ART AND CRAFT VILLAGE

SOBIYA.G
INTRODUCTION
• Despite some successful crafts-based businesses such as Fab India and Anokhi, the majority of
craft production remains unorganized and informal with its full market potential untapped,
especially by the artisan, who more often than not struggles for sustenance.

• Propelled by loss of markets, declining skills and difficulty catering to new markets, a large
number of artisans have moved to urban centers in search of low, unskilled employment in
industry.

According to the UN, over the past 30 years, the number of

Indian artisans has decreased by 30%, indicating the need to
re-invest in artisans.

• The cultural importance of handicrafts leads to the

preservation
Of the heritage, traditional skills and the art. Its economic importance
lies in high employment potential, low capital investment, high value
addition, and potential for export/foreign exchange earning.
NEED OF THE PROJECT
• Artisans are the backbone of India’s non-farm rural economy, engaged in craft production to earn a
livelihood.

• However, propelled by loss of markets, declining skills and difficulty catering to new markets, the number of
Indian artisans has been rapidly decreasing.

• So, there is a need for re-investment in artisans to safeguard history, culture and an important source of
livelihood.

• Both illiteracy and unawareness of the artisans become the major hurdles in their development. They do not
get the market value for their products because of their incompetence to reach the markets themselves. The
artisans depend upon the mediators for their products to reach the market and thus are paid less than the
market price of the products. There is usually a very wide differential between the manufacturer's price,
export price and retail price for all handmade products. Thus the key problem of the artisans is the
asymmetric information of the new potential markets of their products.

• This project will look ways to initiate direct public and artisan relationship so that they can be beneficial to
each other.
AIM OF THE PROJECT

• To Design an establishment to bring investors and customers to artisans, by engaging the public
through street market, exhibition, workshop and discussion about art.

OBJECTIVES OF THE PROJECT

• To enhance the creation of art and to Design a comfortable and relaxed atmosphere for artists.

• To make art open for interaction with people.

• To sell their artistic ideas.

ARCHITECTURAL SCOPE
• Analyzing the different typologies of the building and how they function well and utilizing them as an
advantage.

• Working on a Master plan for a large parcel of land.

• Re-adaptation of the space by integration with the building.

LIVE CASE STUDY
• CHOLAMANDALAM ARTIST VILLAGE at Injambakkam By shilpa
architects
• SARGAALAYA ARTS AND CRAFTS VILLAGE, Iringal, Kerala

LITERATURE STUDY
• ARTIST VILLAGE, belapur, navi mumbai by charles correa
• UTTARAYAN ART VILLAGE , Vadodara, Gujarat designed by Ar.
Karan Grover
STATISTIC
S• India shares of the global market for crafts is less than 2% . Due to urbanisation handmade sectors-handicrafts and
handlooms has been reduced.

• The handloom census in 1995 and the third one 2009-2010, the number of handloom weavers, zari and carpet
workers decreased by 2.2 million.

• India is the home to an estimated 6.8 million artisans. The products of handmade products is the second largest
source of employment after agriculture in rural areas.

ABOUT THANJAVUR
• Thanjavur is an important center of South Indian religion, art,
and architecture.
• Thanjavur is home to Tanjore painting, a painting style unique to
the region.
HANDICRAFTS OF THANJAVUR

Tanjore paintings Dolls & toys making Wood carving Bronze idol making

Art plate
Thanjavur Veena Metal ware works
 Meta cluster of tamilnadu
• The crafts of thanjavur are scattered in these areas,

• Kumbakonam - wood carving.

• Nachiyarkoil – metalware- bell, kuthuvilakku.
• Narasingapettai – musical instruments- nagaswaram, veena.
• Thirupananthal – wood carving
• Swamimalai – metalware- panchaloham.
• Papanasam – wood carving
• Thanjavur – art plate, dolls & toys making , painting palagai padam ,
pithallai thatu , wood carving.

SITE JUSTIFICATION
• The site was chosen as Thanjavur on
the basis of its tourists attraction.
• And this location has lots of crafts in
it,and since it is the capital of
Thanjavur.
SITE SELECTION
• The site is located 5km away from the
main city (Thanjavur).
• The site is about 18 Acres.
• The site is located near the south cultural
zone centre, thanjavur.
• The neighbourhood are south cultural zone
centre, edge hill pre school, tamil
university herbal garden at north east of the
site, tamilnadu electricity board is opposite
to the site.
• The site is surrounded by residential areas.
• The presence of the religious buildings
gives us an idea about cultural context of
the site.

Proximity
• 5.2 km from Railway station
• 2.75 km from Bus station
Area requirement

ART WORK

Zoning are divided into 3 zones -

Public, semi public, and private.
STUDIOS Providing housing for two types of
OUTDOOR WORK SPACES residents - Permanent and temporary