when it is around 16.0 °C | 60.8 °F.

The driest month is April, with 6 mm | 0.2 inch of rainfall. The greatest amount of precipitation
occurs in July, with an average of 305 mm | 12.0 inch.

70
Annual festivals

Lokotsava - The most anticipated of all the festivals. Folk artists from all over Karnataka participate
in this two-day event. It happens during Feb-March every year.
Around 5000 people gather on an average during Lokotsava.

Dussera - Held in the month of October, to coincide with the annual Dussera festival in the state.

Kite Festival - Held in the month of July

Architecture

71
Janapada Loka is mainly made as a museum and also to host folk performances every year.

The planning of the Museum and other spaces is clustered. As it involves promoting folk art and
culture, all its structures involve traditional material and ornamentation.

The museum is divided into 3 buildings

 These museums are separate units with

01. Lokamatha mandira different scales for accommodating the

artefacts.
02. Chitra kuteera
03. Saraswathi mandira
Loka mahal and Saraswathi mandira are two
04. Loka Mahal
storeyed buildings where as Lokamatha
mandira and Chitra kuteera consists of a just
There are two outdoor performance spaces ground floor.

01. Amphitheatre
 The amphitheatre is used for formal
02. Nandimantapa
functions whereas the Nandimantapa is
used on informal basis.
Commercial spaces

 The restaurant and the shops are designed

01. Kamath Restaurant
reflecting traditional architectural spaces
02. Shops
and huts.

Outdoor activity spaces

 The lake adds to the Janapada Loka, where
boating activities take place
01. Lokasarovara
The heritage village space has activities such
02. Heritage village
as pottery.

Materials

The materials used for structures in the museum are climate oriented, the roof is made from wooden
trusses and Mangalore tiles, and the flooring is oxide flooring which can be found in traditional
homes where folk art first originated.

72
Wooden pillars and grates are found in the heritage village area, exposed concrete is also used in the
guest houses as flooring. The new made guest house and office consists of clay tile flooring and
sloped roof. One of the guest homes is made of exposed brick material for the walls.

New buildings such as the main office, have steel trusses currently and exposed stone lintels. The
columns to the temple, shops and shading pergolas are made of stone. The pathways around the area
are not paved and are of mud, but they are well maintained giving one the look and feel of a rural
areas. The shading of these pathways are done by the vegetation growing around them. All the
pedestrian pathways were well shaded.

Masterplan of the Loka

Oxide flooring and cement in the museum and Chitra kuteera

73
 Spaces

01. Entrance

Mahadwara, is the entrance for the folk cosmos, which measures twenty ft. adorned with horns,
trumpets, poles made of brass standing on either side of the entrance path towering to a height of
twenty six ft. extend a warm welcome to the visitors.

It consists of a huge shield (Harige) that

is made in the form of a fierce face.
Which is flanked by pairs of trumpets
and horns with flag poles called Nandi
Dhwaja Sthambha. The grand entrance to
the museum, gives distinct identity and
catches the eyes of people. It is also made
wide enough to celebrate entry of artists
in festivals and Lokotsava.
The reception and ticket counter lies right next to the entrance gate, it is about 3X3 mtrs with a low
height of 2.5m. As soon as you enter
the premises, an information centre is
provided which consists of books on
the museum and folk art forms along
with provision of guides.

02. Entrance pathway and sculpture displays:

The entrance opens to a linear pathway with

different sculptures displayed on different
art forms. The pathways are all linear with
functions and built forms on either sides.
Sign boards are provided for navigation
throughout the 15 acres. The main pathway
is decorated during festivals and all the other
paths deviate from it.

74
 It is also shaded during hot afternoons. The sculptures of different folk art have been displayed
along the path which is about 2.5m in height.

03. Nandimantapa:

Nandimantapa is used for informal functions and gatherings.

It is an outdoor performance area, with a stage and a non-
elevated seating space which in other times is used for
parking purposes. The seating area which is non elevated is
also used as space where local vendors can set up their shops
during Lokotsava, and other festivals. Seating space has
been provided at the end where there is a lot of vegetation to
be found.
The stage is about 6X4.5m in dimension.

04. Lokamatha mandira

Lokamatha mandira museum is a

museum which
Displays traditional household
equipment’s and
Artefacts.
The display spaces are niches in walls.
The roof is sloped with bamboo trusses,
with Mangalore tiles and skylight is
provided through glass in between the tiled roof.

Area: 78sq mtrs

Skylight
Accent lighting to the displays
Columns supporting roof structure placed octagonal.
Circular external wall

75
 Circulation:
Circular plan with a radius of 5m. Central portion raised around the octagonal columns.
Single storeyed space with concrete flooring. Entrance is stone paved from the main pathway.

05. Chitra kuteera

Number of attractive black and white and colour

pictures exhibited in Chitra kuteera bring alive the
festivals, fairs, arts and customs of our Karnataka.

Area: 38.5 sq. mtrs

Skylight.
Wooden partition used for display of pictures.
Columns supporting roof structure placed octagonal.
Circular external wall.

Circulation:

The circular plan of Chitra kuteera displays photographs

of folk life. The flooring is made of red oxide.
The central area is raised where the internal display area
is of HL Nage Gowda and his achievements. The roof
slopes from 3 mtrs in between to 2.5mtr at the edge.

06. Loka mandir

76
 This building is used for the display of
live sized dolls, ornaments, musical
instruments etc of the folk. The
building is of two storeyed with a
central depression which is overlooked
by the upper floor.

Red oxide flooring.

Central skylight.
Rainwater collecting system through
pipes opening at the skylight.
Backlighting for display items.
Stone flooring for central court.

Circulation:
Area: 14m X 14m, the circulation path is about 7m in distance, the
display items are kept in niches with a glass covering.
A single staircase connects the two floors.

07. Amphitheatre

The amphitheatre is made in a Greek style which is also used for folk performances every Sunday,
and also during large gatherings, functions and festivals.

The stage is curved, with a back stage and storage space. A brick archway at entrance. A retaining
low wall is placed at the end. Stone columns
supports sloped roof.

Capacity: 700 people

No. of green room: 01

Stage width: 7m

77
08. Heritage Village

Heritage village is an open yard which exhibits a village scene, with an arali katte, pottery, cottages,
a traditional house, sugarcane crushing and oil extraction equpiments, bullock carts, and a wooden
chariot used for temple processions.
Each unit in the heritage village is made according to traditional structures, having low roof height
about 2.5-2.7m.
The openings are made of wood, as seen in villages where wooden grates are used for light and
ventilation for common spaces.
The columns of a traditional home, is articulated with intricate details. The courtyard is one of the
most common features found in these homes. Walls are 1 and half times thicker than the present day
walls.

Activity:
This space is also used as an activity space
where people can effectively interact with
local craftsmen in making pots with pottery
workshops being provided, which makes the
gives a whole village square experience.

78
09. Loka Siri

Loka Siri museum is used for the

display of large sculptures and models
of folk art and artefacts, it also displays
leather puppets from Yakshagana. The
building is made with an R.C.C roof and
Mangalore tiles.
The models are of 3-3.5m tall, hence the
structure is double heighted with
skylight being provided through
Circular openings being covered with
glass. This also provides light to the upper floor on top which overlooks below.

The building has two staircases to reach the

first floor. Artificial lighting has been
provided over the artefacts to create a focus
on them. The flooring of the building is
ceramic. Glass screens have been provided
for safety over the items.

10. Lokanivas

79
The main office of the museum. It consists of the director’s cabin and the staff members working
space. It has a general office and a board rom. General office capacity is about 15 people. Board
room capacity 30 people. The building
has clay tile flooring. The external
walls are of mud finish. Steel truss
with Mangalore tiled roofing. Stone
columns for support.
9m X 5m- Working area
02- Bathroom
01- Store

Sketches and function:

Roof- Octagonal truss with tiles.

Use of jagali space in front of each built unit.
Pathways in grid connectivity which leads to convenient navigation though built units.

Activity spaces:

Pavilion
The activity pavilion is a
place which is used for
gatherings for recreation and
a place for resting. The
pavilion is circular with a
radius of 3.5m. The roof is
wooden trusses and tiles.
The floor is mud finish.

80
Play area for kids
A small park is
installed for kids for
the age 2-10, with all
playing equpiments
like swings and sand
pits, seating facility is
provided in terms of benches and the area is landscaped.

Loka sarovara
Janapada Loka has a lake which is
about 1 acre, recreational
activities like boating has been
provided.

Inference

01. Landscaped well, with shading everywhere. Materials are used to create a rural life style look
and feel.
02. Office is located far from galleries, administration needs to be near to these to regulate the
crowd.
03. Aisle in the centre of the amphitheatre can be avoided for better viewing.
04. The form of few museums like Lokamatha mandir merges with the environment and gives
visitors to feel one with nature.
05. Display space made and circulation made in a maze form to create interest, but it causes
confusion and lack of concentration in terms of navigation.
06. Display items are placed in niches which gives sufficient circulation space.
07. At certain spaces light is being blocked in Loka mahal for paintings by orientation of walls and
is illuminated by artificial lighting.
08. Clerestory windows were not functional in the museum, and voids or Jaalis screens could have
been used for better daylighting system.
09. The newly made structures do not exhibit the character of folk, with RCC walls and flat roofs.
10. 40 students are learning academically under the Parishat about folk arts. Over 1000 artists come
to perform at festivals. 2000-2,500 footfall, 30 staff members to manage.
The accommodation is of shortage during festivals and the staff fall short too.

81
4.3 DAKSHINCHITHRA

Introduction

Location: Mutthukodu, Chennai, India

Year of construction: 1996
Architect: Laurie Baker, Benny Kuriakose
Site Area: 10 acres
FAR: 0.3
Built up area: 3 acres
Major Components: Administration
Museums
Arts and education building Restaurant and dining Craft bazaar
Amphitheatre
Guest houses
Activity spaces Workshop areas

Dakshina Chitra ("a picture of the south") is a living-history museum in the Indian state of Tamil
Nadu, dedicated to South Indian heritage and culture is located 25 kilometres (16 mi) to the south of
Chennai.
The museum was founded and is being managed by the Madras Craft Foundation (MCF). The MCF
was established in 1984. Deborah Thiagarajan, an Indian art historian of American origin, governs
the museum. The museum is built on 10 acres (4.0 ha) of land taken on a 33-year lease from the
Government of Tamil Nadu.

Developed as a heritage village, Dakshina Chitra has an array of displays and relocated originals of
dwellings depicting the life pattern of people in the states of southern India. The exhibits portray the
architecture, art, folk performing-arts and craft of South Indian traditions. The amenities include a
research unit, crafts bazaar, playground, and an area to hold religious functions, stone workshop,
and souvenir kiosks.

Location

82
Located at Mutthukodu, on
the East Coast Road
connecting Chennai and
Pondicherry, the site
overlooks Bay of Bengal.
The site is situated on the
high peak road and also
next to MGM dizee world
which is a landmark every
day many people are
passing through the ECR
road to MGM Mutthukodu
boat house many tourist
and domestic people utilize
this road.

Accessibility to site

Cities and Distance from Climate

transport Dakshinchitra in
Rainfall is moderately low. The
facility kms
temperature is high. The relative
01. 18
humidity is Semi-humid.
Thiruvanmiyur
02. Central 30
Higher precipitation ranged during
station
winter months, mainly during Oct and
03. Airport 35
Nov
04. 24

Mamallapuram
05. 121

Pondicherry

83
 Areas within 10 acres

01. Reception 11. Activity hall

02. Craft shop 12. Guest house
03. Seminar hall 13. Artisan’s quarters
04. Gallery 14. Lathe workshop
05. Restaurant 15. Driver’s shed
06. Library and archives 16. Parking
07. Mandapan 17. Gallery and stores
08. Canteen 18. Restaurant
09. Craft Bazaar 19. Tea shop
10. Amphitheatre

Zoning of spaces

The original zoning of functions by Laurie baker.

The museum comprises of traditional houses from different southern states of Kerala, Tamil Nadu,

84
 Karnataka, and Andhra Pradesh.

It also keeps the whole museum active by hosting different programs and activities enhancing the
local and folk art and craft by providing:
Performance space for folk artists. Activity spaces for local craftsmen to teach and display their art
Festivals involving different folk workshops

Site plan

The functions are horizontally developed through the site, with all built spaces clustered around the
site connected through pathways and landscaped areas.

Baker’s Concepts

Baker did not want to have grand

buildings on the campus. He
thought that ‘this place’ should
deal with the arts and crafts of
ordinary people. He pursued his
philosophy of “small is
beautiful”.

Here is another quote in that tone.

“The idea is to abandon the big
exhibition pavilion system
entirely. For one thing, they can’t
be typical or genuine because our
forebears didn’t have such things
– and for another thing – folk
stuff is mainly small. Blow it up
and out of size, it is all wrong.
These huge hotel foyers with
miles of fake plaster with little
mirrors stuck in irks me.”

85
 Baker had great imagination about the open-air museum which was to come up. One could say that
his ideas were usually unconventional. He visualized each State as a village with its small streets and
walkways.

01. Designing bold entrances for each state

02. A specific entry and exit for the whole museum complex
03. Food Court idea- “Food can also be like the ‘pavilion’ area Again, you not only get food but
should get it in the local place and style and way of eating – you also see the preparation and you
should have exhibited in the same area – those lovely coconut scrapers, salt containers, etc.”
04. He did not have any fixed ideas, and wanted the place to grow and be seen as growing

Architecture

01. Entrance

The entrance to the complex is like entering a village and a south Indian home. Arches and
courtyards are elements that can be seen with sloped roof being supported by stone pillars. Bricks
are extensively used here.

The entrance has:

01. Reception lobby

02. Ticket counter
03. Craft shop
04. Director’s room
05. Office
06. Art gallery
07. Cloak room
08. Orientation room

The reception lobby was around 8mX8m, the spaces were arranged around a corridor of 2m width
with smaller openings, opening to the courtyard. The orientation room was 60ft X 25ft, Director’s
room 6mX6m, the craft shop is 50-60sq mtrs.

86
 Roof- The roof is a predominant feature in all the buildings. Since the overhang is low in the
verandah, the gables are included to raise the roof at the entrance. Verandah are transition spaces
between the exterior and interior, providing gradual variance in the degree of enclosure. They are
considered as movement spines that surround the built form.

02. Vegetation

All the pathways are landscaped, especially

the paths which connects the homes of 4
states together. Trees are seen to be denser
near the Kerala and Karnataka section. They
are also seen in other parts of the site. Palm
trees, Coconut trees and Neem trees were
mainly found here. Paved and landscaped pathways around 1m wide with stone pavements.

03. Water body

An artificial pond runs from the oat along

the Tamil nadu section, Kerala complex
and few others. The flow of the water is
bound by stones. Wooden bridges run
above the water bodies connecting the
children’s play area and other spaces. The
water bodies help in creating micro climate because of the wind direction.

04. Built and unbuilt

Centralized, linear and clustered layout

patterns can be seen here. Clustered
pattern is flexible and can accept growth
and change readily without affecting
character.

05. Circulation

87
 Pedestrian flow is demarcated from
paths used for commercial purpose. It
branches out from the entrance to
various state houses. Vehicular flow is
restricted at the plaza itself.

Tamil Nadu houses

The Tamil nadu traditional houses were:

01. Potter’s house

02. Basket weaver’s house
03. Ayyanar shrine
04. Weaver’s house
05. Textile exhibition
06. Agraharam Brahmin house
07. Art exhibition

The Tamil nadu homes have a courtyard and a raised verandah at the entrance with a seating space
called the tinnai. The courtyard is used to
dry grains, shelling pods and other
functions.

01. Kanchipuram house

The house had one functional pit loom

used for weaving, Kanchipuram sarees,
along with a kitchen, a puja room and a
front hall. The house has a large paved
open area in the back which serves as
utility area.
Over 16 weaver houses were documented from Kanchipuram and the most repetitive elements and
planning were documented and depicted.

88
 Materials:
Sloped roof with tiles
Clay tile flooring
Wooden trusses and columns
Lime plaster finish for the walls.

Activity:
Involving the visitors in the weaving process.

02. Merchant’s house from Chettinad

The chettinad house had a columned verandah of Burmese teak at the entrance. A small courtyard
behind for cooking and women to socialize, double rooms opening to the main courtyard, for
storage, prayers and sleeping, inner courtyard used for ceremonies with raised seating areas.

03. Brahmin’s house of Ambur

The houses are narrow and long

connected by a common wall. It had
long courtyards for cows, followed by
long enclosed area which led down to
the village embankment. The upper
floor is used for sleeping, drying and
storing grains. These houses consist
clerestory windows for lighting and
ventilation.

89
04. Potter’s of Chengleput

The house is big enough for one family and

it depicts the living and working space of
the household. The backyard originally had
space for cooking and for cows in
Dakshinchitra, a separate shed is behind the
living quarters which is added for
demonstration purpose.

The visitors involve in the pot making

process which is both demonstrated and taught, making the whole space more active.

The house front is made of mud, the thatch is reed and the structure supports are from Palmyra
trees. It is made of compressed mud blocks which is more durable than plain mud. The material and
maintenance is labour intensive. The roof of the structure is thatch and the walls are finished with
mud.
The house has a low ceiling height.

05. Basket weaves mud house from Chengleput

Simple mud houses occupied by ordinary

working class people of the state.
Interiors of the house show lifestyle of
villagers with space for cooking,
praying, living and sleeping. Activity-
Demonstration and workshop for
learning basket weaving from the weavers.

06. Agriculturist’s house from Mayavaram

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The agriculturist’s house from
Mayavaram district is a typical
kind of house found in
villages, it has been
reconstructed without any
change except its orientation
because of space restriction.

The front rooms were used for

storage and sleeping, it also
had a sacred block with two
parallel courtyards one for the
kitchen and eating and one for the building.

Textile exhibition
The textile exhibition hall is
designed by Laurie baker to fit
architecturally with the Tamil
street scene, but functionally
provide exhibition space.

Chariot hall
Accommodates the ratha with arched and brick work openings.

Art exhibition
The gallery for religious art
is in the interiors of the
traditional housing
showcasing the religious
craft of Tamil Nadu. The
varying width of the houses
are around 10’-11’. The colouring of the columns reflect the colours found in the Agraharam.

The flooring is coarse and is made of stone. Walls are lime plastered. The gallery has staggered
display spaces with one common area and centre point. It has multiple areas of entrance, but the

91
 museum has kept it closed for convenience and opted for a single entry and exit within the row
housing.

Ayyanar shrine
Ayyanar is a village guardian deity who lives in the outskirts of the village in a sacred grove. To
prepare for the shrine neem tree, itchli tree, pepal tree, and banyan tree and vembu maram were
planted at site.

Kerala houses

The Kerala section contains:

01. Hindu house- Trivandrum

district
02. Cattle shed
03. Hindu house- Calicut
district
04. Granary and textile
exhibition
05. Syrian Christian house
06. Small pavilion padippura

01. Hindu house- Trivandrum

This house belonged to the agriculturists. The kitchen was a separate structure next to the house.
Wooden structure was the main element of the house where building material was primarily timber.
The manner in which the joinery was done along with the wood was a standard for both rich and
middle class in Kerala. The house had a cowshed. The practice of grooving the planks allowed the
carpenters to use varying sized planks and still retain uniformity. The carved detailing is of highest
quality.

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02. Syrian Christian house

The main feature of the Syrian Christian

house was the layout, entrance of the house
leading directly into the granary. Prayer
area was in front of the granary, identified
by a small cross above the door.

The addition of a masonry structure, which

includes living room, dining and kitchen is
a sign of early westernisation of the
community and social trent of entertaining
family guests. Slated wooden screens in
the verandah are a distinctive feature.

03. Granary and cowshed

The British influence is noticeable in

the arched verandah which came to
replace the graceful curved slatted
wooden screens with seating’s
inside. The upstairs with its wooden
rooms and central granary remains
the same.

04. Hindu house at Calicut

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 This is a two storey house with a granary for household vessels and agricultural produce. It had
many small rooms that in the upper storey. It had articulated wooden columns supporting the
courtyard

Karnataka houses

The Karnataka section consists of:

01. Chikmangalur house
02. Ikal weaver’s house from Bagalkot

01. Chikmangalur house

A typical Karnataka house has a steeply pitched roof, combining single and double storeyed blocks.
The facade is usually symmetrical around a central position. The principal material is wood. Lime
mortar plaster.

02. Ikal weaver’s house

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 The wooden gateway and door mark the entrance to the Ikal houses of Bagalkot in Dakshinchitra.
Stone is the most prevalent material that can be seen here. The stone is granite which can be mainly
found in Ikal.

The roof structure are traditionally flat with

stone slabs packed on top with mud. A shrine is
traditionally placed within the compound for
worship.

Plan of Ikal weaver’s house in Bagalkot under a

single compound, each house contains a jagali
space which is columned by wooden pillars, the
flat roof is also supported by wooden beams.

Andhra Pradesh houses

The Andhra Pradesh section

consists of:
01. Ikkat weaver’s house
02. Coastal Andhra thatch
house, cattle shed and
granary.

01. Ikkat weaver’s house

95
 The most common kind of planning that can be seen here is the
Bhawanti. The plan is used commonly is chithra sala- a raised
platform, with 3 sections and a small courtyard in between. The
building materials include bamboo, Palmyra beams & semi-
circular tiles.
The Ikkat house of Andhra Pradesh, has a verandah at the
entrances, which graduates to a central courtyard to which the
rooms are accessible to, the weaving space is right next to the
courtyard with the kitchen and utility at the end.

02. Thatch houses

The fishermen
agricultural farmers
build circular homes
which nestles closely to
form clusters. The shape
and positioning help the
houses battle against
raging winds.
The house consists of
inner circular room
which is enveloped by
another circular space
that serves as the kitchen
on one side and a store at
the other end.

There is also a cooking area or vantasala just outside the house. The walls are built by mud which
are 18” thick. Timber is used for rafter and lime wash for wall finish. There is a flat mud roof and
timber roof under the sloping thatched roof to protect the belongings from fire.

Other spaces:

01. Kids play area

02. Restaurant
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 03. Craft Bazaar
04. Arts and education building
05. Activity centre
06. Amphitheatre
07. Artisan’s quarters

01. Kid’s play area

The kids play area is landscaped with tall trees that give shade during daytime. The maintenance of
this place was poor and the installation was not properly maintained.

02. Restaurant

The restaurant is placed

on the left end of the
Mandapan, which opens
to a large courtyard, and
an art gallery on the
other end. The facilities
are attached to the
reception centre and can be accessed either from reception centre or through the mandapa.

The restaurant can hold up to 100 seats for programmes. Large dinners can take place both in the
mandapa and the open courtyard. The art gallery holds contemporary and traditional craft
exhibitions. The inner courtyard opening to the indoor restaurant is about 10m X 6m.

03. Craft Bazaar

The museum hosts artisans who wish to

sell their craft directly to the visitor. The
bazaar accommodates unto 20 craft
stalls. The stalls are placed in clusters
with sloping roof on top. Few stalls also
have thatch roof.
Each stall is about 4m X 4m. Storage
space has been provided through racks. A pathway runs between them with stalls on either ends.
Pergola has been used for shading the path.
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04. Arts and education building

The arts and education building has an art gallery, library, seminar hall, storeroom, meeting room,
conservation lab. The building has a central space which is lit by skylights. The gallery is about
10mX10m in width with an activity room adjacent to it. The flooring material is clay tile. Lighting
was provided to the art pieces through studio lights. The facility had fire extinguishers at every 5
mtrs distance. The store was said to be small to accommodate all the artefacts and materials
required.

05. Activity centre and amphitheatre

The activity centre is a building which can

accommodate 40 children at once and is meant
for hosting education programs for smaller
groups. Children nearby the villages can come
here for free during weekends. The activity
corner is about 75sqmtrs which is a semi open
space used to interact kids and adults with art
and craft activities. The roofing for this is made
of thatch with timber supports.

The amphitheatre is a space which can accommodate about 300-400 people.

It has a circular stage in between. The informal performance stage where usually folk art is
performed and workshops are held is about 15m X 15m in dimension, temporary seating’s are
provided for the audience to view the performance. Folk performance takes place every weekend in
this area.
The stage area is demarked by oxide finished flooring and shade is provided through trees. The
activity centre is also a spot of relaxation to the visitors.

The amphitheatre

The amphitheatre is used for educational programmes also, and is made extensively out of brick. It
can cater to about 300-400 audiences.

Artisan’s quarters

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Quarters 1- This has 4 independent residences, with one residence equipped for visual artist’s stay
Quarters 2- This is a residential building with six rooms, all air conditioned which can also be
rented out to public. Separate guest houses are also available.
Quarters 3- This is a guest house with dormitories. These are generally used by students, artisans
and folk performers. These dorms can accommodate 40 people.

Workshops

01. Textile workshop

02. Terracotta workshop
03. Ceramic centre
04. Stone carving
05. Wood working centre

Inference

01. It forms a unique environment to express architecture as a way to represent the arts, history and
culture of a particular time.
02. The buildings have been efficiently planned as per climatic conditions of Chennai.
03. Use of vernacular materials and natural daylighting to the maximum.
04. The centre has made an attempt to uplift the community of artisans, by giving them a platform
to showcase and interact the public with their art.
05. The construction has been done with local materials and is economical.
06. The entire place is landscaped well, with adequate shade during afternoons.
07. The orientation and nonlinear pathways connecting spaces makes it interesting to navigate
through spaces.

99
CHAPTER 3: LITERATURE CASE STUDY

100
4.4 BHARATH BHAVAN

Introduction

Location: Bhopal, Madhya Pradesh, India

Year of construction: 1975-1981
Architect: Charles Correa
Site Area: ~2 Ha
FAR: 0.4
Typology: Cultural centre
Major Components: Museum of Art
Art Gallery
Workshop
Theatres
Amphitheatre
Administration Block
Library
Canteen

Bharath Bhavan is situated at J. Swaminathan Marg, Shamla Hills, in Bhopal. This institution was
built to celebrate the culture output of Madhya Pradesh, an initiative taken by the Govt. of India. It
was inaugurated in 1982. It is an autonomous multi arts complex and museum created for the
interactive proximity between verbal, visual and performing arts of Madhya Pradesh.

Bhopal, Madhya Pradesh, shamla hills, located along Swaminathan marg.

Site Conditions

Site is on a gently sloping hill overlooking the lake, bound by roads on south east and south-west.
The immediate neighbourhood is residential.

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01. Series of terraces and courtyards comprise in the Bhavan
02. 3 main connecting courtyards upon entrance
03. Split level exhibition spaces, galleries and performance areas
04. Visitors enter at a higher level and walk down the pedestrian spine through a series of
courtyards.

Connectivity and accessibility

It can be accessed from Rustam Khan

Marg on the south east. Vehicles cannot
enter the site and only a little parking is
available on the opposite edge. Site lies
600m from a busy polytechnic square.
450m from a park which runs the BRTS
corridor. The urban fabric around the
Bhavan showing linkage roads with the
main road, giving the idea of a street
dweller’s capability to support retail establishments.

Built up spaces

Various cultural facilities like:

• Art gallery
• Roopankar, museum of tribal and folk art
• Anhad, library of classical and folk art
• Vagarth, library of Indian poetry
• Print shop, workshop for fine arts including lithography and sculpture
• Ashram, studio for artist in residence
• Theatre spaces
• Auditorium
• Amphitheatres

Planning of spaces

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Built into a hillside which slopes
down toward a lake, a series of
terraces and courtyards comprise
the complex. Upon entering, the
visitor has the choice of following
the path of terraces cascading down
to the lake, or descending to the
three courtyards which
provide access to the
majority of the cultural
facilities.

These include
contemporary art galleries,
a museum of tribal art, an
auditorium, a library of
Indian poetry, a print shop,
and a studio for an artist-in-
residence. From the
courtyards, wide glass-
panelled openings to the
buildings ensure the arts program is both literally and figuratively accessible to all.

The route through the terraces encourages movement down the site’s natural gradient, with the
courtyards providing tranquil spaces for rest and relaxation. The dialogue between these two
components creates an ebb and flow of energy around the complex, in what Correa described as a
“Ritualistic Pathway”.

The complex is shaped by its environment, with climate control as the primary factor. Hence “open
to sky spaces” ideal for the Indian weather. Sunken courtyards provide shade for the midday sun.
Interior spaces are lit by light through concrete shells.

Form of the building

103
• The building form is unique and kept simple based on the column grid-9mX9m.
• The auditorium unique design of RCC shell which has a skylight on top for natural light to enter.
• The enclosed areas are grouped around the sunken courtyards and sits on varied plinths.
• The building is organised on regular formal square modules.

Landscaping

• Roofs are covered with grass

keeping the building cooler.
• Open to sky courtyard are made
to manage the crowd.
• Landscape is built from itself
that gently terminates at the
lakefront forming into an amphitheatre.

Facilities

104
 • Roofs are covered with grass
keeping the building cooler.
• Open to sky courtyard are
made to manage the crowd.
• Landscape is built from itself
that gently terminates at the
lakefront forming into an amphitheatre.

Spaces

01. Permanent Museums

• Houses both tribal and folk art

• Fully equipped workshop for print making and ceramics
• Spaces are characterised by continuous modulation of ceiling and floor
• Materials- exposed concrete, Kota stone flooring

02. Tribal Museum

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 • Creates timelessness experience for the
visitor
• Showcasing both urban and folk art with its
differences
Theatre/ Antharang• Indoor auditorium with
300 people of capacity.
• Seating on 3 sides of the stage.
• No aisles, seating and circulation in the same
thread.
• Lighting is controlled from the control room.
• Maximum distance between last seat & stage is 18m.
• Coffers are covered above to reduce echoes.

03. Administration and Library

Administration:
• Situated in the right corner of the Bhavan
• Main unit for organising festivals and
functions.

Library:
• Has both classical and folk literature
• Contains about 20,000 books

Lighting and ventilation

• Lighting is provided by concrete shells along the parapet wall
• There are shutters between the opening of courtyards and
Terrace
• Consists of combination of fixed glass and
wooden doors for security
purpose

04. Abhirang & Bhairang

106
Abhirang:
• Indoor auditorium with 100 people capacity
• Fully equipped with maintained sound and electronic system.

Bhairang:
• Seating capacity is 1000
• Overlooks the lake and gives character to
the outdoor space
• Each of the Antharang, Abhirang and
Bhairang are attached to green rooms
• The green rooms are 20sq.m in capacity.

Inference

Terraces, Courtyards and open to sky spaces bind the built masses together in transitional spaces.
Courtyards act as important spaces for place making, and effective spaces for community
interaction- for neighbourhood families in the evenings.
The nature of public spaces is inward looking with volumes containing the inside from the outside.
It also caters to night activities and performances which is credited to the functionality of the place
and organisation.
Use of natural and locally available materials making it sustainable and climate responsive.

107
4.5 KALA MANDALAM

Introduction

Location: Thrissur, Kerala, India

Year of construction: 1931
Founder: Vallathol Narayana Menon
Site Area: 33 Acres
Typology: Institute
Major Components: Performance spaces
Art gallery
Studio
Classrooms
Canteen
Administrative block
Costume gallery
Student hostel
Staff quarters

Kerala Kalamandalam, deemed to be University of Art and Culture by the Government of India, is a
major centre for learning Indian performing arts, in Kerala. Situated in the banks of Bharatapuzha
River instituted by the Malayalam poet Vallathol Narayana Menon in 1931 creating space for

108
 performing arts, it follows traditional residential education system.

Spaces

01. Koothambalam

It is an enclosed hall for performances, (koothu means epics where as ambalam is temple) is a
pillared hall with a stage where Kodiyattam performances takes place. Usually located within the
temple premises, the Kalamandalam Koothambalam is a rare example of one located outside a
temple complex. The Natyashastra, a seminal
work on most classical art forms of India by
Sage Bharath (from around 200 BC), also has
governing principles on the design of the
Koothambalam. Natyashastra has emphasized
the need for an exclusive enclosed building for
the success of any performance, ensuring a safe
and secure space for the audience to watch
performances without distraction.

109
Natyashastra recommends 3 shapes for Natyagraha such as:

Koothambalam at Kalamandalam is a Vikrushta-Jyestha hall, meaning it is a rectangular hall

measuring 108 h x 64 h (roughly 77.8 m x 46.1 m). This is because the largest size of Natyagraha
involves larger plays with multiple characters and requires sufficient space for musical instruments.

Parts of Koothambalam

The Ranga-Mandapa: It is located at one end of a

raised platform and tradition- ally begins from the
centre of the platform. It is at a height of 0.45 m
from the platform. However, the Kalamandalam
stage is restricted to the end of the platform to
provide for more seating and viewing space. The
preparation room or nepathyas is traditionally a
narrow single room behind the stage, constructed
entirely of wood, or of brick and wooden Jaalis for
ventilation. The layout of Kalamandalam's kootham
balam includes two nepathyas, a corridor and a
green room. The pillared corridor or prekshagrha
was reserved for non-Brahmin viewers to sit or
stand and view the performance, while here it
works mainly as a circulation route.

02. Kalari
The classroom space in the Kalamandalam, the
Kalari takes on different forms owing to it being a

110
learning space for different art forms.
Drama/Theatre/Instruments Kalari: The Kalari for
drama are rectangular in form. This facilitates a clear
demarcation of space for the guru (teacher), the
students performing before the guru, the singers
(Kathakali sangeetham) and the instrumentalists
(Maddalam and Chenda) at the rear end.

Kathakali is a form of dance-drama practised in Kerala.

Taught as a part of Kathakali Vesha (outfit), Kathakali
Chutti (Makeup) is taught on round earthen pots for
practice, before done directly on the performer. This
Kalari provides space for materials, application and
display. Surrounding the Kalari, is a verandah forming
a buffer space.

1: Poothara, a 7 tiered structure housing the

Kalabhairavan and
Kalabhairavan deities
2: Nagabhagavathi deity
3: Ganapati deity
4: Tripod where past gurus sit
5: Aadimahakalan deity
6: Bhadrakali deity
7: Vetaykkorumakan deity

03. Koothumadam is a shadow play theatre consisting of a

permanent high stage having the dimensions 42ftX8ft. The
entire frontage of the theatre is covered by a curtain which is
partly white and partly black, through which the play is
viewed.

111
Inference

01. Incorporation of traditional architecture to design spaces for performing arts, which aids in
revival of traditional learning for these art forms.
02. Keeping the core culture of the arts which are ritualistic by providing shrines which house
deities.
03. Implementation of traditional vernacular architecture which gives character to the spaces like
sloping roofs and low rise structures.
04. zoning of the built forms were in a manner that provided maximum sunlight and ventilation to
the spaces.

112
CHAPTER 4: INTRODUCTION TO SITE

113
4.7 SITE STUDY AND ANALYSIS

Site location and context

The site is located in Heggodu village near Shramajeevi ashrama, Sagara Taluk, in the state of
Karnataka, India. The village is located in the Sahyhadri mountain range, on the banks of Varada.
The village is known for its cultural institutions, and is a cultural hub of Karnataka.

Demographics and economy of Sagara Taluk and Heggodu

Demographics
Folk art is the way of living in rural life, Sagara taluk has almost more than 50% of its population
living in the villages. The majority religion followed is Hindu with 85% of the population, folk art
practices and most of the folk art is associated with artists are mostly associated with religious
ceremonies and Hindu mythologies.

Economy
The economy of Sagara is mainly driven by areca nut (betel nut), paddy, and spice and forest
products trade.
Betel nut is the major cash crop grown in the area. The economy of the city is highly volatile and is
dependent on the variation in the pricing of these agriculture products. Sagara APMC is one of the
main market for areca nut in Karnataka.

Sagara has a relatively high number of Gudigars (300 approx.)– Families that for generations have
been engaged in sandalwood and stone carving. The sandalwood carving is promoted by the

114
government, by Karnataka state Handicraft Development Corporation, to preserve the practice as it
is declining with more demand but lack of artists learning it and practicing.
Sandalwood carving and idol making is seen to be diminishing as with the older generation, the
proposed folk art centre aims to facilitate spaces for encouraging the craft practice and also an
opportunity to learn the art.

Tourism

Sagara taluk is present at a close proximity to jog falls which is the second highest falls in India and
due to this major factor along with Ninasam being a famous theatre institute with visitors during
drama festivals, tourist development, and accommodations are seen to be coming up in the region.

Site connectivity and transportation

The site is well connected by major roads which are the NH-17 highway and Sagara-Hosnagara
state highway. The national highway has a faster traffic flow compared to the state highway.
Transport facilities are majorly located near the heart of the town and bus stops are provided at
different junctions and nodes through the state highway connecting the town and village. The site is
4.5 kms from the main town limit, and is present opposite to Hongirana School of Excellence which
is the largest school of the taluk.

115
Distance from the cities
01. Bangalore 353 km
02. Mangalore 159 km
03. Shimoga district 68 km

The state highway Sagara-Hosnagara is the only connecting road from the national highway
running through the main town of Sagara taluk, which connects the town to the village.

Landmarks and amenities

Institutions:
01. Hongirana School
02. Ninasam
03. Shramajeevi ashrama

Retail:
01. Kakal supermarket
02. Ambara Chitthara
03. Durga tailors
04. Sambhayya fabrics

Religious places:
01. Mahaganapathi temple
02. Lakshmi Narayana kalyana mantapa
03. Triambakeshwara temple

Hospitals:
01. Government hospital

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Transport:
01. Heggodu new bus stand
Ninasam: Founded in 1949 by a small band of enthusiasts in the little village of Heggodu,
Karnataka, Ninasam has, over these five decades, evolved into a many-winged cultural institution
that has won wide recognition. Avg footfall: 1500-2500 with a 700 seater auditorium.

Shramajeevi Ashrama: The Charaka co-operative employs some 200 women from surrounding
villages and 500 more in other parts of Karnataka and turns over a revenue of ₹6 crore annually.
Weavers from neighbouring districts, for instance, buy hand spun yarn from Charaka and sell
handwoven fabric back to the co-operative. Avg. footfall 2500-3000

Site

01. Site
8.5 acres

12mtr road width

03. Amtekoppa road

7mtr road width
Surrounding:
Agricultural land

05. Hongirana school

playground
06. Shaneshwara temple,
Amtekoppa

117
Contour levels of the site varies from 656m to 645m.
The lowest contour is towards the south east end of the site and the highest contour is at the north
end of the site.

Site Justification

Sagara taluk consists of around 240 villages where folk art is practiced in sectors by local
communities and it is centrally located from folk art prevailing regions in Dakshina Karnataka and
Malnad within 200km.
It is also at a close proximity to tourist places, such as Jog falls, Kodchadri, Keladi, Ikkeri,
Honnemardu, Sharavati wildlife sanctuary, Sigandoor etc. The state highway is which leads to the
village is connected directly to the national highway passing through the main town.

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01. Sagara
Yakshagana 02. Sirsi
Janapada (60km)
Bhavageethe Huli Vesha
Dollu kunita
Chitthara 03. Shimoga
Chowdike Mela (70km)
Krishna Parijatha Yakshagana
Bhavageethe
Janapada
04. Kundapura
(100km)
Gombeyaata

05. Udupi
(150km)
Yakshagana
Huli vesha
Gombeyaata
Bhootha aaradhane

06. Mangalore:
(200km)
Yakshagana
Bhootha aaradhane
Nagamandala

07. Hassan:
(200km)
Somana kunita
Veeragaase

The folk art and cultural centre aims to encourage and provide learning space to folk artists of
Dakshina Karnataka and Malnad region, bring awareness about these art forms to people including
floating tourist population around the taluk and involving the local community participation. The

119
tourist flow can be majorly seen during the months from June to August, which can attract tourists
to visit the centre and spread awareness and learning about folk art forms.

User group
01. Folk artists and students
02. Local community
03. Visitors (floating tourist population)

Tourist attractions
1. Jog falls
(30 kms)
++2. Honnemardu
Wildlife sanctuary
Linganmakki dam
3. Sigandoor
4. Ikkeri
5. Keladi
6. Kalasi
7. Kodchadri

Site: Context and location

120
01. Town limit within 5kms radius with residential and commercial units developing towards the
state highway connecting to Heggodu.

02. Site is located in front of Hongirana school

03. Context at 2 kms of Heggodu with
and is surrounded with vegetation on the north
scattered residential units and present
and east end of the site and is accessible by the
commercial units along the highway.
highway and Amtekoppa road.

Site in Heggodu

Site location influences

01. Proximity to culturally famous institutions enables the centre to be accessed by cultural
enthusiastic and localities with all cultural activities located at one place.
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02. The site is located near to the town limit and village such that it is accessible to the community,
within a vegetated area which provides calm atmosphere for learning.
03. Being located near the state highway, the site has direct visibility and access to tourists passing
through the highway to Sigandoor and the south.
04. The school present near the site can encourage children to develop interest and involve in folk
arts.
05. Bus stops are present at every junction
through the state highway, local
transportation to the village at available at
every hour.

Accessibility

01. Site
8.5 acres

12mtr road width

03. Amtekoppa road

7mtr road width Vehicular access can be provided through the State
highway and pedestrian path along with service entries
Sun and wind path can be provided through Amtekoppa road.

Openings can be provided in building

facades and roofs towards the North as the
daylight is ambient and not harsh.
Openings towards the direction of the wind
flow help in effective ventilation of spaces.
Shading can be provided towards the west
and south-west orientation in buildings to
maintain coolness of inner spaces from the
harsh sunlight.

Noise factors

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Noise from State highway
Noise generator from Hongirana school
grounds
Amtekoppa bus stop present in the south
end is a lesser noise generating factor

Contours

No. of contours: 17
Contour intensity: 1m difference

Highest contour
656m (towards north end of site)
Lowest contour
645m (towards south eastern end of site)

Natural storm water flow towards lowest

contour

Soil type

The soil found in the site is red soil.

The trees present in the site have an
average height ranging from 7m (Nandi)
- 30m (hone, acacia) tall

The surrounding context of the site has

varying contour level intensity.

Climate

The site lies in Malnad region which has a

tropical and wet climate, and the rainy season
occurs from June to October, winters during the
months of November to February. The highest

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average temperature in in
Heggodu is 36°C in March
and the lowest is 25°C in July.

The site is surrounded by

vegetation on which also
decreases the heat flux during
summers.
Maximum rainfall can be seen
around the months of June to
October with rains occurring
almost every day. Sun hours
can be converted to useful energy through solar panels during the summers.
Due to rainfall and heavy monsoon aspects minimum ground coverage can help prevent
waterlogging. Open spaces and entries of buildings must be shaded to provide protection from rain.

Rain water harvesting system, passive strategies and different type slope roofing can be
implemented.

Rain water harvesting and catchment traditional system of storing water can be used, courtyard
planning of buildings.
The site has adequate sun exposure, openings and roof structures can be designed for ambient
lighting to enter from the north to the spaces, shading devices and vegetation can be provided to
control the solar radiation from the west, with minimum facades.

Vernacular aspects and design strategies

Most of the buildings found in the context, are RCC buildings with a vernacular style and sloped
roofing, along with traditional Bhawanti Malnad houses.
01. Vernacular materials used such as mud blocks, Mangalore tiles and oxide flooring.
02. Climate and topography oriented buildings with courtyard planning, wooden grate, attics spaces
and lime plaster.
03. Designing according to contour levels and slopes.

SWOC analysis

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Strengths
01. Close proximity to culturally famous institutions in Karnataka
02. Surrounded by forest and vegetation providing calm environment for learning spaces
03. Accessible to the town and village as it is next to state highway

Weakness
01. Restricted building height
02. Presence of school opposite
03. 7km away from the towns core commercial facilities and hospitality

Opportunity
01. Providing institutionalisation of folk arts, among culturally renowned place-potential to become
a landmark.
02. Attracting and inclining the local community and visitors towards folk art by becoming a public
resource to the locality

Challenges
01. Topography
02. Climatic conditions
03. Attracting different tourist and locality

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4.8 BUILDING PROGRAM

Performing art centre

Performing art learning spaces: Learning studios for performing folk arts of Malnad and Dakshina
Karnataka, along with instruments.
Auditorium (300 seats): Space for large-audience performances along with, costume making, prop
storage and back-of-the-house rehearsal spaces.
Amphitheatre (500 seats): Space for outdoor performances, with backstage, light control
Room, folk stage designs.
Indoor theatre (100 seats): For poem recitals, story-telling sessions, discussions, small folk plays.
Shadow puppet theatre (100-250 seats): For Togalu Gombeyaata shows and performances.

Museum and Gallery

Art studio and exhibition: Art studio space for Chitthara artists and students and exhibition space to
display folk paintings.
Folk artefacts and religious art museum: Folk artefacts along with religious artefact museum
relating to folk culture.

Learning centre

Library: Books on folk art, and reading space for students and local community
Skill centre: Wood carving, stone carving and hand block printing spaces, workshop and store
outlets.

Community centre

Kid’s play area: Used by the kids of community, and visitors.

Community farming area: Folk life is largely associated with farming and agriculture, space where
community and residents can grow vegetation as part of tradition.
Student and faculty housing: Accommodation for teachers and students learning the art,
Guest accommodation: Accommodation for guest artists, religious performing art artists and people
who want to visit and attend workshop and programmes.
Shrine: Folk art associated idol worship space, used by people of the centre and community
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5.0 ZONING

Paths around OAT and central

region connecting the theatres
and the studios are paved and
are also finished with mud.

The green spaces around the

OAT act as a buffer and
sculptures are installed
distinguishing the central
region from other spaces.

Steps are provided to move

from one contour to another
and the paths of wide width
are provided for street
performances to also take
place amidst the practice
studios

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5.1 MASTERPLAN 01. Intimate theatre
02 Shadow puppet theatre
03. Auditorium
04 Boy's accommodation 05
Women's block
06 Faculty housing row
housing)
07. Veeragaase practice
studio
08. Dollu kunita practice
studio
09 Yakshagana practice
studio
10. Instrument practice studio
11. Drama studio
12. Somana kunita practice
studio
13. Shrine
14. Canteen
15. Administration
16. Krishna Parijatha studio
17. Janapada Geethe studio)
18. Bhavageethe studio
19. Chowdike mela
20 Talamaddale studio
21 Exhibition
22 Art studio
23 Pottery workshop
24 Basket weaving workshop.
25. Guest accommodation
26 Oat
27. Museum
28 Library
29. Workshop
30. Parking
128
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