architectural thesis on winery in india

Winery and resort: for a touristic wine experience

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Winery at Nashik, by Sachin Agshikar Architects

• April 18, 2018

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Even though this made the construction process difficult, the building blocks emerging unexpectedly from the valley was striking when seen from the road. The contours also helped in creating stepped platforms within the building, helping the manufacturing process of wine using gravity. It was a preferred way of making wine where the grape crusher is located at higher level and the tanks are located below to avoid pumping.

The main approach road was intentionally taken around the hill so that the building which was quite big in size (as it has to house huge stainless steel tanks), was not seen. Having placed within the valley, it was almost invisible- as you land up on top of the hill which is in level with the roof of the building, which was to be landscaped. A small structure on top indicates entry point to this large building and one is slowly exposed to an interesting space with double height volume and stainless steel tanks and pipes, shining in the controlled natural light entering through the skylights.

A gigantic circular tank was placed on the highest point of the site. A wall peeling off the cylinder was mainly to accommodate the staircase leading to the rooftop. An amazing view of a lake far beyond, is seen from this point.

The final proposal was also to have an Experience Lounge on top of the hill along with library, shop and office space. Unfortunately only 25% of the entire proposal was built and the rest is on hold till date. The images of completed project till date has been given below.

Sachin Agshikar Architects

• Completed , Industrial , Nashik , Sachin Agshikar , Sachin Agshikar Architects

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Its Amazing!! Could you tell where is exact location of this winery in Nashik?

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Writing an Architecture Thesis: A-Z Guide

ishika kapoor

14 min read

January 5, 2022

Table of Contents

How to Choose Your Architecture Thesis Topic

As with most things, taking the first step is often the hardest. Choosing a topic for your architecture thesis is not just daunting but also one that your faculty will not offer much help with. To aid this annual confusion among students of architecture, we've created this resource with tips, topics to choose from, case examples, and links to further reading!

[Read: 7 Tips on Choosing the Perfect Architecture Thesis Topic for you ]

1. What You Love

Might seem like a no-brainer, but in the flurry of taking up a feasible topic, students often neglect this crucial point. Taking up a topic you're passionate about will not just make for a unique thesis, but will also ensure your dedication during tough times.

Think about the things you're interested in apart from architecture. Is it music? Sports? History? Then, look for topics that can logically incorporate these interests into your thesis. For example, I have always been invested in women's rights, and therefore I chose to design rehabilitation shelters for battered women for my thesis. My vested interest in the topic kept me going through heavy submissions and nights of demotivation!

Watch Vipanchi's video above to get insights on how she incorporated her interest in Urban Farming to create a brilliant thesis proposal, which ended up being one of the most viewed theses on the internet in India!

2. What You're Good At

You might admire, say, tensile structures, but it’s not necessary that you’re also good at designing them. Take a good look at the skills you’ve gathered over the years in architecture school- whether it be landscapes, form creation, parametric modelling- and try to incorporate one or two of them into your thesis.

It is these skills that give you an edge and make the process slightly easier.

The other way to look at this is context-based , both personal and geographical. Ask yourself the following questions:

• Do you have a unique insight into a particular town by virtue of having spent some time there?

• Do you come from a certain background , like doctors, chefs, etc? That might give you access to information not commonly available.

• Do you have a stronghold over a particular built typology?

3. What the World Needs

By now, we’ve covered two aspects of picking your topic which focus solely on you. However, your thesis will be concerned with a lot more people than you! A worthy objective to factor in is to think about what the world needs which can combine with what you want to do.

For example, say Tara loves photography, and has unique knowledge of its processes. Rather than creating a museum for cameras, she may consider a school for filmmaking or even a film studio!

Another way to look at this is to think about socio-economically relevant topics, which demonstrate their own urgency. Think disaster housing, adaptive reuse of spaces for medical care, etcetera. Browse many such categories in our resource below!

[Read: 30 Architecture Thesis Topics You Can Choose From ]

4. What is Feasible

Time to get real! As your thesis is a project being conducted within the confines of an institution as well as a semester, there are certain constraints which we need to take care of:

• Site/Data Accessibility: Can you access your site? Is it possible to get your hands on site data and drawings in time?

• Size of Site and Built-up Area: Try for bigger than a residential plot, but much smaller than urban scale. The larger your site/built-up, the harder it will be to do justice to it.

• Popularity/Controversy of Topic: While there’s nothing wrong with going for a popular or controversial topic, you may find highly opinionated faculty/jury on that subject, which might hinder their ability to give unbiased feedback.

• Timeline! Only you know how productive you are, so go with a topic that suits the speed at which you work. This will help you avoid unnecessary stress during the semester.

How to Create an Area Program for your Architecture Thesis

Watch SPA Delhi Thesis Gold-Medallist Nishita Mohta talk about how to create a good quality area program.

Often assumed to be a quantitative exercise, creating an area program is just as much a qualitative effort. As Nishita says, “An area program is of good quality when all user experiences are created with thought and intention to enhance the usage of the site and social fabric.”

Essentially, your area program needs to be human-centric, wherein each component is present for a very good reason. Rigorously question the existence of every component on your program for whether it satisfies an existing need, or creates immense value for users of your site.

To this end, you need to create three lists:

• A list of proposed spaces by referring to area programs of similar projects;

• A list of needs of your users which can be fulfilled by spatial intervention.

• A list of existing functions offered by your immediate context.

Once you put these lists side-by-side, you’ll see that you are able to match certain needs of users to some proposed spaces on your list, or to those in the immediate context.

However, there will be some proposed spaces which do not cater to any need, and needs that are not catered to by any of the spaces. There will also be certain proposed spaces which are redundant because the context already fulfils that need.

This when you remove redundant spaces to create ones for unmatched needs, and viola, you have a good quality area program!

Confused? Here’s an example from the above video. Nishita originally intended to provide a typical eatery on her site, which she later realised was redundant because several eateries already existed around it. In this manner, she was able to fulfil the actual needs of her users- one of which was to be able to rest without having to pay for anything- rather than creating a generic, unnecessary space.

How to Identify Key Stakeholders for Your Architecture Thesis

“A stakeholder? You mean investors in my thesis?”, you scoff.

You’re not wrong! Theoretically, there are several people invested in your thesis! A stakeholder in an architectural project is anyone who has interest and gets impacted by the process or outcome of the project.

At this point, you may question why it’s important to identify your stakeholders. The stakeholders in your thesis will comprise of your user groups, and without knowing your users, you can’t know their needs or design for them!

There are usually two broad categories of stakeholders you must investigate:

• Key Stakeholders: Client and the targeted users

• Invisible Stakeholders: Residents around the site, local businesses, etc.

Within these broad categories, start by naming the kind of stakeholder. Are they residents in your site? Visitors? Workers? Low-income neighbours? Once you’ve named all of them, go ahead and interview at least one person from each category!

The reason for this activity is that you are not the all-knowing Almighty. One can never assume to know what all your users and stakeholders need, and therefore, it’s essential to understand perspectives and break assumptions by talking directly to them. This is how you come up with the aforementioned 'List of Needs', and through it, an area program with a solid footing.

An added advantage of carrying out this interviewing process is that at the end of the day, nobody, not even the jury, can question you on the relevance of a function on your site!

Why Empathy Mapping is Crucial for Your Architecture Thesis

Okay, I interviewed my stakeholders, but I can’t really convert a long conversation into actionable inputs. What do I do?

This is where empathy mapping comes in. It basically allows you to synthesize your data and reduce it to the Pain Points and Gain Points of your stakeholders, which are the inferences of all your observations.

• Pain Points: Problems and challenges that your users face, which you should try to address through design.

• Gain Points: Aspirations of your users which can be catered to through design.

In the above video, Nishita guides you through using an empathy map, so I would highly recommend our readers to watch it. The inferences through empathy mapping are what will help you create a human-centric design that is valuable to the user, the city, and the social fabric.

Download your own copy of this Empathy Map by David Gray , and get working!

Beyond Case Studies: Component Research for your Architecture Thesis

Coming to the more important aspects, it’s essential to know whether learning a new skill will expand your employability prospects. Otherwise, might as well just spend the extra time sleeping. Apart from being a highly sought-after skill within each design field, Rhinoceros is a unique software application being used across the entire spectrum of design. This vastly multiples your chances of being hired and gives you powerful versatility as a freelancer or entrepreneur. The following are some heavyweights in the design world where Rhino 3D is used:

Case Studies are usually existing projects that broadly capture the intent of your thesis. But, it’s not necessary that all components on your site will get covered in depth during your case studies.', 'Instead, we recommend also doing individual Component (or Typology) Research, especially for functions with highly technical spatial requirements.

For example, say you have proposed a residence hall which has a dining area, and therefore, a kitchen- but you have never seen an industrial kitchen before. How would you go about designing it?', 'Not very well!', 'Or, you’re designing a research institute with a chemistry lab, but you don’t know what kind of equipment they use or how a chem lab is typically laid out.

But don’t freak out, it’s not necessary that all of this research needs to be in person! You can use a mixture of primary and secondary studies to your advantage. The point of this exercise is to deeply understand each component on your site such that you face lesser obstacles while designing.

[Read: Site Analysis Categories You Need to Cover For Your Architecture Thesis Project ]" ]

The Technique of Writing an Experiential Narrative for your Architecture Thesis

A narrative? You mean writing? What does that have to do with anything?

A hell of a lot, actually! While your area programs, case studies, site analysis, etc. deal with the tangible, the experience narrative is about the intangible. It is about creating a story for what your user would experience as they walk through the space, which is communicated best in the form of text. This is done for your clarity before you start designing, to be your constant reference as to what you aim to experientially achieve through design.

At the end of the day, all your user will consciously feel is the experience of using your space, so why not have a clear idea of what we want to achieve?

This can be as long or as short as you want, it’s completely up to you! To get an example of what an experience narrative looks like, download the ebook and take a look at what Nishita wrote for her thesis.

Overcoming Creative Blocks During Your Architecture Thesis

Ah, the old enemy of the artist, the Creative Block. Much has been said about creative blocks over time, but there’s not enough guidance on how to overcome them before they send your deadline straight to hell.

When you must put your work out into the world for judgement, there is an automatic fear of judgement and failure which gets activated. It is a defensive mechanism that the brain creates to avoid potential emotional harm.

So how do we override this self-destructive mechanism?

As Nishita says, just waiting for the block to dissolve until we magically feel okay again is not always an option. Therefore, we need to address the block there and then, and to systematically seek inspiration which would help us with a creative breakthrough.

This is where the concept of Divergent and Convergent Thinking comes in.

• Divergent Thinking: Say you browse through ideas on pinterest to get inspired. If you’re in a creative rut, do just that, but don’t worry about implementing any of those ideas. Freely and carelessly jot down everything that inspires you right now regardless of how unfeasible they may be. This is called Divergent Thinking! This process will help unclog your brain and free it from anxiety.

Divergent and convergent thinking.

• Convergent Thinking: Now, using the various constraints of your architecture thesis project, keep or eliminate those ideas based on how feasible they are for your thesis. This is called Convergent Thinking. You’ll either end up with some great concepts to pursue, or have become much more receptive to creative thinking!

Feel free to use Nishita’s Idea Dashboard (example in the video) to give an identity to the ideas you chose to go forward with. Who knows, maybe your creative block will end up being what propels you forward in your ideation process!

How to Prototype Form and Function During Your Architecture Thesis

Prototyping is one of the most crucial processes of your architecture thesis project. But what exactly does it mean?

“A preliminary version of your designed space which can be used to give an idea of various aspects of your space is known as a prototype.”

As Nishita explains in the video above, there can be endless kinds of prototypes that you can explore for your thesis, and all of them explain different parts of your designed space. However, the two aspects of your thesis most crucial to communicate through prototyping are Form and Function.

As we know, nothing beats physical or 3D models as prototypes of form. But how can you prototype function? Nishita gives the example of designing a School for the Blind , wherein you can rearrange your actual studio according to principles you’re using to design for blind people. And then, make your faculty and friends walk through the space with blindfolds on! Prototyping doesn’t get better than this.

In the absence of time or a physical space, you may also explore digital walkthroughs to achieve similar results. Whatever your method may be, eventually the aim of the prototype is to give a good idea of versions of your space to your faculty, friends, or jury, such that they can offer valuable feedback. The different prototypes you create during your thesis will all end up in formulating the best possible version towards the end.

Within the spectrum of prototypes, they also may vary between Narrative Prototypes and Experiential Prototypes. Watch the video above to know where your chosen methods lie on this scale and to get more examples of fascinating prototyping!

How to Convert Feedback (Crits) into Action During Your Architecture Thesis Project

Nishita talks about how to efficiently capture feedback and convert them into actionable points during your architecture thesis process.

If you’ve understood the worth of prototyping, you would also know by now that those prototypes are only valuable if you continuously seek feedback on them. However, the process of taking architectural ‘crits’ (critique) can often be a prolonged, meandering affair and one may come out of them feeling dazed, hopeless and confused. This is especially true for the dreaded architecture thesis crits!

To avoid that, Nishita suggests capturing feedback efficiently in a simple grid, noting remarks under the following four categories:

• Amplify: There will be certain aspects of your thesis that your faculty and friends would appreciate, or would point out as key features of your design that must be made more prominent. For example, you may have chosen to use a certain definitive kind of window in a space, which you could be advised to use more consistently across your design. This is the kind of feedback you would put under ‘Amplify’.

• Address: More often, you will receive feedback which says, ‘this is not working’ or ‘you’ve done nothing to address this problem’. In such cases, don’t get dejected or defensive, simply note the points under the ‘Address’ column. Whether you agree with the advice or not, you cannot ignore it completely!

• Explore: Sometimes, you get feedback that is totally out of the blue or is rather unclear in its intent. Don’t ponder too long over those points during your crit at the cost of other (probably more important) aspects. Rather, write down such feedback under the ‘Explore’ column, to investigate further independently.

• Consider: When someone looks at your work, their creative and problem-solving synapses start firing as well, and they are likely to come up with ideas of their own which you may not have considered. You may or may not want to take them up, but it is a worthy effort to put them down under the ‘Consider’ column to ruminate over later!

Following this system, you would come out of the feedback session with action points already in hand! Feel free to now go get a coffee, knowing that you have everything you need to continue developing your architecture thesis project.

How to Structure Your Architecture Thesis Presentation for a Brilliant Jury

And so, together, we have reached the last stage of your architecture thesis project: The Jury. Here, I will refrain from telling you that this is the most important part of the semester, as I believe that the process of learning is a lot more valuable than the outcome. However, one cannot deny the satisfaction of a good jury at the end of a gruelling semester!

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Submitted by WA Contents

Winners announced for architecture thesis of the year 2020, india architecture news - sep 02, 2020 - 16:30   29728 views.

theCharette encourages free flow of unfettered ideas that seek to develop ingenious solutions for complex problems of the future. theCharette has announced the three winning projects for Architecture Thesis of the Year 2020 . 

The "Architecture Thesis of the Year | ATY 2020" is an international architecture thesis competition organized by theCharette. The aim of the competition is to extend appreciation to the tireless effort and exceptional creativity of student thesis in the fields of Architecture, Urban Design, Landscape and Restoration. 

theCharette seeks to encourage young talent in bringing their path breaking ideas to the forefront on a global scale. The competition received over 1000 entries from 104 nations across the world. See the crème de la crème of thesis projects from students all over the world for the 2020 edition of the competition.

The full results, including the winners, the honourable mentions, and the top 30 shortlisted entries can be viewed at theCharette's website . 

The jury panel composed of Marcia Kogan (Studio MK27, Brazil), Bruno Rollet (Bruno Rollet Architecte, Paris), Daniela Deutsch (Associate Prof., NewSchool of Architecture & Design, California), DR. Caroline Hachem-Vermette (Assistant Prof, University of Calgary, Canada) and Stefan Kristofferson (Stratic, Germany, Sweden & India).

See top three winners and read short project descriptions below:

Images courtesy of the artists

1st Prize Winner

ISTHME // L e CHAOS SENSIBLE by Dafni Filippa and Meriam Sehimi from Germany took home the top prize with their people oriented project. The students from the Technical University of Munich designed a scheme that the jury described as "poetic, based on real-life observations, lightweight and extraordinarily beautiful."

Jurors loved the simplicity and fluidity of the masterplan and how another culture is interpreted. They felt that drawings are adequate, sensitive and stunning.

Images courtesy of the artist

2nd Prize Winner

Fabiola del Carmen Cruz Ballardo, from Peru, won second place for her project, AMAZONIA TRANS _ TRI _ FRONTERIZA. Three countries: Peru, Brazil, Bolivia; and two communities: Mancheron, Yamaha. All separated by artificial borders. Nevertheless, they share a common Amazonian culture. 

There is a will to unite people in this project, to respect different traditions, to propose different places, uniting past present and future with traditional languages, medical plants and culture. A "bridge" is created to consolidate this place and to respect it through the world: it can be seen like an SOS. Because this project is also implicitly about the amazon forest: calling to save its richness, be it natural or cultural.

3rd Prize Winner

Third place in the competition went to Philip Springall from United Kingdom. His project is a multidisciplinary exploration of Alzheimer’s disease, architecture and neuroscience. Alzheimer’s is a progressive disease that slowly strips away the notions of place, memory, identity and the self. 

The project investigates the role that architecture and the built environment can play in improving the lives of those with Alzheimer’s disease. The jury felt that the project "...contemplates a powerful concept which might have great applications in the real world."

The ATY Competition is an annual competition and will be released again in Summer of 2021.

Top image: 2nd Prize Winner Fabiola del Carmen Cruz Ballardo

> via theCharette

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Development of Andretta Artist Village, Palampur, Himachal Pradesh, India

D evelopment

A n dretta A rtist ’ s V illa g e

P a l a m p u r , H i m a c ha l P r ad e s h , I n d i a

T hesis R eort :2018 A uthor :Y ash S iroliya ,

cun 130301135

P a l a m p u r , H i m a c ha l P r ad e s h , I n d i a A Thesis Report Submitted To Chitkara University For Graduation in Bachelor of Architecture 2018

T hesis T itle : D evelopment O f A ndretta A rtist ’ s V illage , P alampur , H imachal P radesh , I ndia A uthor : Y ash S iroliya C ode : c UN130301135 S ession : J anuary - J une 2018 N o . of T otal P ages : 118 C hitkara S chool O f P lanning & A rchitecture C hitkara U niversity ,P unjab ,I ndia Development of Andretta Artist’s Village, Palampur,Himachal Pradesh, India

R E C O M M E N D AT I O N We hereby certify that the Thesis Report entitled ‘‘Development of Andretta Artist’s Village’ Palampur, Himachal Pradesh, India’’, prepared by Yash Siroliya under our guidance, be accepted as a requirement for the partial fulfillment of the Degree of Bachelor of Architecture.

Dated: 22nd May 2018

____________________ ____________________ Prof. Niyati Jigyasu Prof. Kiran Joshi Studio Co-ordinator Director, CSPA Thesis Studio Team: Ar. S. L. Kaushal Ar. Suchitra Sodhi Ar. Lohit Jain

Examined on 24th May 2018 External Examiners: __________________________

_________________________

Development of Andretta Artist’s Village, Palampur,Himachal Pradesh, India

U N D E R TA K I N G I, Yash Siroliya, the author of the thesis titled ‘‘Development of Andretta Artist’s Village’ Palampur, Himachal Pradesh, India’’ hereby declare that this is an independent work of mine carried out towards partial fulfilment of the requirements for the award of the Bachelor of Architecture degree by Chitkara School of Planning and Architecture, Chitkara University, Punjab, India. This work has not been submitted or is being submitted to any other institution for the award of any degree/diploma. I also certify that the thesis report has been wrtten by me. Any help received in undertaking this research and preparing the thesis submission has been duly acknowledged. All views and opinions expressed in this thesis report are mine, and do not necessarily represent those of the institute. I also understand that any part(s) (eg. conceptual ideas, empirical findings, data etc.) of this study work are not mine, if not duly acknowledged, constitutes plagiarism.

S ign : N ame : Y ash S iroliya C ode : c UN130301135 D ate : 22 nd M ay 2018

ACKNOWLEDGEMENTS I would like to express my sincere and heartfelt gratitute towards all who have supported me in this endeavour. Without their guidance, critique, help, encouragement and co-operation, I would not have made headway in this journey of architecture. I am indebted to Chitkara School of Planning and Architecture, Chitkara University. for giving me this opportunity to undertake a study based design project of personal interest as a part of Bacelor of architecture curriculum. I am extremely thankful and pay my gratitute to Dean Prof. Kiran Joshi, visiting Faculty Ar. S L Kaushal and Ar. Suchitra Sodhi. my faculty guide Prof. Niyati Jigyasu, Asso. Prof. Lohit Jain. for their patience , valuable guidance and knowledgeable support at every step of this thesis project right up to the completion. I would like to extend my sincere thanks to Prof. Satish Kumar Verma of Punjabi University Patiala for providing information on timeline of Andretta as an artist village. A special thanks to Ar. Savneet Kaur and team at ICEA (Imarat Centre for Earthen Architecture) for providing their best of research content and information regarding vernacular construction systems in lower himalayan belt. I also express my gratitude towards Dr. Hriday Paul Singh of Sobha Singh Art Gallery and Museum,Subham Sankhyan of Andretta Pottery, Palampur Municipal Administration in providing the ownership drawings of the region and all the families at Andretta Village for their co-operation and honest responses to the field survey. Their perspectives and inputs enriched the end product. A heartful thanks to Ar. Ravnish Batth and Ar. Disha Jain without whose support this project would’nt have been originally conceived. My respective thanks towards Ar. Shabbir Unwala and complete team of Design Workshop, Lonavla. I am extremely thankful to Prof. Nirav Hirpara ,Prof.Datta Ekbote, Prof. Bela Hirpara Prof. Jignesh Vyas, and Prthiviraj Mali in shaping my basics of architecture during Initial years at School of Architecture - Vadodara Design Academy , Vadodara. I am thankful to batch’13 of VDA and CSPA for being a part in the learning process of architecture. A sparkling thanks to Oshin, Mohita, Radhika, Vijaykaran for bearing me at CSPA. I am also thankful to Dipesh, Garima and Aman for the final year. A special mention to Nirav Suthar, Dhanraj Suthar, Sarjan Dalal, Aryaman Gotharwal, Jyotsana Bhudia and Dowell Khunt of VDA for the thesis year. Thankful to Bansal family at Banur for making the best of stay possible. Finally , I also acknowledge with a deep sense of reverance, my gratitude towards my grandmother, parents, elder sister, elder brother and whole familiy, who have always supported me morally as well as economically. Any omission in this brief acknowledgement does not mean lack of gratitute. Development of Andretta Artist’s Village, Palampur,Himachal Pradesh, India

CONTENTS Recommendation...............................................................................iii Undertaking.......................................................................................iv Acknowledgements............................................................................v Abstract..........................................................................................vi List of Figures..................................................................................vii Maps...........................................................................................x Tables..........................................................................................x Images.........................................................................................x Graphs........................................................................................xi Chapter 1.0 Project Genesis 1.1 General background of the study........................................13 1.2 Andretta as an art settlement.............................................15 1.2.1 Significant magnets of the settlement......................................18 1.2.2 Present scenario of the settlement.........................................19 1.2.3 Development of the settlement.............................................19 1.3 Justification of the project................................................22 1.3.1 Reason for choice of site................................................22 1.4 Definition of the project..................................................22 Chapter 2.0 Review of related Literature 2.1 Tourism......................................................................24 2.1.1 Introduction............................................................24 2.1.2 Different forms of tourism...............................................26 2.1.3 Tourism development in India.............................................27 2.1.4 Tourism development in Himachal Pradesh................................29 2.1.5 Tourists circuits of Himachal Pradesh....................................31 2.1.6 Conclusion.............................................................32 2.2 Artist’s Commune..........................................................33 2.2.1 International art colonies...............................................33 2.2.2 Artists settlements in India...............................................34 2.3 Regional Architectural Vocabulary......................................35 2.3.1 Vernacular Architecture of Himachal Pradesh...........................35 2.3.2 Vernacular Architecture of Foothills....................................37 2.3.3 Traditional Construction Techniques of Foothills........................37 2.3.4 Parameters for Climatic Responsive Design...............................38 2.3.5 Study and Analysis of Typical Dwelling Unit.............................38 Chapter 3.0 Synopsis 3.1 Need of the project........................................................41 3.2 Intention....................................................................41 3.3 Objective....................................................................41 3.4 Scope of the project.......................................................41 3.5 Limitations of the project..................................................41 3.6 General statement..........................................................42 Development of Andretta Artist’s Village, Palampur,Himachal Pradesh, India

3.7 Project typology...........................................................42 3.8 User typology..............................................................42 3.9 Methodology..............................................................42 3.10 Assumptions..............................................................42

Chapter 4.0 Case Studies 4.1 Based

Functional Character..........................................44

4.1.1 Khamir Craft Resource Centre, Bhuj, Gujarat, India.....................44

4.1.2 Sanskriti Kendra Anandgram, Delhi, India...............................52

Village Redevelopment..........................................56

Vernacular Construction System.............................63

Existing Fuctional Aspect......................................68

Art Festivals.....................................................70

4.2.1 Gandhi Nu Gaam, Ludiya, Kutch, Gujarat, India.........................56 4.3.1 Norah Richards House, Andretta, Himachal Pradesh, India..............63 4.4.1 Andretta Pottery, Andretta, Himachal Pradesh, India....................68

4.5.1 Kochi-Muziris Biennale, Kochi, Himachal Pradesh, India..................70

Chapter 5.0 Site Studies

5.1 Location and Regional Context..........................................72 5.2 Village Profile..............................................................74 5.3 Action Area................................................................75 5.4 Baseline Studies.............................................................77 5.5 Site Survey..................................................................83 5.6 Site Analysis................................................................86 5.7 Focus Area.................................................................88

Chapter 6.0 Program Derivation

6.1 Guidelines for Program Derivation.......................................90 6.2 Derivation of Design Components........................................91 6.3 Proposed Program..........................................................92

Chapter 7.0 Proposed Design Intervention 7.1 Project Development.......................................................99 7.2 Design Development......................................................103 7.3 Final Outcome............................................................104 Bibliography....................................................................................114 Annexure.......................................................................................116 Questionnare..............................................................................116 Entries......................................................................................117 Definitions.................................................................................118

Development of Andretta Artist’s Village, Palampur,Himachal Pradesh, India

ABSTRACT “ The culture of a civilization is the art and literature through which it rises to consciousness of itself and defines its vision of the world” - Roger Scruton (2007) “Culture counts faith and feeling in a world besieged”. Art is an expression of thoughts. It is a way to represent the socio behavioral characteristics & knowledge of a particular group or society that shapes culture in a particular way, where in artists as an individual or group showcases the ability to manipulate the art form and its experiences by every individual perceiving it. Thus Art, Culture with Artist forms a significant whole in shaping society. There also seems to be a strong similarity a overlap between art and public space which is a space for people so is the art of creative expressions resulting in cultural identity of the space. There is a continuous exchange of expression that triggers an act of cohesion happening at the same moment of time, forming a dialogue and thus shaping spaces around it. In Present scenerio there is a rising need to sensitize visitors towards aesthetic and cultural norms that govern all the creative personas by creatng an interdisciplinary approach for experimentation and innovation.This can be done via reviving defunct art settlements as they showcase a cultural connect with the setting. The crux of the project here aims at ‘Development of Andretta atist’s village near Palampur in Himachal Pradesh, India’ with a focus on reviving its lost cultural attribute of being an artist settlement. The idea here aims at creating a global meeting platform for artists, art lovers from all the creative personas to interact , learn and showacase their work to the outside world. This idea can be efficiently perceived via development of Andretta village with emphasis on social, economic and cultural growth, which furthur provides a progressive growth pattern to the village.

LIST OF FIGURES Maps

Chapter 1.0

Map 1: Location Map of Andretta..................................................................................................15

Chapter 2.0

Map 2 : Location Map of Himachal Pradesh......................................................................................29 Map 3 : Map of Himachal Pradesh showing classification of zones....................................................36

Chapter 4.0

Map 4 : Map of Bhuj,Gujarat..........................................................................................................56

Chapter 5.0

Map 5 : Location map of Kangra region in Himachal Pradesh..........................................................72 Map 6 : Location of Andretta in reference to Dhauladhar Circuit Map..............................................72 Map 7 : Regional map of Andretta village.......................................................................................72 Map 8 : Map of Andretta village....................................................................................................73 Map 9 : Significant magnets of Andretta village...............................................................................74 Map 10 : Co-ordinated Map..........................................................................................................75 Map 11 : Figure Ground Map........................................................................................................77 Map 12 : Building Use Map...........................................................................................................78 Map 13 : Building Height Map.......................................................................................................79 Map 14 : Building Vocabulary Map................................................................................................80 Map 15 : Building Condition Map...................................................................................................81 Map 16 : Building Survey Map.......................................................................................................82

Table 1 : Biophysical zones of Himachal Pradesh.............................................................................30 Table 2 : Features of adobe vernacular houses.................................................................................39

Table 3 : General description and analysis of Khamir Craft Resource Centre, Bhuj.............................46 Table 4 : Area Distribution table of Khamir Craft Resource Centre,Bhuj.............................................50

Chapter 6.0

Table 5 : Derivation of Design Components.....................................................................................91 Table 6 : Proposed Program..........................................................................................................92

Chapter 1.0 Image 1 : Image 2 : Image 3 : Image 4 : Image 5 :

View of Andretta Village................................................................................................16 View of Woodland Estate...............................................................................................18 View of Norah’s house...................................................................................................18 View of Sobha Singh Art Gallery and Museum................................................................18 View of Andretta Pottery and Craft Society......................................................................18

Image 6 : Art colony at Worpswede...............................................................................................33 Image 7 : Yaddo art colony...........................................................................................................33 Image 8 : Rovinj art colony............................................................................................................33 Image 9 : Salt Spring Island..........................................................................................................33 Image 10 : Nida Art Colony..........................................................................................................34 Image 11 : Cholamandal Village...................................................................................................34 Image 12 : Saputara Village.........................................................................................................34 Image 13 : Bishnupur Village........................................................................................................34 Image 14 : Hodka village..............................................................................................................34 Image 15 : Raghurajpur Village.....................................................................................................34 Image 16 : Traditional mud house at sindbari, Kangra region...........................................................37 Development of Andretta Artist’s Village, Palampur,Himachal Pradesh, India

Image 17 : Traditional dry stone construction..................................................................................38 Image 18 : Adobe brick walls + Roof made of wooden beam finished with slates..............................38

Image 19 : View of Khamir Craft Resource Centre, Bhuj, Gujarat.....................................................44 Image 20 : Site Plan of Khamir Craft Resource Centre, Bhuj, Gujarat................................................45 Image 21 : Accomodation Facilities, Khamir...................................................................................45 Image 22 : Studio & retail outlet,Khamir.........................................................................................45 Image 23 : Display area, Khamir...................................................................................................45 Image 24 : Gathering areas, Khamir..............................................................................................45 Image 25 : Ground floor Plan of Khamir Craft Resource Centre, Bhuj, Gujarat..................................46 Image 26 : Nature of Spaces at Khamir Craft Resource Centre,Bhuj.................................................47 Image 27 : Built and open at Khamir Craft Resource Centre,Bhuj.....................................................47 Image 28 : Functional zoning of Khamir Craft Resource Centre,Bhuj................................................48 Image 29 : Circulation diagram of Khamir Craft Resource Centre,Bhuj.............................................48 Image 30 : Sections of Khamir Craft Resource Centre,Bhuj..............................................................49 Image 31 : Construction systems at Khamir Craft Resource Centre,Bhuj............................................51 Image 32 : View of Sanskriti kendra, Anandgram,Delhi..................................................................52 Image 33 : Layout of Sanskriti kendra, Delhi..................................................................................53 Image 34 : Studios type I Sanskriti Kendra, Delhi.............................................................................53 Image 35 : Studios type II Sanskriti Kendra, Delhi............................................................................53 Image 36 : Dormatories type II Sanskriti Kendra, Delhi.....................................................................53 Image 37 : Kiln shade Sanskriti Kendra, Delhi.................................................................................54 Image 38 : Pottery studio Sanskriti Kendra, Delhi.............................................................................54 Image 39 : Layout of Exhibition Areas Sanskriti Kendra, Delhi..........................................................54 Image 40 : Open Display Areas Sanskriti Kendra, Delhi...................................................................55 Image 41 : Semi-Open Display Areas Sanskriti Kendra, Delhi ..........................................................55 Image 42 : Enclosed Display Areas Sanskriti Kendra, Delhi..............................................................55 Image 43 : View of Bhunga Houses................................................................................................57 Image 44 : Interior view of Bhunga house.......................................................................................57 Image 45 : Layout of existing clusters, Ludiya, Kutch........................................................................58 Image 46 : Layout of indvidual cluster, Ludiya, Kutch........................................................................59 Image 47 : Exploded view of bhunga house, Ludiya, Kutch...............................................................60 Image 48 : Conceptual Plan of new development at Ludiya,Kutch......................................................62 Image 49 : Final Layout of new development at Ludiya,Kutch............................................................62 Image 50 : Views of newer development at Ludiya,Kutch..................................................................62 Image 51 : Floor plans of Norah Richards House, Andretta..............................................................63 Image 52 : Section of Norah Richards House, Andretta....................................................................64 Image 53 : Front and Rear side view of Norah Richards House, Andretta..........................................64 Image 54 : Process of making Adobe Brick Mix...............................................................................64 Image 55 : Process of making Plaster Mix.......................................................................................65 Image 56 : Process of making Cob.................................................................................................65 Image 57 : Process of making Brick.................................................................................................65 Image 58 : Process of placing Brick................................................................................................65 Image 60 : Process of placing Stones..............................................................................................66 Image 61 : Process of applying plaster............................................................................................66 Image 62 : Process of fixing door and windows on site.....................................................................66 Image 63 : Process of fixing door....................................................................................................66 Image 64 : Shuttering of Lintel Band................................................................................................66 Image 65 : Tying of Lintel Band.......................................................................................................66 Image 66 : Process of Soling..........................................................................................................67 Image 67 : Process of Flooring.......................................................................................................67 Image 68 : Process of laying floor...................................................................................................67 Image 69 : Site plan of Andretta Pottery, Andretta...........................................................................68 Image 70 : Entrance view of Andretta Pottery...................................................................................69 Image 71 : View of soil Preparation area at Andretta Pottery............................................................69 Image 72 : View of Studio at Andretta Pottery.................................................................................69 Image 73 : View of Backyard at Andretta Pottery.............................................................................69 Development of Andretta Artist’s Village, Palampur,Himachal Pradesh, India

Image 74 : View of glazing & drying area at Andretta Pottery..................................................69 Image 75 : Evolution of the biennale......................................................................................70 Image 76 : Impact study of KMB (kochi-muziris biennale).........................................................70

Image 77 : Sections through E- W Transect of Andretta Village..................................................76 Image 78 : Site Panoramas....................................................................................................87 Image 79 : Key Plan..............................................................................................................88 Image 80 : Focus Area..........................................................................................................88

Chapter 7.0 Image Image Image Image Image

81 : User Movement Diagram......................................................................................99 82 : Identification of potential nodes for Development...................................................100 83 : Circulation Diagram...........................................................................................101 84 : Conceptual sketches of cluster and built module.....................................................102 85 : Design Development...........................................................................................103

Graph 1: Total contribution of travel and tourism to GDP in India from 2013 to 2027................................................................................................25 Graph 2 : Direct and total contribution of travel and tourism to the global economy from 2006 to 2016................................................................................................28 Graph 3 : Purpose of Tourists to visit Himachal Pradesh............................................................31 Graph 4 : Tourist visit to HP district wise: 2011........................................................................31

Graph 5 : Population division of Andretta village.....................................................................74 Graph 6 : Livelihood categorization of Andretta village............................................................74 Graph 7 : Male - Female ratio in/outside of Andretta village....................................................83 Graph 8 : Age Categorization graph of memebers in Andretta village.......................................83 Graph 9 : Education Categorization graph of members in Andretta village.................................84 Graph 10 : Earning Members ratio in/outside Andretta village..................................................84 Graph 11 : Category of Job in/outside Andretta village............................................................84 Graph 12 : Type of Job in/outside Andretta village..................................................................84 Graph 13 : Nature of Job in/outside Andretta village...............................................................85 Graph 14 : Income Categorization in/outside Andretta village..................................................85 Graph 15 : Possibility of homestay in Andretta village..............................................................85 Graph 16 :Maximum Temperature Graph...............................................................................86 Graph 17 : Graph showing monthly number of cloudy, sunny, and Precipitation days..................86 Graph 18 : Average Temperature and Precipitation Graph........................................................86

Chapter 1.0 Project Genesis 1.1 General background of the study 1.2 Andretta as an art settlement 1.2.1 Significant 1.2.2 Present

magnets of the settlement

scenario of the settlement

1.2.3 Development

1.3 Justification 1.3.1 Reason

1.4 Definition

of the settlement

1.1 General Background

Art is an expression by an individual, or group of people.It has been a way to communicate beliefs and express ideas about the human experience throughout all stages of civilization and in every region of the world. Art always had a phenomenal influence on culture, as it can be symbolic of traits, morals, and religious characteristics. It creates an Interdisciplinary approach for experimentation and innovation between different genres of presentation. An artist is defined as “a person whose expression showcases sensitivity and imagination.” That sensitivity and imagination is what can translate into culture. Artists have “the ability to manipulate the form of their art therefore manipulating the experience of that art which varies with each individual who perceives it.” The arts provide an innovative way for people to connect and explore new possibilities. Art defines a culture because “culture is a pattern of behaviors, ideas, and values shared by a group. Without art, there’s no culture. “Culture is the socio behavioral characteristics and knowledge of a particular group of people, encompassing language, religion, cuisine, social habits, music and arts.” As cultural documents, works of art provide important insights into past and existing cultures, helping us to understand how others have lived and what they valued. Culture is sometimes defined as “the tastes in art and manners that are favored by a social group. Culture is an expression, and without art, there is nothing left but survival. Art offers a type of release, a creative presentation of expressions whether through song, paint, clay, theatre or just writings. Thus the work of artists is a powerful resource for community development, education, healthcare, protection of our commonwealth, and other democratic public purposes. Indeed, artist’s skills of observation, improvisation, innovation, resourcefulness, and creativity enhance all human activity. There’s a need to advocate complete integration of arts-based learning in public and private education at all levels and decipher a way that generates public service employment for artists and other creative workers as a way to accomplish social good, address unemployment, and strengthen social fabric. A growing need in society is to support artists who place their gifts at the service of community, equity, and social change. This support to artist can be provided by promoting and preserving the existing artist’s commune or artists settlements. These settlements existentially provide space to artists for creative expression by creating a space that transform itself into a stage for presentation, studio for experimentation and a platform for discourse. Development of Andretta Artist’s Village, Palampur,Himachal Pradesh, India

This artist colonies or artist villages serve as a creative hub for artists, students, business owners, and neighbors living and working in it. These settlements enable like-minded contemporary artists to critically re-look and examine existing assumptions, values and concepts of art-making and promote artists to explore radical new ways and ideologies in making art that is in sync with the societal changes. These artist villages basically aim to foster international exchange with artists from around the world and create a vibrant community of artists; local and international, emerging and established. Allowing artists to live in close proximity to local craftsmen artisans and thus are encouraged to take the community and vibrant local culture as inspiration for their art works.

Art settlements not only translate and evolve the local culture but also generate the local economy. Art tourism covers a big segment of the industry because around the globe people travel in order to visit, explore and engage in activities related to art festivals, concerts, events and engage in the local culture. Art tourism is a partnership between culture and the tourism industry by creatively increasing what is unique about a community. The heritage of place, the artistic and cultural life of place, this attracts tourists and creates better quality of life for those who live there. Therefore there are two forms of art in tourism: (1) The cultural side, such as the placing of statues, monuments, and/or murals or art exhibits for reasons of community beautification and (2) The commercial side in which the public views/hears some form of artistic expression in exchange for payment. Thus for an art setting to prosper there needs to be an equal balance between both the sides to culturally evolve and economically flourish as a setting. To conclude it is crucial to recognize the important role that arts play in the positive and healthy tourism development of any society. There’s a growing need to identify or revitalize the defunct art settlements for partnership between arts, tourism and economic development because it is key to foster a strong tourism destination. Such an art settlement is Andretta located at Kangra valley’s Palampur district in Himachal Pradesh, India. It is a peaceful village and artists’ colony. A Himalayan village which once was a meeting point of some great minds in theatre, art and pottery in the last century. This setting was initially conceived as an artists’ colony but it has now become virtually defunct. It was a platform for symposium about art, drama and philosophy of living in a rural environment in which many veterans from distinct fields of art participated. The setting was identified in 1920s and gradually came up as an Art settlement but became dysfunctional since 1970s. The settlement has a potential to get revived due to its rich history, idyllic nature and efficient connectivity with the Dhauladhar tourism circuit of Himachal Pradesh.

Map 1: Location Map of Andretta, Source: google earth

1.2 Andretta

Art Settlement

Andretta is a Himalayan village in India, Located Just 13 km away from the tea gardens of Kangra valley near Palampur in Kangra district of Himachal Pradesh, a peaceful village and artists’ colony sit on the gentle gradient below the august snow covered peaks of the Dhauladhar range. The surroundings are mystic. Succinctly captivating the mood of the visitor in such a steadfast way that the imprints left on mind are permanent. The reminiscences whenever these strike one’s mind are vitalizing; when one is off the land, the person is not off its maidenly beauty. An artist or a man, who is sensitive to things of beauty, will take no longer to come under the solemn spell of this land - quiet and dreamy. The legend goes that first came Norah Richards, an Irish writer, dramatist and a follower of Tolstoy. Her husband had been a Professor at The Government Collage at Lahore. After her husband’s death there, and a short stay in England, Norah returned to India in the mid-30. She settled in Andretta where she built a beautiful English style cottage, constructed of mud, slate and bamboo, which was known as “Chameli Niwas”. There she taught drama to students from the Punjab. In 1935, the District Commissioner of Kangra gave Norah 15 acres of land, and the Woodland Estate came into existence. Her Woodlands Retreat in Andretta is a sanctum which she had shaped after her ideas on rural culture. Besides her dramatic shows, she had for years held training courses in play-writing, play-acting and play-producing.

Soon, she also built a makeshift proscenium and invited Punjabi theatre amateurs and professionals to perform plays here. Despite its remote location, Andretta soon began to attract artists from all over, especially Lahore. Norah invited B.C. Sanyal, a well-known painter and sculptor, and Prof. Jaidayal, her late husband’s pupil to join her in Andretta. They came and built their own mud homes in the village. Later, the legendary actor Prithviraj Kapoor too began to frequent this village. She started a school of drama, and in time the village came to be known as Mem-da-pind (the village of the memsahib). Later came Sobha Singh, the painter of Sikh Gurus, who settled in this beautiful village too and lived here until his death in the mid-80s.Norah also invited Sardar Gurcharan Singh (later a Padmashree awardee), the master potter from Delhi, who was responsible for introducing studio art pottery into India. He built a house and a small pottery for summer use in Andretta. During the time of Norah, there were vibrant discussions about art, drama and the philosophy of living in a rural environment. Her ideas were very sound on how one should live in the countryside, using local materials for building houses, how you should live in harmony with nature and encourage local people to do the same. After Norah Richards death in 1971 there was a lapse in cultural activities of the region and her notion of conceiving Andretta as an artists’ colony became virtually defunct.

Image 1: View of Andretta Village, Source: facebook.com/woodland society andretta

Sikhs invaded british teritories

Norah Richards came to Andretta

Sobha Singh settled down in Andretta

Gurucharan Singh began visiting Andretta

-Death of Norah Richards -Art settlement became defunct

Holiday home for writers was established in Andretta

Artist residency program initiated for single artist

18 45 19 14

Freedom struggle began

Woodland estate came to existence

H.P became part C state

-Kangra merged with H.P -Andretta (Artist Village)

Andretta Pottery and Craft Society was established

Norah Centre for art was established

1.2.1 Significant Magnets

Andretta is an idyllic spot with rich cultural heritage and natural beauty. The most significant cultural magnets of the settlement are: • The Woodland Estate The estate comprises of Norah Richard’s house, a small outdoor theatre, residences of famous artists and Norah centre for Arts to encourage artists, musicians, dancers and writers to come and spend time, hold workshops and interact adding to Image 2: View of Woodland Estate Source: frontline.in Andretta’s cultural heritage. • Sobha Singh Art Gallery & Museum The gallery comprises the life work of national artist S.Sobha Singh who lived in Andretta for around 3 decades. The museum consists of around 100 photographs depicting life journey of the artist. Some of the personal belonging of the artist are also preserved here. A section has been created for Kangra folk art and craft. “Prampara”, a souvenir shop has much to offer on the life, art and works of S.Sobha Singh. • Andretta Pottery and Craft Society Image 3: View of Norah’s house The society includes a working studio pottery and a Source: author generated terracotta museum. The kiln here belong to an erstwhile potter S.Mansimran Singh or Mini who along with his wife Mary moved in 1983 and set up a Central Government Rural Marketing Centre to assist potters. His father, the Legendary potter Gurucharan Singh, founder of Delhi Blue Pottery Society, Keen to study the local pottery traditions he set up a small pottery which now functions as famous Andretta Pottery and Craft Society. Andretta encompasses serenity provides refuge to artists and writers. The settlement is nestled against the background of the Kangra valley, the Natural magnets near Image 4: View of Sobha Singh Art the settlement consists of Trekking, River rafting, Eco-trails, Gallery and Museum Source: sobhasinghartist.com Tea garden trails, Bird watching, Paragliding etc.

Image 5: View of Andretta Pottery and Craft Society Source: andrettapottery.com Development of Andretta Artist’s Village, Palampur,Himachal Pradesh, India

1.2.2 Present Scenario

• The modern Andretta Artist Village is now famous for its Norah’s Centre for Arts; the centre hopes to revive the cultural heritage of Andretta. • The adobe house of Norah Richards has been renovated by the Punjabi university, Patiala, using the skills of local masons. • The little theatre is in use by the Punjabi university students, they perform plays every year on Norah’s birthday on 29th October. The village people and visitors gather to watch the well acted dramas of students. • Sobha Singh Art Gallery & Museum is managed by her daughter Bibi Gurucharan Kaur, ably assisted by her son Dr.Hirday Paul Singh and Family. Many visitor from India and abroad travel to visit artist’s Gallery. • The Gallery from time to time rekindles the creativity of bygone years, by organizing various art oriented activities (Sobha Singh Kala Utsav) like workshops, expert lectures and seminars, on the occasion of birth anniversary of the artist. • An effort has been made to preserve the local folk art and craft. The locally made handicrafts are recent addition in “Prampara”, The Souvenir shop at Sobha Singh Art Gallery & Museum. • Andretta Pottery and Craft Society run a Tourists Advice Centre (TAC) to collate and provide detailed information about the surrounding areas. • The Tourists Advice Centre includes a craft shop selling mainly Himachali products a cafeteria, an information room and an area for proposed camping site. • Andretta Pottery is a production unit for studio pottery of attractively designed earthen slipware; it also provides 3 month courses for aspiring potters. These courses include accommodation, food and tuition. • Keeping its legacy of art & craft and performing arts, Andretta Artist Village has affixed its position in India as a connoisseur of arts.

Andretta as a whole showcases great potential for future developments due to its different attributes. The first one being the Natural Attribute of the setting as the village is surrounded with a close sylvan background nestles like an oasis of beauty in the open Kangra Valley with snowcapped ranges of the Dhauladhar around it. The setting is said to be a lively manifestation of a Yogi in meditation. The surroundings are mystic and leave permanent imprints on the visitor.

The second and most specific of its kind in a Himalayan village like this is the Cultural Attribute, Andretta is a living cultural heritage initially envisaged as an Artist colony with great minds in Theatre, Painting and Pottery. The idea was efficiently achieved, marking Andretta as a huge platform for cultural interactions and vibrant discussion about art, drama and philosophy in a rural environment. But after Norah’s death in 1971 the setup became virtually dysfunctional. Slowly Andretta lost its cultural identity due to its growth happening in a haphazard way. Thus the setting redirects towards a guided growth of the village to vitalize the artist colony and enhance its magnitude by creating a global meeting platform of discussion and work for artists in all the creative personas like theatre, painting, music, sculpture, pottery, literature etc. This would preserve Andretta as a heritage village. The villagers would be benefit from certain improvements and visitors would continue to enjoy the peace and tranquility of such an idyllic spot. The idea is to teach, learn and showcase work of artists’ to the outside world. Thus sensitize tourists or visitors to creative expression of art & culture by forming a dialogue with the artists to learn. This would positively transform the economic and social behavior of the region and eventually lead to community development of the setting. Being a Himalayan village is an added benefit to the village for its efficient growth, as the state is in search of such small towns with rich cultural heritage to provide them the needed support and infrastructure for collective growth and enhance its touristic value in the state. This would promote different modes of tourism in state which further add up to state’s economic growth and will place such villages on world’s cultural map. Thus for a guided directive growth there is a need to do an intricate study of the settlement and its potential magnets of attraction for definition of the project in action.

SWOT Analysis

SWOT analysis of the village settlement and its significant magnets will direct us to the needed objectives for development at Andretta. This would further guide us to determine the areas of potential growth within the settlement and areas of concern to be worked upon for collective growth of the village.

• Natural attribute: A serene and idyllic spot surrounded by snow capped Dhauladhar mountain range. • Cultural attribute: Known for its rich cultural heritage in theatre, painting and studio pottery. Was famous as a meeting point of artists, potters and actors of national importance. The Three significant magnets of the settlement are: 1. The Woodland Estate comprising of Norah Richards house and Norah Centre for contemporary arts. 2. Sobha Singh Art Gallery & Museum comprising works of national artist S.Sobha Singh. 3. Andretta Pottery and Craft Society promoting and preserving the rich and dying crafts of the region by organizing regular workshops. • Efficient connectivity with the Dhauladhar tourism circuit of Himachal Pradesh.

• Cultural identity of the setting has been lost over ages due to unplanned growth of the settlement. • Absence of proper Infrastructural setup for tourists and artists’ to stay and explore the settlement. • No regular active efforts by the government and locales to preserve the rich cultural heritage of the region. • Lack of infrastructure with pottery and craft society to encourage more workshop participants. • No active artists’-in-residence program for followers of these great artists to come, stay and work. • Absence of regular activities such as exhibitions, workshops, lectures, seminars etc. to encourage interaction between locales and artists.

Opportunity

• As the settlement is located in a surrounding full of peace and tranquility, it encompasses serenity and provides an active refuge to artists, writer and the setting can also promote wellness tourism and artists in residency program. • The setting provides a perfect base for a cultural renaissance and makes Andretta again a meeting ground for artists’ pertaining to different creative personas. This could be taken into effect by making art pavilions and organizing regular events. • Its efficient connectivity with the tourism circuit via national highway provides a huge potential of highe tourist footfall in the village. Thus increase in village economy and enhanced social character of the region. • Already ongoing workshops provides a hope in restoring Andretta’s lost cultural identity as an artist’s village • Andretta being a rural setup with a rich cultural heritage portrays potential for increased rural and cultural tourism Development of Andretta Artist’s Village, Palampur,Himachal Pradesh, India

• If active efforts are not taken to preserve its rich cultural heritage Andretta will completely lose its cultural identity of once being a great artist commune in nation. • Promoting this unplanned haphazard growth in the settlement will end up in lowering the economic growth of the region and shifting of locales to cities in search of higher quality of living. • If effective actions are not taken the idea envisaged by the theatre lady of making Andretta a place of artist revival will die forever. • With the shifting of people in search of work the art and craft of the region will slowly die for ever. And the region will lose its identity on world cultural map.

for choice of site

Andretta artists’ village is one of the oldest artist communes of its kind. It was a meeting point of famous artists’, potters and actors of national importance. For many artists the village was their home. It used to be a platform of discourse and learning on art, drama and philosophy in a rural environment. The artists’ settlement became virtually defunct after Norah Richards death in 1971. Thus due to its rich cultural attribute, serene surroundings and effective road connectivity for tourists and visitors. Andretta showcases a great potential to vitalize its lost cultural heritage of again being an artists’ commune.

Development of Andretta artists’ village with an idea to revitalize the artist colony and enhance its magnitude by creating a global meeting platform of discussion and work for artists in all the creative personas like theatre, painting, music, sculpture, craft, pottery , literature , dance etc. The idea is to teach, learn and showcase their work to outside world. Thus sensitize tourists or visitors to creative expression of art & culture by forming a dialogue with the artists to learn.

Chapter 2.0 Review

2.1 Tourism 2.1.1 Introduction 2.1.2 Different

forms of tourism

2.1.3 Tourism

development in India

2.1.4 Tourism

development in

2.1.5 Tourists

circuits of

Himachal Pradesh

2.1.6 Conclusion

2.2 Artist’s Commune 2.2.1 International 2.2.2 Artists

art colonies

settlements in India

2.3 Regional Architectural Vocabulary 2.3.1 Vernacular Architecture

2.3.2 Vernacular Architecture

2.3.3 Traditional Construction Techniques 2.3.4 Parameters 2.3.5 Study

Climatic Responsive Design

Typical Dwelling Unit

2.1 Tourism 2.1.1 Introduction Definition of Tourism Tourism is a social, cultural and economic phenomenon which entails the movement of people to countries or places outside their usual environment for personal or professional purposes. These people are called visitors (which may be either tourists or excursionists; residents or non-residents) and tourism has to do with their activities, some of which imply tourism expenditure.(Source : United Nations World Tourism Organization, 2008) Tourism embraces nearly all aspects of our society and is not an activity for pastime & entertainment but is an enriching and energizing activity. Definition of Tourists A person who takes a tour away from his home for leisure, culture, business or any other reason. The United Nations World Tourism Organization (UNWTO) helps us break down this definition further by stating tourists can be: • Domestic (residents of a given country travelling only within that country) • Inbound (non-residents travelling in a given country) • Outbound (residents of one country travelling in another country) The scope of tourism, therefore, is broad and encompasses a number of activities. Global Perspective on Tourism World tourism is considered as a significant factor in the economy of many nations. Today tourism related infrastructure in various parts of the country has improved the quality of life of the local people and helped to promote local arts and crafts. Tourism has contributed to increase awareness about conservation of the environment and the cultural heritage. Tourism is the fastest growing industry in modern world. People have always travelled to distant parts of the world to see monuments, arts and culture, taste new cuisine etc. Tourism is multi-faceted phenomenon which involves movement to and stay in destination outside the normal place of residence. Tourism is composed of three basic elements. • A dynamic element which involves travel to a selected destination or destinations. • A static element which involves the stay in the destination. • A consequential element resulting from the two preceding elements, which is concerned with effect on the economic, physical and social subsystems with which the tourist is directly or indirectly in contact. Development of Andretta Artist’s Village, Palampur,Himachal Pradesh, India

Tourism industry is deeply affected by the social technological and economic factors and it is the worlds largest employment industry. The travel and tourism industry has emerged as one of the largest and fastest growing economic sectors globally. According to the UNWTO, tourism’s total contribution to worldwide GDP is estimated at 12 per cent. Tourism exports in 2012 amounted to USD 1.3 trillion accounting for 6 per cent of the world’s exports. Tourism in India India’s glorious traditions and rich cultural heritage are closely related with the development of tourism. Its magnificent monuments attract a large number of tourists from all over the world. The natural surroundings, the architectural masterpieces, the music, dance, paintings, customs and languages all these go to make India as tourist paradise. Indian tourism has become one of the major sectors of the economy, contributing to a large proportion of the National Income and generating huge employment opportunities. It has become the fastest growing service industry in the country with great potentials for its further expansion and diversification. Tourism has now become a significant industry in India, contributing around 5.9 per cent of the Gross Domestic Product (GDP) and providing employment to about 41.8 million people. As per the World Travel & Tourism Council, the tourism industry in India is likely to generate US$ 275 billion of economic activity by 2018 and Hospitality sector has the potential to earn US$ 40 billion in foreign exchange by 2018.

Graph 1: Total contribution of travel and tourism to GDP in India from 2013 to 2027(in billion U.S. dollars)*, Source: statista.com

2.1.2 Different Forms

• Adventure Tourism Travel for the aim of exploration or travel to remote, exotic and possibly hostile areas is known as adventure tourism. It involves exploration of remote areas and exotic locales by engaging in various activities. It refers to performance of acts, which require significant efforts and some degree of risk or physical danger. The activities include mountaineering, trekking, bungee jumping, mountain biking, river rafting, and rock climbing etc. India with its diverse topography and climate offers tremendous scope for adventure tourism. • Heritage Tourism Heritage tourism is defined as “travel undertaken to explore and experience places, activities, and artifacts that authentically represent the stories and people of the past and present”. It is oriented toward cultural heritage of the tourist location. It involves visiting historical or industrial sites, religious travel or pilgrimages. India is well known for its rich heritage and ancient culture. • Eco Tourism Eco tourism, also known as ecological tourism, is travel to natural areas to appreciate the cultural and natural history of the environment, while not disturbing the integrity of the ecosystem and creating economic opportunities that make conservation and protection of natural resources advantageous to local people. Ecotourism also minimizes wastage and the environmental impact through sensitized tourists. • Rural Tourism Rural tourism encourages rural life, art, culture and heritage of rural locations, benefitting the local community economically and socially as well as enabling interaction between the tourists and locals for a more enriching tourism experience. India’s rural, geographical and cultural diversity enables to offer a wide range of tourism products and experiences. • Wildlife Tourism Wildlife tourism, one of the fastest segments of tourism, involves travel to different locations to experience wild life in natural settings. India is endowed with various forms of flora and fauna and it has numerous species of birds, mammals, reptiles, amphibians and plants and animals.

• Cultural Tourism It includes tourism in urban areas, particularly historic or large cities and their cultural facilities such as museums and theatres. It can also include tourism in rural areas showcasing the traditions of indigenous cultural communities, and their values and lifestyle. • Education Tourism Students undertake trips to abroad to secure higher studies and professionals to polish their talents. Tourism here automatically gets triggered. • MICE Tourism MICE (Meetings, Incentives, Conferences and Exhibitions) tourism is also one of the fastest growing in the global tourism industry. It largely caters to business travelers, mostly corporate. • Wellness Tourism This form of tourism involves people who travel to a different place to pursue activities that maintain or enhance their personal health and wellness, and who are seeking unique, authentic or location-based experiences. • Religious Tourism Religious tourism also referred to as faith based tourism exclusively and strongly motivated for religious reasons,where people travel individually or in groups for pilgrimage missionary or fellowship purposes.

2.1.3 Tourism Development

Early development The first conscious and organized efforts to promote tourism in India were made in 1945 when a committee was set up by the Government considering tourism. Thereafter, the development of tourism was taken up in a planned manner in 1956 coinciding with the five year plan but it was in Sixth five year Plan that marked the beginning of a new era when tourism began to be considered a major instrument for social integration and economic development. But it was only after the 80’s that tourism activity gained momentum. The Government took several significant steps. A National Policy on tourism was announced in 1982. Later in 1988, the National Committee on Tourism formulated a comprehensive plan for achieving a sustainable growth in tourism. In 1992, a National Action Plan was prepared and in 1996 the National Strategy for Promotion of Tourism was drafted. In 1997, the New Tourism Policy recognized the roles of Central and State governments, public sector undertakings and the private sector in the development of tourism in India. Development of Andretta Artist’s Village, Palampur,Himachal Pradesh, India

Present Situation Tourism is the largest service industry in India, with a contribution of 6.23% to the national GDP and providing 8.78% of the total employment. India witness’s more than 5 million annual foreign tourist arrivals and 562 million domestic tourism visits. The Tourism Industry in India generated about US$100 billion in 2008 and that is expected to increase to US$275.5 billion by 2018 at a 9.4% annual growth rate. The Ministry of Tourism is the nodal agency for the development and promotion of tourism in India and maintains the “Incredible India” campaign. According to World Travel and Tourism Council, India will be a tourism hotspot from 2009-2018, having the highest 10-year growth potential. As per the Travel and Tourism Competitiveness Report 2009 by the World Economic Forum, India is ranked 11th in the Asia Pacific region and 62nd overall, moving up three places on the list of the world’s attractive destinations. It is ranked the 14th best tourist destination for its natural resources and 24th for its cultural resources, with many World Heritage Sites, both natural and cultural, rich fauna, and strong creative industries in the country. India also bagged 37th rank for its air transport network. The India travel and Tourism Industry ranked 5th in the long-term (10-year) growth and is expected to be the second largest employer in the world by 2019.

Graph 2 : Direct and total contribution of travel and tourism to the global economy from 2006 to 2016, Source: statista.com

Issues and Challenges • The Indian industry is hampered by several problems like: • Lack of proper infrastructure (roads & transport). • Lack of basic hygienic amenities at halting points. • Non-standardization of rates and fares. • Lack of sound marketing and promotion strategies. • Poor maintenance of heritage sites. • Issues regarding security and harassment. • Lack of passionate and trained professionals. • Inadequate capacity. • Costly travel – soaring fuel surcharges, poor flight management etc. Development of Andretta Artist’s Village, Palampur,Himachal Pradesh, India

• Lapses in security and safety – incidents of tout and harassment of tourists in some places. • Uneven progress – slow growth of village tourism, lack of information about tourist profile etc. • Lack of entrepreneurship opportunities also restrict youth to follow a career in Tourism such as opening a hotel resort or retail outlet or handicraft business to serve Tourism Industry in India. • Poor Administration & management. Tourism problems are more common in the rural interior of the country. These areas are rich in natural beauty, but they often lack basic infrastructure and accommodations for tourists. Future Prospects As per latest Tourism Satellite Accounting (TSA) research, released by the World Travel and Tourism Council (WTTC): • The demand for travel and tourism in India is expected to grow by 8.2 per cent between 2016 and 2019 and will place India at the third position in the world. • India’s travel and tourism sector is expected to be the 2nd largest employer in the world, employing 40,037,000 by 2019. • Capital investment in India’s travel and tourism sector is expected to grow at 8.8 per cent between 2016 and 2019. • India is projected to become the fifth fastest growing business travel destination from 2016-2019 with an estimated real growth rate of 7.6 per cent. • The report forecasts India to get capital investment worth US$ 94.5 billion in the travel and tourism sector in 2019.

2.1.4 Tourism Development

About Himachal Pradesh Himachal Pradesh, like other hilly states of the country, has beautiful towns/cities, high snow clad mountains, mighty rivers, serene mountain ranges and vast forest areas. The state has appropriately termed as Dev-Bhumi (land of gods). It has a number of religious and cultural sites that attract people from different parts of the country. A perfect blend of natural, climatic, vegetative and cultural resources of the state makes Himachal an appropriate area for harnessing tourism potential for its development. Physical Features Himachal Pradesh is wholly mountainous with altitude ranging from 350 meters to 6,750 meters above the mean sea level. It has a deeply dissected topography complex geological structure and a rich flora in the Sub-tropical latitudes.

Map 2 : Location Map of Himachal Pradesh, Source: wikipedia.org

Climate Himachal Pradesh lies in the lap of Himalayas. Its climate is largely conditioned by the single factor. It varies from mild to cold in areas under snow in winters. The normal rainfall is 152 cm. The maximum rainfall is in Kangra district. Rivers Rivers which flow through this State are Beas in Kullu, Mandi and Kangra district, Satluj in Kinnaur, Shimla and Bilaspur districts, Yamuna has its tributaries in Shimla and Sirmaur districts, Chenab (Chander Bhaga) flows through Lahaul-Spiti and Chamba district and Ravi through Chamba district. Population Himachal Pradesh extends over an area of 55,673 sq. kms. According to 2011 Census the total population of the State is 68,56,509 with a density of 103 persons. The highest density is in Hamirpur district and the lowest is in Lahaul-Spiti district. Biophysical zones of Himachal Pradesh The state of Himachal Pradesh has a varied topography hence the state has been divided into different zones depending the altitude. Zone Biomes

Total Area Altitude (Height from (sq.km)

MSL in metre)

Kinnaur, Lahaul & Spiti

1800 - 4800

Kullu, Chamba

1000 - 5000

Shimla, Kangra

Sirmour, Solan, Bilaspur, 12,536 Una, Hamirpur, Mandi

Sub Artic, Alpine, Cold Temperature Alpine, Cold Temperature, Warm Temperature Cold Temperature, Warm Temperature Cold Temperature, Sub Tropical Temperature

Table 1 : Biophysical Zones of Himachal Pradesh, Source: author generated

Tourism in Himachal Pradesh Tourism is the largest important industry in Himachal Pradesh. The serene, clean and hospitable mountain & environment along with great Heritage buildings value makes it a favorite destination for both foreign & domestic tourists. The Himachal Pradesh state has recognized its Tourism potential but is striving hard to develop appropriate infrastructure for the growth of different modes of tourism in the state.

Graph 3 : Purpose of Tourists to visit Himachal Pradesh, Source: himachaltourism.gov.in

Graph 4 : Tourist visit to HP district wise: 2011, Source: himachaltourism.gov.in

2.1.5 Tourists Circuits

The state of Himachal Pradesh has a treasure of Heritage buildings. From the British period to the local vernacular architecture most of the buildings, are frequently visited by tourists. The state of Himachal Pradesh is divided in the five major tourist circuits namely: • Sutlej Voyage • Beas Voyage • Dhauladhar Voyage • Tribal Voyage • Buddhist Voyage Dhauladhar Circuit The study area i.e. Andretta falls in the Dhauladhar circuit of the state. The Dhauladhar Voyage circuit passes in the shadow of the mighty and majestic snow clad Dhauladhar ranges, which dominate the beautiful Kangra valley, dotted by flower filled meadows, temples, tea gardens and flocks of sheep. Development of Andretta Artist’s Village, Palampur,Himachal Pradesh, India

It covers: Chintpurni - Jwalamukhi - Kangra - Dalhousie Khajjiar - Chamba - Dharamsala - Chamunda - Palampur Jogindernagar - Delhi. Objectives of Tourism Policy in Himachal Pradesh • To promote economically, culturally and ecologically sustainable tourism in Himachal Pradesh. • To promote responsible tourism, that will be welcomed as both preferred employer and new community industry. • To use tourism as a means of providing new employment opportunities in rural, tribal and remote areas. • To increase private sector participation in tourism, both as a means of generating employment and providing new infrastructure. • Encourage different modes of tourism that focus to develop activity based tourism so as to increase the duration of tourist visits. Strategies for Development through Tourism • Create low impact, non-degrading tourist infrastructure in the region. • Increase avenues to generate income from tourist activities. • Enhancement of connectivity infrastructure. • Enhanced tourist experience and a high quality hospitability experience. • Increase average length for stay of tourists in the state. • Extension of tourist season in the state.

2.1.6 Conclusion Tourism industry in India is emerging at a fast pace and has a vast potential for generating employment and earning large amount of foreign exchange too, besides giving a support to the country’s overall economic and social development.Tourism in India should be developed in such a way that it accommodates and entertains visitors in a way that is minimally intrusive or destructive to the environment and sustains & supports the native cultures in the locations it is operating in. The survival of the tourism industry depends decisively on recognizing the relevant trends and allowing for them in good time. Himachal Pradesh has a well-developed tourist infrastructure and the present initiatives would help the sector grow. It is also important to ensure that the development taking place should lead to a sustainable and all round development of the State. The government aimed at harnessing tourism opportunities should ensure that Himachal Pradesh remains a prominent tourist location in future.

2.2 Artist’s Commune The Artists Village has been a tradition of artist groups and societies, They are often brought together through political, aesthetic and/or cultural affliations. Artists have historically formed collectives to provide a crtical alternative to the dominant systems of art, including museums and the art market. They are often motivated by desire for social and political change, which includes the creation of broader possibilities for artistic production. Collaborative practice, with its emphasis on process and exchange, has tranformed the presentation of art and the nature of curatorial activity, blurring the traditional division of labour between artist, curator and viewer. Hence, collective work has shifted media in its development of a social space and has expanded opportunity to realise experiential spacesby all means.

2.2.1 International Art Colonies Worpswede, Germany Located in rural Germany, Worpswede. In the late 19thCentury a painter from Dusseldorf (Germany), arrived and found inspiration in the area.Other artists started to follow, and over the years it came up as an artist colony. The colony is proud of its past while also looking to its future;there are several museums to explore , a residency program for contemporary Image 6 : Art colony at Worpswede Source: worpswede.de artists from all around the world. Yaddo, New York Located in Saratoga Springs, New York ,established in 1900 an artists community in an idyllic setting of 400 acres, yaddo has been nurturing and supporting creative minds for years, welcoming a variety of media such as film, literature, music, Image 7 : Yaddo art colony choreography, painting , sculpture and many others. Source: theculturetrip.com

Rovinj Art Colony, Crotia Located on the west coast of Crotia, charming architecture and breathtaking surroundings. In 1940s with Marcelo Brajnovic and many others an artist colony was born. Visitors can meader the winding streets and find ateliers, galleries and museums . The town also hosts a variety of events, Image 8 : Rovinj art colony including exhibitions, a film festival, and a jazz festival. Source: theculturetrip.com

Salt Spring Island, Canada Situated between Vancouver and Victoria, british Columbia, Featuring an array of galleries and studios. Indeed this area brims with talent, including artists working in a variety of media, artisans, musicians and performace artists. visitors can take a self-guided tour of 30 studios , visit galeries and see Image 9 : Salt Spring Island live performaces.

Source: saltspringtourism.com

Nida Art Colony, Lithuania Located on the UNESCO world heritage, Nida Art Colony, is a gathering space for creative minds to get together, supportand collaborate with each other to create new exciting pieces of art. the NAC welcomes emerging and established artists from all over the world, weather they are artists, researchers or curators. This artist’scolony offers a variety of programs Image 10 : Nida Art Colony such as workshops, seminars and talks as well as an artist-in- Source: theculturetrip.com residence program.

2.2.2 Artist Settlements

Cholamandal Village (Chennai) Autonomous village and has survived by itself for over four decades, claims to be india’s largest self supporting artist village. and one of the most successful in Asia. Built on barren stretch of land. Purely dedicated to art and every single establishment in the village was built by the artists inhabiting Image 11 : Cholamandal Village it. A majority of artist here are sculptors. Source: mapmyindia.com

Saputara (Gujarat) A village that celebrates the inherent culture by ensuring its people are all taught the art of painting and craft. Saputara is a hill station in the Dang district of Gujarat with multiple tribal artifacts on display. At this village, participation in crafts is encouraged. Bishnupur (West Bengal) Famous for the terracotta temples that dot the entirety of this village, the region’s traditional terracotta craft was built upon due to the lack of stone in the area. The village is known for their terracotta horses- called the Bankura horse. However it is also known for its production of the hand - woven silk Bauchari sarees. Hodka (Gujarat) Famous for emboidery and leather work. The villager’s artistic endevours spread from textiles to the walls of their houses, leaving their visitors astounded by the colours and patterns around them. Located in Kutch, the village is also close to an Indus civilization ruin.

Image 12 : Saputara Village Source: makemytrip.com

Image 13 : Bishnupur Village Source: inditales.com

Image 14 : Hodka village

Raghurajpur (Odisha) Source: highontravel.com A village still nurturing an art form that dates all the way back to 5 BC. Known for their mastery of Patachitra, every member specialises in the art of painting on scrolls. The village also produces poetry, has its own dance troupe, and about 10 other forms of art and craft that they engage in. It ears the tile of being an heritage village.

Image 15 : Raghurajpur Village Source: tripadvisor.in Development of Andretta Artist’s Village, Palampur,Himachal Pradesh, India

The architecture in which the major creative force is the local needs, construction materials, which reflects a long local tradition is called Vernacular architecture. Vernacular architecture shows slow evolution over time and reflects environmental, Historical, Cultural, Technological and Economic context in which it exists. The indigenous architecture of Himachal Pradesh is the outcome of the prevailing topography, extremes of the climate and other natural forces. In the traditional architecture, buildings are designed to achieve human comfort by using locally available building materials and construction technology which are more responsive to region’s climatic and geographic condition. It commands deep respect as it represents and reveals the many faceted realities of the people living there. Use of vernacular architectural practice is a way towards sustainable development which is the result of using design philosophy that focuses on increasing the efficiency of resources like energy, water, and materials, while reducing the impact of buildings on human and the environment which is necessary to maintain the ecological balance and reduce the impact of climate change. Houses in Himachal Pradesh The character of a Himachal vernacular house is the story unit which is basically a cuboid. The smallest houses are two or three layers stacked in two or three levels (ground, first and second floor).The size of the house increases by placing cuboids side by side and then extending up three levels. Each house is determined by capacity. The capacity is not only the size of the family but also the family’s socio economic status. Spaces of dwelling are used in a pattern that makes it a cohesive unit. In warm sunny days, activities take outside the house on balconies and plinths while during the colder times, the activities are performed within the warmth of wood and stone walls. In a traditional Himachali house the floors are smeared with a green powdered pigment. Each room has three progressive vignettes; the first is empty; the third has people and small objects animating the space. The aesthetic and practical elements of the kitchen are termed as chulhas. People often gather around for interaction around the chulhas.

Construction Technique There are 3 different types of traditional building construction techniques: • Wood and Stone Construction Technique In the Vernacular architecture of the Himalayan region wood is extensively used, the vast number of hill temples, are of deodar wood generally. The walls of some of these structures are raised on the horizontal wooden frame work called Cheols. In the well-built structure, the wood is very carefully arranged, the beams with thickness around 30 cm in depth extending over the whole length of wall -a beam on the outside and another beam on the inside, the space in between is filled with stones. This technique is locally known as Kath- Khuni technique. • Mud Construction Technique Mud Construction is either Rammed earth construction (used in cold desert i.e. Lahul-Spiti district) or construction using adobe bricks (used in lower Himalayan region). • Dry Stone Construction Technique This type of technique is used in lower Himalayan region where good quality stone can be quarried. In this different sized stone are placed over each other and compacted without the mortar. Interior surface may be mud plastered. The vernacular architecture of hamlets in Himachal Pradesh varies from region to region, depending upon the climatic factors and the availability of local materials.

Map 3 : Map of Himachal Pradesh showing classification of zones Source: indianetzone.com

The character and forms are different from one climatic and geographic zone to other which can be identified in three separate zones, i.e. Zone 1 upto 4000 ft. (1200 m approx.), Zone 2 upto 9000 ft. (2700 m approx.) and Zone 3 above 9000ft. (2700 m approx.) Development of Andretta Artist’s Village, Palampur,Himachal Pradesh, India

The study area i.e. Andretta falls in the Kangra region which further belongs to zone 1 classification i.e. foot hills or the lower-Himalayan region upto 4000 ft. (1200m approx.)

In the first climatic zone i.e., up to height of 4,000 ft. (1200 m approx.), where climatic conditions are mild throughout the year, i.e., pleasant summers, mild winters and medium rain falls. The special characteristics of this zone are absence of snow fall. The orientation of the buildings in this zone is mostly east and south. The slope of the land is from 0 to 30 approximately. Materials available for construction are stone slabs for flooring and roofing, stone and earth for walls and wooden plank supports on wooden joists for intermediate floors. A typical innovative technique for construction of earthen walls is use of a bottomless wooden box 0.60X0.90 m, with a height of 0.23 m in which earth is filled and rammed thus creating 0.23 m layer of rammed earth at every stage for the construction of a wall which is 0.60 m thick. The another innovative techniques is the use of locally available slate stone which are used for sloping roof and are placed on heavy wooden supports with overlapping of 0.0254 - 0.0308 m. These slates are not fixed to wooden supports but remain in place by weight only or sometimes they nailed to the wooden joists/rafters. The slope of roof is confined to maximum 22.5 degree. In areas of heavy rainfall such as Dharamshala and Palampur (13kms away from Andretta) steeply-sloping roofs and deep verandahs are necessary, the former to drain off the rains quickly and the later to allow open-air living during rainy season and for protection of the walls. With the coming of British the jack arch was introduced and the Dharamshala-type roofing was evolved for areas of heavy rainfall using plain or galvanized iron sheets for roofing.The traditional construction techniques pertaining to this region are majorly Mud construction and dry stone construction.

2.4.3 Traditional Construction Techniques

• Mud Construction Mud construction is prevalent in Himachal in two types, rammed earth conduction and sun dried mud brick construction. Sun dried mud bricks are used in the Kangra region where good quality of mud is available from the river beds. The walls are made of sun dried bricks about 0.60 – 0.90 m. thick plastered with mud phuska. These walls are susceptible to erosion due to rain thus the buildings are raised over stone or plastered to avoid erosion. The floors are Image 16 : Traditional mud house at sindbari, Kangra region made of wood plastered with mud enabling insulation Source: indianexpress.com

• Dry Stone Construction Dry stone construction is common in Kangra region where slate is in abundance However this type of construction is also common in Kinnaur district where good quality stone can be quarried. Different sized stones are placed over each other and compacted without the mortar. Through stones are used at regular intervals. A stronger bond is achieved by interlocking the stone rather than adding smaller stones in gaps. Interior surface may be mud plastered. Image 17 : Traditional dry stone The stone masonry structural walls take main lateral and construction Source: world-housing.net gravity load. The walls uniformly distribute the load in both orthogonal directions.

2.4.4 Parameters

Major design elements to control the thermal environment in the buildings to suite the climatic conditions of the place: • Shape of the building (massing), • Fenestration (size, positioning and orientation of windows), • Building fabric (insulation & thermal storage), • Solar control (shading & surface finishes), • Ventilation

2.4.5 Study

Houses are made of sun dried mud bricks as adobe finished with mud mortar, given fine coatings of bhusa or husk mixed with either cow dung or mud. Reinforced with heavy wooden beams, the walls are sufficiently weather and earthquake, resistant. Generally rural traditional houses are double storied high and elegantly plastered with mud plaster. The floors are also well plastered with mixture of mud-cow dung bhusa or husk. This makes the floors heat insulating that helps in maintenance of comfortable temperatures inside Image 18 : Adobe brick walls + Roof the areas even in extreme cold and hot months. Walls are made of wooden beams finished by cladding with wooden panels for insulation finished with slates Source: science direct.com reasons. Staircases in traditional houses are generally of small width of flights (generally of 3’) & that is also made up of completely wood with treads plastered in mud or cow dung and husk. Roof top is made up of wooden rafters and battens supporting framework of slates with slope perfectly maintained. Design of a typical house comprise of two to three rooms (general size 10’x12’) with generally one or two or maximum of three small sized openings that are meticulously placed so that no direct impact on living space is felt. One small sized kitchen in the house with sometimes attached chimney, one bathing space and one small sized detached toilet that is located often at some distance outside the house and form essential part of a traditional house. Development of Andretta Artist’s Village, Palampur,Himachal Pradesh, India

Sometimes if the owner has cattle, a separate double stored or even single storied house is made in near vicinity of the residential complex. In the lower storey cattle is kept while in upper storey cattle feed, or husk etc. is kept. Large sun spaces in front of the dwelling acting as verandahs that form an integral part of the houses. Parameters Planning Designing

Features Remarks South oriented / along the Optimum ingress of heat & Light contours Rooms on ground floor, Average design owing to changed kitchen on first floor lifestyle pattern

Materials & Techniques

Adobe, wood and bamboo

Highly energy efficient, Low cost and sustainable

Small and lesser openings

Maintains inside

Long verandahs in front

Helps in maintaining comfort level inside rooms

temperature

Table 2 : Features of adobe vernacular houses, Source: Sharma Vandna, Marwaha Bhanu M, Vinayak Hemant, Sharma Aniket –“Bio Climatic Features of Adobe Vernacular Houses of Hamirpur”)

Conclusion In the hills, the elements of nature shape the spatial order and the man has to adapt himself to these forces. The traditional architecture of Himachal Pradesh is the outcome of the prevailing topography, extremes of the climate and other natural forces. Indigenous architectural solutions have responded well to these natural forces. Moreover the study of vernacular architecture is the prerequisite for understanding the architecture style and factors shaping it. Typical building construction style also highlights socio economic and cultural factors of the region. Further It helps to realize the potential of vernacular technology which is affordable, energy efficient and earthquake resistant.

Chapter 3.0 Synopsis 3.1 Need of the project 3.2 Intention 3.3 Objective 3.4 Scope of the project 3.5 Limitations of the project 3.6 General statement 3.7 Project typology 3.8 User typology 3.9 Methodology 3.10 Assumptions

To generate a literature for designing a better interdisciplinary art module that connects easily, efficiently with its participants and communicates effectively in a more open - living and informal manner as our brains are more active and confident when functions in less formal way. This mindset is a resultant of an unfamiliar experience to travel. Also Art & culture are the best ways to imbibe those sprits of confidence to find yourself again with a new skill to perform better in your personal lives, this all leading to a increased level of personal motivation & happiness, thus a better life.

3.2 Intention To revitalize the artist colony and enhance its magnitude by creating a global meeting platform of disourse and work for artists in all the creative personas like theatre , painting , pottery etc. The idea is to teach , learn and showcase their work to outside world. Thus sensitize tourists or visitors to creative expression of art & culture by forming a dialogue with the artists to learn.

3.3 Objective A need for an open, living and formal setting for collective growth that focuses on idea to “think globally and act locally� which would promote a socio-cultural & sociostructural growth within the nation. This above objective becomes much easier and relative in a setting like India as the country portrays a composite culture i.e a perfect blend of art, religion and philosophy.

The scope of the study is very profound but aims at interrelationship between Art and travel with a mass tourism module.There is an ample scope of research in dynamics of tourism resplendent with unique art and architectural resource.

3.5 Limitations

Art & Tourism industry is very vast and provides a plethora of cultural dynamics nationally as well as globally. For a thorough study to be carried out it is very necessary to set a limitation to the setting or defining a potential ground of study.Thus considering the time contraint of the thesis, the focus area will be limited to a stretch of 1km between 3 nodes. Development of Andretta Artist’s Village, Palampur,Himachal Pradesh, India

3.6 General Statement Create a global platform for artist in all the creative personas to teach, learn and showcase their work on public grounds who in return gets formally sensitized to creative expressions leading a dialogue with the artist to learn.

3.7 Project Typology

Rural development project with an aim to restore the associative cultural identity of village via explicitly bringing out the role of nature along with the culture in making of settlements, clusters and building types.

3.8 User Typology Tourists, Visitors, Locals, Artists, Workshop Participants Local Artisans, Craftsman.

3.9 Methodology Study of the settlement - Study of related literature Overview of case examples - Comprehensive study of the village and local construction practices - Indentification of potential nodes for intervention - Preparation of guidelines for village development - Generating physical and spatial Programmatic requirements - Design Proposal.

3.10 Assumptions The project assumes to provide a new way of pursuing and preserving art via establishing a dialogue in a public space. This module of cultural preservation is a two way approach of interaction between artists and audience i.e. locales, tourists and travelers. Thus project becomes an important part of art & culture in travel & tourism industry.

Functional Character

4.1.1 Khamir Craft Resource Centre, Bhuj, Gujarat, India 4.1.2 Sanskriti Kendra Anandgram, Delhi, India

Village Redevelopment

4.2.1 Gandhi Nu Gaam, Ludiya, Kutch, Gujarat, India

Vernacular Construction System

4.3.1 Norah Richards House, Andretta, Himachal Pradesh, India

Existing Fuctional Aspect

4.4.1 Andretta Pottery, Andretta, Himachal Pradesh, India

Art Festival

4.5.1 Kochi-Muziris Biennale, Kochi,Kerela, India

4.1.1 Khamir Craft Resource Centre, Bhuj, Gujarat Khamir works to reposition craft and folk music in kutch and to revitalize kutch’s creative industries. Khamir is a platform for the crafts, culture, heritage and ecology of the kutch region of Gujarat. Instituted after the earthquake of 2001, It is a space for engagement and development of kutch’s rich creative industries. Supported by Cii, Dhariwals, Ford Foundation, Fwwb, Iffco, Knna, Nfd, Sir Dorabji Tata Trust, Suzlon Foundation & Zavida Gemstones.

Image 19 : View of Khamir Craft Resource Centre, Bhuj, Gujarat, Source: khamir.org

General Objectives of Project • It works to enable rural creative industries in kutch to become profitable and a model of sustainable economic practice. • It also provides a common roof were artisans and experts with a commitment to craft practice can exchange knowledge, build capacities, offer supportive services and conserve natural and cultural heritage. • It works to reposition craft and folk music in kutch and to revitalize kutch’s creative industries. • The institution reflects the core values of the craft sector that it represents. It is collaborative, believes in bringing diverse stakeholders together onto one platform to address issues collectively for optimum good. • It strives to be a democratic, enabling space especially for the more vulnerable. creativity as a deeply personal experience to impact and transform is a goal that khamir hopes to bring in its spaces, interactions and work interventions. • This is an institutional space that synergizes kutch’s unique cultural, ecological, and economic resources to support local livelihoods. khamir also serves as a common roof where artisans and musicians collaborate with national and international organizations to share knowledge, resources, skills, and expertise thereby strengthening kutch’s creative industries

Image 20 : Site Plan of Khamir Craft Resource Centre, Bhuj, Gujarat, Source: mandazahi.net

Image 21 : Accomodation Facilities, Khamir Source: khamir.org

Image 22 : Studio & retail outlet,Khamir Source: khamir.org

Image 23 : Display area, Khamir Source: khamir.org

Image 24 : Gathering areas, Khamir Source: khamir.org

Image 25 : Ground floor Plan of Khamir Craft Resource Centre, Bhuj, Gujarat, Source: mandazahi.net

General Description

Table 3 : General description and analysis of Khamir Craft Resource Centre, Bhuj, Source: emaze.com Development of Andretta Artist’s Village, Palampur,Himachal Pradesh, India

Image 26 : Nature of Spaces at Khamir Craft Resource Centre,Bhuj, Source: author generated

Image 27 : Built and open at Khamir Craft Resource Centre,Bhuj, Source: author generated Development of Andretta Artist’s Village, Palampur,Himachal Pradesh, India

WORKSHOP AREAS ADMINISTRATION AREAS RESIDENTIAL AREAS Image 28 : Functional zoning of Khamir Craft Resource Centre,Bhuj, Source: emaze.com

Circulation

VEGETATION CIRCULATION PAVING Image 29 : Circulation diagram of Khamir Craft Resource Centre,Bhuj, Source: emaze.com Development of Andretta Artist’s Village, Palampur,Himachal Pradesh, India

Image 30 : Sections of Khamir Craft Resource Centre,Bhuj, Source: mandazahi.net Development of Andretta Artist’s Village, Palampur,Himachal Pradesh, India

Area Distribution

Table 4 : Area Distribution table of Khamir Craft Resource Centre,Bhuj Source: issuu.com/iab_archives

Construction System • EARTH -Rammed earth ; CSEB -Commpressed stabilized earth blocks ; Stone: due to low compressive strength of bricks, stones are used. • Climatic factors : low rainfall-easy to construct earth walls, heat insulation. • Financial factors : cost effective. • Local factors : material is locally available and produced i.e china clay is locally available in abundance, hence used for ramming

RAMMED EARTH CSEB STONE Image 31 : Construction systems at Khamir Craft Resource Centre,Bhuj, Source: emaze.com

Inferences • Inter-relationship between closed, open , semi-open spaces to create natural and fresh working enviornment. • Building modules are effectively placed in such a way to form narrow pathways and shaded spaces. • Open spaces are connected by shaded pathways. • Dwellings repeat to form clusters which represents settlement of village.

4.1.2 Sanskriti Kendra Anandgram, Delhi, India • Sanskriti kendra is a symbol of sanskriti’s involvement in activities relating to art, craft, literature, the performing arts, and social work. • Although diverse on the surface these activities are different facets of a single vibrant culture rooted in indian soil but universal in its outlook. • It is a cultural centre where artists and sculptors, writers and musicians and village craftsmen, practice their arts in tranquil surroundings that engage the mind with the imagery of the idyllic pastoral countryside with its manmade interventions.

Image 32 : View of Sanskriti kendra, Anandgram,Delhi Source: sanskritifoundation.org

1.Banyan Courtyard 2.Baithak 3.Charbagh 4.Terracotta terrace 5.Museum of everyday art 6.Museum of textiles 7.Kund 8.Gaon 9.Manch/Amphitheatre 10.Artists Studio 11.Nature walk

Distribution of Spaces • Public spaces like museums & office-the governing body comes first with entry. • Sitting spaces comes next having a little bit privacy by planting trees • Workspaces : Studios and dormitories a very personal spaces are away from the public spaces to avoid an kind of distraction • Services are places at far end of the site away from public movement and along the service road.

Image 33 : Layout of Sanskriti kendra, Delhi Source: scribd.com

Built Toilet Septic tank pool Artist’s Studio Sanskriti Kendra provides three types of accommodation: 4 Studios - Type I Living Space – Mezzanine – 125 sqft Work Space – 415 sq ft 4 Studios-Type II Living Space – 270 sqft Work Space – 370sq ft

Image 34 : Studios type I Sanskriti Kendra, Delhi Source: sanakritifoundation.org

All eight studios are double-storeyed apartments. A staircase leads up from the studio to the mezzanine to a comfortable bedroom and bathroom. All studios open into a courtyard.These are available for individual artist residents. 4 Dormitories – Type III Space - a – 600 sq ft Image 35 : Studios type II b – 400 sq ft Sanskriti Kendra, Delhi Source: sanakritifoundation.org

There are four ground floor general studios. All open into a courtyard. The dormitories have a boarding capacity of 4 to 5 adults. The units are small and simple and they are located away from other built forms that allows artists to concentrate on their work.

Image 36 : Dormatories type II Sanskriti Kendra, Delhi Source: sanakritifoundation.org Development of Andretta Artist’s Village, Palampur,Himachal Pradesh, India

Ceramic Centre The Sanskriti - Delhi Blue Ceramic Centre – the only one of its kind in India-plays host to diverse ceramic activities and interactions, both national and international. The programmes offered include residencies, classes and interactive workshops for ceramicists, talks, slide shows, firings and demonstrations. Image 37 : Kiln shade

Sanskriti Kendra, Delhi Facilities at the Ceramic Centre Source: sanakritifoundation.org The Ceramic Centre is well-equipped with the following types of wheels and furnaces:

• 9 Kick wheels • 2 Painters’ wheels • 5 Electric wheel • 1 Pug wheel • 1 Wood kiln • 2 Gas kiln • 1 Testing electric kiln

Image 38 : Pottery studio Sanskriti Kendra, Delhi Source: sanakritifoundation.org

Exhibition Areas Tradition and modernity are not two separate categories one transmutes into another. The preservation of cultural heritage, therefore, has its own validity. The museums at Sanskriti are a base for such preservation as great attention has been given to the socio-cultural context of the objects. Their vision is to build upon their collections and to transform museums into a central resource hub for all research on the art and craft traditions of India in general, and particularly in their core areas of terracotta, textiles and everyday objects. Good play with transition of spaces; the module, square in plan, has been used in various forms- sometimes as just a platform, a room without roof, a room with roof but no walls, and sometimes totally enclosed with regular doors and windows. the roof is always pyramidal as it suits the sqare plan and blends well with scale and rural setting Image 39 : Layout of Exhibition Areas Sanskriti Kendra, Delhi Source: scribd.com

Display Areas

Image 40 : Open Display Areas Sanskriti Kendra, Delhi Source: sanskritifoundation.org

Image 41 : Semi-Open Display Areas Sanskriti Kendra, Delhi Source: sanskritifoundation.org

Image 42 : Enclosed Display Areas Sanskriti Kendra, Delhi Source: sanskritifoundation.org

Inferences • Developments on site are organic in nature. • A basic movement pattern is defined with activity zoning to regulate the location of buildings and other structures according to function. This explains the absence of an articulated complex • The buildings are semi- rustic in appearance and very scaled down in proportion • The buildings are sited in manner as to leave plenty of strolling space between them, but not so far apart as to create a sense of cold isolation.

4.2.1 Gandhi Nu Gaam, Ludiya, Kutch, Gujarat Redevlopment with Community Participation The region of Kutchchh is richly diverse in its landscape, culture, craft and architecture. Each sub-region has its own uniqueness and particularity. There exists an intricate web of relationships in their interdependency and linkages for livelihood ,trade and sustainance. Redevelopment efforts therefore must recognize and strive to retain these qualities.

The approach must arrive at a creative balance to maintain the moorings of the deep rooted traditions as well as be the catalyst to induct the element of ‘new’ to realize the aspirations. Intervention must strive for the culturally appropriate, environmentally sustainable as well as holistic living environments inclusive of housing, socio-economic structure ,utility infrastructures and resource management. As rehabilitation it also needs to involve users to maintain the continuum and induct the sense of belonging. Areas of Intervention • Housing • Social Structure • Economic structure • Amenities and facilities • Resource management Scope of Work • Community building • Social redevlopment • Rehabilitation • Newer development

Map 4 : Map of Bhuj,Gujarat, Source: publication by vastu shilp foundation Development of Andretta Artist’s Village, Palampur,Himachal Pradesh, India

Village Profile • Name: Ludhiya • Location: Banni district Kutch • Area: 10sq.kms • Address: Ludiya Village; Banni District; Kutch • Population: 2300people • Occupation: Decorative furniture, Bharat poten, Agriculture, Labour, Cattle breeding • Organisational Structure: Organic plan geometry. Unit edge defined by plinth, cluster edge defined by brush fence Incremental growth of unit and cluster. Intricately decorated dwellings inside and outside. Characteristic typology of bhunga housing. • Climate And topgraphy: Summers: hot and dry Winters: cold Average rainfall: 5” per year Dry desert land with negligeable plantation Livelihood Craft and Architecture Craft is a significant part of local culture. Two principal crafts in ludiya village are : Embroidery Woodworking The Importance of craft is reflected in architecture. The doors and windows are locally made and reflect the woodworking and decorative skill. The exterior of bhungas are collectively painted. the interiors have plaster and relief work.

Image 43 : View of Bhunga Houses Source: publication by vastu shilp foundation

Image 44 : Interior view of Bhunga house Source: publication by vastu shilp foundation Development of Andretta Artist’s Village, Palampur,Himachal Pradesh, India

Layout of Existing Cluster Each cluster is comprised of various dwelling units, depending on the number of families in the cluster. The size of each dwelling unit depends on the number of people in the family.The cluster is surrounded by a twig fence.

Image 45 : Layout of existing clusters, Ludiya, Kutch, Source: publication by vastu shilp foundation

Individual Cluster The dwelling unit for a familiy is made of several components. The bhunga and the chowki are the main components. The bhunga is primariliy the living space and there can be several within the dwelling cluster. The chowki is small rectangular building and is used for cooking. the area between them is covered by a thatch roof to create a shaded outdoor space.

Image 46 : Layout of indvidual cluster, Ludiya, Kutch, Source: publication by vastu shilp foundation

The Bhunga Houseform The typical dwelling of the kutch region, the ‘bhungas’, have withstood the test of time for centuries. The bhunga brings together: • Indigenous wisdom perfected over the ages through practical application. • Sensitive understanding of local available resources, material and mastery of technique optimised to alleviate extreme climatic and physical conditions. • Designed to accomodate for spatial requirements of traditional lifestyle. Development of Andretta Artist’s Village, Palampur,Himachal Pradesh, India

Image 47 : Exploded view of bhunga house, Ludiya, Kutch, Source: publication by vastu shilp foundation

Ludiya Rehabilitation Process Evaluation

Social Structure • The villages are essentially found in clusters of different communities, with family sizes varying and different degrees of interaction. • The occupation of people is mainly craft based.Some are agriculture labourers and others cattle breeders. • Due to calamity, their employment is affected they need to be provided with facilities and assurances of livelihood. Economic Structure • Building industry itself as an employment source. • Necessary requirements for craft industry and networking for raw materials and marketing of fininshed goods. • Training of artisans and craftsman. • Need of multi-purpose community shelter. Amenities • Unavailable or inadequate amenities and facilities. • Need to identify, ascertaini and established required facilities which help the villagers enrich their economic and social standing. • Newer technology and equipment to assist and augment occupational production capacity. Approach • Develop social network and establish rapport with the community. • Carry out socio-economic and physical survey of the village. • Revised settlement layouts for necessary additions and alterations to the neighbourhood cluster. • Rebuild affected structure and building newer structures with local material ( mud-stone-wood) in the traditional style of ‘bhunga’ with user themselves as human resources building their own houses. • Construction of community centre as a multipurpose space. Site Selection • The new site is located closer to the existing road structure for better access. • The topography was taken into account in selecting the site, existing depression in site can be used for rain water harvesting. • The new hamlet is situated centrally among the existing settlements to make more coherent village.

Site Planning

Image 48 : Conceptual Plan of new development at Ludiya,Kutch, Source: publication by vastu shilp foundation

Image 49 : Final Layout of new development at Ludiya,Kutch, Source: publication by vastu shilp foundation

Image 50 : Views of newer development at Ludiya,Kutch, Source: publication by vastu shilp foundation Development of Andretta Artist’s Village, Palampur,Himachal Pradesh, India

Vernacular Construction Systems

4.3.1 Norah Richards House, Andretta,Palampur (H.P)

GROUND FLOOR PLAN A

FIRST FLOOR PLAN A

Image 51 : Floor plans of Norah Richards House, Andretta, Source: author generated Development of Andretta Artist’s Village, Palampur,Himachal Pradesh, India

Image 52 : Section of Norah Richards House, Andretta, Source: author generated

Image 53 : Front and Rear side view of Norah Richards House, Andretta Source: author generated

Vernacular System Source : Imarat Centre

Construction

Earthen Architecture (ICEA)

• Adobe Brick MIx

Image 54 : Process of making Adobe Brick Mix. Source: ICEA Development of Andretta Artist’s Village, Palampur,Himachal Pradesh, India

• Plaster Mix The second layer of plaster is made with 50% mud and 50% cow dung . Cow dung adds fiber to the mix and also acts as a water repellent.

Image 55 : Process of making Plaster Mix Source: ICEA

Image 56 : Process of making Cob Source: ICEA

• Brick Making

Chamfered brick 45degree

Quin closer Size : 12”x6”x3”

Brick Size : 18”x6”x3” • Adobe Masonary

Image 57 : Process of making Brick Source: ICEA

Image 58 : Process of placing Brick Source: ICEA

1. The minimum thickness of the wall is 18 inches. Flemish bond is used for the masonry. The surface is wet first then mortar is put and finally the brick is placed carefully. 2. Columns have hollow centre with a single 16 mm dia. reinforcement which is tied with the reinforcements of the lintel band to help the building withstand earthquake. Development of Andretta Artist’s Village, Palampur,Himachal Pradesh, India

• Stone Masonary 1. Stone Dressing. The stone used is granite for the masonry, because sandstone is available on site but is not strong enough to be used as structural stone. 2. The cornerstone is placed at the end of the course. it is attached with a thread which act as a guidibg line for rest of the masonary. 3. Keystone is placed to ensure that the stone wall does not act as two seperate wall during an earthquake. 4. Dressed stones used at periphery are packed with sandstone rubble that is easily available on site.

Image 59 : Process of doing Stone Masonary Source: ICEA

Image 60 : Process of placing Stones Source: ICEA

• Plaster 1. Layer 1 : Mortar mix is used as first layer of Plaster. It is to cover up any uneven surfaces on the wall. 2. Layer 2 : Second layer has 50% mud and 50% Cow Dung 3. Layer 3 : Third layer is Lipayi. Cow Dung and Water are mixed into a slurry and applied on the walls or floor with a cloth in circular motion. • Door/Window Fixing Door and Windows are Fixed in similar manner. 1. A Rope is tied to the Frame to keep it from displacing 2. Cement Mortar is put to fix the frame 3. Concrete Mix is poured on the Holdfast to fix it to the place.

Image 62 : Process of fixing door and windows on site. Source: ICEA

Image 61 : Process of applying plaster. Source: ICEA

Image 63 : Process of fixing door. Source: ICEA

• Lintel Band Lintel band is poured at a height of 7 feet. It helps to tie the building together along with Plinth band and rebars running in the columns during an earthquake. Slate, Bamboo, and Split Bamboo is used as shuttering to cast Lintel beam. Image 64 : Shuttering of Lintel Band Source: ICEA

12 mm rebars are arangend and tide together using metal ties.

Image 65 : Tying of Lintel Band Source: ICEA

• Soiling A layer of cement Mortar is placed.to bind stones.

Small Stones are placed between gaps

Larger stones from site are Placed Vertically

local stones used as infill between dressed stones Dressed stones Image 66 : Process of Soling Source: ICEA

• Flooring and Roofing Pouring concrete mix (3:3:1) over chicken wire for the Ferrocement slab.

75 mm Lean Concrete

Plastic Sheet Bamboo strips are used to keep split Bamboo in place and also for strength.

Split Bamboo Purlins

Split bamboo i.e chachra is nailed and fixed perpendicular to bamboo rafters

Bamboo Rafters Split bamboo is nailed and solignum paint is applied where ever the bamboo is in contact with mud.

Wooden Beam

Image 67 : Process of Flooring Source: ICEA

Image 68 : Process of laying floor Source: ICEA

Existing Functional Aspect

4.4.1 Andretta Pottery, Andretta,Palampur (H.P)

1. 2. 3. 4. 5. 6. 7. 8.

TERACOTTA MUSEUM (70sqm) STUDIO SPACE (32sqm) STAFF AREA (8sqm) GLAZED POTTERY STORAGE (10sqm) KILN ROOM (14 sqm) DISPLAY ROOM (24sqm) GLAZING STUDIO (15sqm) GENERAL STORAGE (18 sqm)

Image 69 : Site plan of Andretta Pottery, Andretta, Source: author generated Development of Andretta Artist’s Village, Palampur,Himachal Pradesh, India

Image 70 : Entrance view of Andretta Pottery Source: author generated

Image 71 : View of soil Preparation area at Andretta Pottery Source: author generated

Image 72 : View of Studio at Andretta Pottery Source: author generated

Image 73 : View of Backyard at Andretta Pottery Source: author generated

Image 74 : View of glazing & drying area at Andretta Pottery Source: author generated Development of Andretta Artist’s Village, Palampur,Himachal Pradesh, India

Art Festivals

4.5.1 Kochi - Muziris Biennale, Kochi, Kerela

Kochi Muziriz Biennale is an International Exhibition of contemporary art held in Kochi, Kerela India. The biennale was envisioned as a change maker, with the intention of impacting the way people thought about art, about culture and very importantly, about ideas. The biennale has evolved as a pilgrimage to art and culture enthusiasts, and puts kerela, and india, on the global cutural platform. Presented here is the Impact of such an International Art Gathering on Social, Economic and Physical Aspects of the city.

Image 75 : Evolution of the biennale Source: KMB impact report 2017

Image 76 : Impact study of KMB (kochi-muziris biennale), Source: KMB impact report 2017 Development of Andretta Artist’s Village, Palampur,Himachal Pradesh, India

Chapter 5.0 Site Studies 5.1 5.2 5.3 5.4 5.5 5.6 5.7

Location and Regional Context Village Profile Action Area Baseline Studies Site Survey Site Analysis Focus Area

5.1 Location

Regional Context

Andretta is located at Kangra valley’s Palampur district in Himachal Pradesh, and effectively links to the Dhauladhar Circuit of the region.

Map 5 : Location map of Kangra region in Himachal Pradesh Source: wikipedia.org

Map 6 : Location of Andretta in reference to Dhauladhar Circuit Map, Source: google maps

Map 7 : Regional map of Andretta village, Source: google earth Development of Andretta Artist’s Village, Palampur,Himachal Pradesh, India

Map 8 : Map of Andretta village Source: google earth

Action area

5.2 Village Profile • • • • • •

Name : Andretta Location : Palampur District, Himachal Pradesh,India Connectivity : 14km away from Palampur Area : 315 Acres Population : 1605 Climate : Humid sub-tropic climate Hot summers and cool winters March to June (warmest months) December to February (coldest months) July to September (monsoon months) • Topography : Sloped Terrain • Seismic Zone : Zone 4 Graph 5 : Population division of Andretta village Source: Gram Panchyat Andretta

Graph 6 : Livelihood categorization of Andretta village Source: Gram Panchyat Andretta

Sobha Singh Art Gallery The Woodland Estate Andretta Pottery

Map 9 : Significant magnets of Andretta village, Source: google earth Development of Andretta Artist’s Village, Palampur,Himachal Pradesh, India

5.3 Action Area

Map 10 : Co-ordinated Map, Source: author generated

Connectivity Rivulet Existing Buildings Existing Area of Significant Magnets Development of Andretta Artist’s Village, Palampur,Himachal Pradesh, India

E-W TRANSECT ACROSS THE CONTOURS, TOWARDS SOUTH

E-W TRANSECT ACROSS THE CONTOURS, TOWARDS NORTH

Image 77 : Sections through E- W Transect of Andretta Village Source: author generated

5.4 Baseline Studies Figure Ground Map

Map 11 : Figure Ground Map, Source: author generated

Figure Ground

Building Use Map

Map 12 : Building Use Map, Source: author generated

Residential

Institutional

Building Height Map

Map 13 : Building Height Map, Source: author generated

3m to 4.5m 4.5m to 7.5m 7.5m to 10m

Building Vocabulary Map

Map 14 : Building Vocabulary Map, Source: author generated

Vernacular Vernacular + Contemporary Contemporary

Building Condition Map

Map 15 : Building Condition Map, Source: author generated

Grade A Grade B Grade C

Building Survey Map

A total of 35 buildings were surveyed.

Map 16 : Building Survey Map, Source: author generated

Buildings Surveyed

5.5 Site Survey Survey Data

and Information

A Local Survey of 35 Houses was Conducted to Understand the Socio-Economic, Physical, and Cultural Aspects of Andretta Village.The Data thus Collected is Presented in the Form of Information Graphs.

Graph 7 : Male - Female ratio in / outside of Andretta village Source: author generated

Graph 8 : Age Categorization graph of memebers in Andretta village, Source: author generated

Graph 9 : Education Categorization graph of members in Andretta village Source: author generated

Graph 10 : Earning Members ratio in/outside Andretta village Source: author generated

Graph 11 : Category of Job in/outside Andretta village, Source: author generated

Graph 12 : Type of Job in/outside Andretta village, Source: author generated Development of Andretta Artist’s Village, Palampur,Himachal Pradesh, India

Graph 13 : Nature of Job in/outside Andretta village, Source: author generated

>50k

*Income Categorization / month Graph 14 : Income Categorization in/outside Andretta village, Source: author generated

Graph 15 : Possibility of homestay in Andretta village, Source: author generated

5.6 Site Analysis Wheather Data

Graph 16 :Maximum Temperature Graph Source: metablue.com

Graph 17 : Graph showing monthly number of cloudy, sunny, and Precipitation days Source: metablue.com

Graph 18 : Average Temperature and Precipitation Graph Source: metablue.com

Site Images

Image 78 : Site Panoramas Source: author generated

5.7 Focus Area

Image 79 : Key Plan Source: author generated

Image 80 : Focus Area Source: author generated Development of Andretta Artist’s Village, Palampur,Himachal Pradesh, India

Chapter 6.0 Program Derivation 6.1 Guidelines for Program Derivation 6.2 Derivation of Design Components 6.3 Proposed Program

6.1 Guidelines

Program Derivation Social Enhancement

• Developing potential grounds to initiate formal and informal interactions between locals, visitors and artists. • Development of various platforms for exchange of expression, discourse and learning with local community. • Re-development of cultural nodes by providing necessary infrastructural facilities that uses local building skills. • Achieving livelihood securities of locals at Andretta. • Developing learning centre’s in village to uplift the rural youth and to empower the local women.

Cultural Viability • Reviving the cultural identity of Andretta via encouraging artistic and cultural associations at village. • Empowering the local artisans and craftsman of village. • Developing new modes of cultural preservation. • Creating different platforms for artists to showcase their work to visitors. • Efforts to preserve the traditional art n craft of Kangra region. • Preserving the traditional knowledge system of construction by using vernacular construction technology. • Explicitly bringing out the role of nature along with culture in making of settlement, clusters and building types that pertains to visitors and artists.

Economic Empowerment • Enhancing the touristic value of village so as to develop a self sustained economy module. • Promoting different modes of tourism within village via developing the tourism infrastructure of the region. • Developing infrastructure to undertake art oriented workshop and organize global exhibitions. • Artist in residency program to provide a global face to local art, culture and tradition. • Encouraging locals to start home-stay program for outside artists and visitors. • Establishing new stalls for selling handicrafts, local art and craft material. • Providing infrastructural facilities for outside visitors and tourists that add to their overall experience in village.

Multipurpose workshop pavillions, exhibition pavillions

covered spaces for formal interactions

Yoga & meditation centres, wellness centres Tourist information centre open cafĂŠ's and restraunts, tourist accomodation facilities, parking facilities etc.

space to cater different types of tourists spaces to regulate the tourist flow in village space to enhance the experience of tourists in village

To enhance the tourism value of village

Temporary pavillion spaces, tents, temporary stay quarters, toilet pods, information booths etc.

spaces that can hold art and craft oriented festivals in village

To encourage artistic and cultural associations at andretta

community skill centre, permanent workshop spaces for practicing locals.

spaces to work,learn and enhance local art n craft with the visiting artists in village

retail shops with attached workspace for local artisans of the village.

To uplift the rural youth and epower the local women of village

To empower local artists and craftsman of spaces to showcase and sell traditonal art and andretta craft material.

Re-devlopment of cultural nodes to restore necessary infrastructural facilities for andretta renovation and value addition of existing facilities at the cultural identity of andretta as an artist pottery and craft society,sobha singh artist andretta pottery,artist recidencies, dormatries and village gallery and woodland estate accomodation facilities for visitors at andretta.

seminar halls, conference halls,libraries etc.

permanent exhibition spaces, formal gallery spaces

open air amphitheatres, gathering spaces , canteen space

open, semi-open spaces for informal interactions

spaces that showcases work done by various artists spaces that can hold symposiums and discourse

DESIGN COMPONENTS

DESIGN STRATEGIES

To develop platforms for exchange of expression, discourse and learning

To develop potential grounds for interaction between locals, visitors & artists

DESIGN GOALS

6.2 Derivation Design Components

Table 5 : Derivation of Design Components, Source: author generated

CORE FUNCTIONS

FUNCTION TYPE

STUDIO POTTERY

Kitchen Toilet

Living room

General storage Entrace foyer Reception Administration Pantry Toilets CARE TAKER UNIT

Display area

Glazed pottery storage Packaging area Library

Painting studio

Unabaked pottery storage Electric kiln room Gas kiln room Wood kiln area Unglazed pottery storage Chemical storage

Working studio

Clay storage Clay preparation

close close close/semiopen

close/semiopen close close

close close open/semiopen/close close/semiopen close semi-open close close close close

close close semi-open

20 12 5 10 6 10

5.0 1.2 5.0 5.0 3.0

1 1 1 1 1 1

NO. OF UNITS 1 1

AREA(sqm) /USER

NO. OF USERS

Workshop participants/ Artists/Visitors/ Tourists/Staff

EXISTING PROPOSED AREAS(sqm) AREAS(sqm) 12 38 36 120

PROPOSED PROGRAM

NATURE OF SPACE semi-open semi-open close/semiopen

TOTAL AREAS 12 38

6.3 Proposed Program

Art storage Souvenier shop General storage Packaging area Entrace foyer Reception desk Administration Pantry

Workshop areas

Common spaces

Artist studios Library

Entrace foyer Reception desk Administration Pantry Toilets

Amphitheatre

Backstage areas

Performing areas

Drama studios Green rooms Changing rooms Store rooms Workshop areas General storage Library

close close open/semiopen/close close/semiopen close close/semiopen close close close close semi-open close close close

close close close close close close close close/semiopen close open/semiopen close/semiopen semi-open close close close close

12 15 10 8 10 -

30 30 20 15 12 5 10 6

12 5 10 6 10

4 10 4 5 10 1 2 2

7.5 3.0 5.0 3.0 1.2 5.0 5.0 3.0

1.2 5.0 5.0 3.0

10.0 10.0 5.0 4.0

2 4 2 10 Workshop participants/ Artists/Visitors/ Tourists/Staff

60 20 9 20 40 10 40

1 1 1 1 1 1 1 1

12 5 10 6 10 692 60 30

60 40 9 20 40 10 40

SUPPORTIVE FUNCTIONS

TRAINING & DEMONSTRATION

close close close close close close close close close close close close semi-open semi-open semi-open close close

Seminar room Multipurpose room A.V room Library Computer lab Workshop pavillion Exhibition pavillion Canteen Spaces General Storage Toilets

close/semiopen

LOCAL SKILL DEVELOPMENT

50 50 50 50 15 80 80 50 10 40

12 10 10 6 24

BAMBOO WORKSHOP Equipment storage Raw material storage Finished product storage CROCIA WORKSPACE Raw material storage Finished product storage PATTAL-DONA WORKSHOP Raw material storage Finished product storage Retail outlet General storage Administration Pantry Toilets 120

close/semiopen close

Locals/ Artisans/Artists /Workshop participants Visitors/Tourists /Staff

Locals/ Artisans/Artists /Visitors/Tourist s

25 25 25 15 6 30 40 20 2

2.0 2.0 2.0 3.3 2.5 2.7 2.0 2.5 5.0

6.0 5.0 5.0 3.0

2 1 1 1 1 1 1 1 1 1

36 10 10 6 24 576 50 50 50 50 15 80 80 50 10 40

ACCOMODATION

DORMITORIES Sleeping area Toilets Pantry Dining area General Storage Common space

Common Space

ARTIST COMMUNE

Pantry & Dining Toilet Store

Living space

ARTIST RESIDENCY (Type-2)

ARTIST RESIDENCY (Type-1)

close close close close close semi-open

close/semiopen close semiopen/open

close/semiopen close/semiopen close/semiopen close close close

close/semiopen close/semiopen close close close

100 15 10 60 10 150

6 3.5 6 57.5

6 3.5 6 42.5

Workshop participants/ Visitors

Workshop participants/ Artists

5.0 3.3 1.2 2.5 3.0

3.0 3.5 3.0

6.0 3.5 6.0

3 3 3 1 3 1

300 45 30 60 30 150

12 7 12 115

36 21 36 255

TOURIST INFORMATION CENTRE

COMMUNITY KITCHEN

Desk area Guide desk area Pantry Toilet

Cooking Space Preparation Space Dry storage General Storage Changing room Toilet

Kitchen Toilet 01 Toilet 02 Bedroom 01 Bedroom 02 Extra room

close close close close

close close close close close close

close/semiopen close close close close close close

close semi-open close close close

GUEST ROOM (Type-2) Living room Balcony Loft bedroom Toilet Pantry&Dining

CARE TAKER'S UNIT

close semi-open close close

GUEST ROOM (Type-1) Living room Balcony Toilet Pantry

30 20 12 10 3 5

8 3.5 3.5 15 15 10

20 5 10 3.5 6 44.5

15 5 3.5 4 27.5

Staff/Visitors/ Artists/Tourists

Staff/ Caretakers

Tourists/Visitors

5 3 3 3 1 1

2 1 1 2 2 2

5.0 5.0 3.0

6.0 6.7 4.0 3.3 3.0 5.0

4.0 3.5 3.5 7.5 7.5 5.0

5.0 2.5 5.0 3.5 3.0

7.5 2.5 3.5 2.0

8 3.5 3.5 15 15 10 75 30 20 12 10 3 5 80 10 15 3 2

60 15 30 10.5 18 133.5

30 10 7 8 55

ALLIED FUNCTIONS

Proposed Program author generated

CAFETERIA & RESTAURANT

STREETSCAPE

YOGA & MEDITATION CENTRE

Kitchen Store Toilet

Dining area

Food outlets

Water booths Atm booths Retails outlets

Resting spaces

Store Pantry Toilet

Meditation hall

Yoga studio

open/semiopen open/semiopen

close/semiopen close close close

close/semiopen close close close close/semiopen

Tourists/Visitors /Artists/Staff

Locals/Artisan s/Tourists/Visito rs/Artists

Tourists/Artists/ Staff

2.0 6.0 12.0

Chapter 7.0 Proposed Design Intervention 7.1 Project Development 7.2 Design Development 7.3 Final Outcome

Image 81 : User Movement Diagram Source: author generated

User Movement Diagram

7.1 Project Development

Extended Pottery Facility Dormitories Kitchen & Dining

Identificaton of Potential Nodes for Development

Theatre Facility Training and Demonstration Area Painting Facility Artist Residency Artist Commune Guest Cottages Community Kitchen Community Dining Common Spaces

Resting Spaces Public utility Cafeteria Food Outet

NODE 2B Resting Spaces Public utility Food Outet

Extended Painting Facility Local Skill Development Centre Tourist Information Centre Retail Outlets Amphitheatre Resting Spaces Parking Facilities E-Car Station

Image 82 : Identification of potential nodes for Development Source: author generated

and Secodary Circulation

Identification of Pockets of In-

and secondary Primary Vechicular circulation

Circulation Diagram

Image 83 : Circulation Diagram Source: author generated

Conceptual Sketches

Image 84 : Conceptual sketches of cluster and built module Source: author generated Development of Andretta Artist’s Village, Palampur,Himachal Pradesh, India

7.2 Design Development

Image 85 : Design Development Source: author generated

7.3 Final Outcome

BIBLIOGRAPHY -

http://ccrtindia.gov.in/visualarts.php https://www.ixigo.com/arts-and-crafts-village-in-india-lp-1475537 http://www.kochimuzirisbiennale.org http://himachaltourism.gov.in/archives.php https://www.thebetterindia.com/15437/travel-art-architecture-culture-kangravalley-himachal-pradesh-thangka-bir-andretta - https://www.thebetterindia.com/61587/andretta-artists-colony-village-himachalpradesh - http://www.india.com/travel/articles/visit-quaint-pot-village-andretta-monsoons/ - https://timesofindia.indiatimes.com/life-style/Himachals-pot-secret/article show/19538934.cms - http://www.andrettapottery.com/Pottery.html - http://www.tribuneindia.com/2003/20031101/windows/main2.htm - http://www.thehindu.com/2004/07/30/stories/2004073006550300.htm - http://www.ceramicstoday.com/potw/singh.htm - https://timesofindia.indiatimes.com/delhi-times/Where-theres-a-wheel-theres-away/articleshow/1005029.cms - https://theculturetrip.com/europe/germany/articles/10-fascinating-artist-colonies -around-the-world/ - http://www.potteryindia.com/glazed-delhi-blue-pottery.php - Tourism in Himachal Pradesh - Manoj Jreat - Google Books - http://www.differenttruths.com/history-culture/people/padma-shri-sardar-gurcha ran-singh-father-of-studio-pottery-in-india/ - http://sobhasinghartist.com/life-history.html - http://123himachal.com/nora/norah.htm - Domestic Tourism in India - D. S. Bhardwaj - Google Books - Tourism and the Environment: A Quest for Sustainability : with Special ... - R. N. Batta - Google Books - Discovering Himalaya : Tourism Of Himalayan Region (2 Vols.) - K.S. Gulia Google Books - http://www.onefivenine.com/india/villages/Kangra/Kangra/Andreta - https://homegrown.co.in/article/801464/7-artist-villages-across-india-that-are creative-havens - http://www.frontline.in/arts-and-culture/art/claying-around-in-andretta/article59 14600.ece#test - http://www.thepurpleturtles.com/of-art-trails-prayer-wheels-and-clay-craft-in-him achals-kangra-valley/ - http://sikhchic.com/article-detail.php?cat=17&id=132 - http://10yearitch.com/india-travel-tour/himachal-pradesh/photo-post-norah-rich ards-house-andretta-himachal-pradesh/ - http://www.discoveredindia.com/himachal-pradesh/culture-in-himachal-pradesh/ art-and-crafts/ Development of Andretta Artist’s Village, Palampur,Himachal Pradesh, India

- http://www.indialine.com/travel/himachalpradesh/arts-and-crafts.html - https://www.outlookindia.com/outlooktraveller/destinations/himachal-pradesh-re discovering-kangra/ - http://www.archinomy.com/case-studies/712/mud-architecture-construction-detai ls-and-techniques - http://revolvingcompass.com/andretta-pottery/ - https://littleofftrack.wordpress.com/2015/04/20/andretta-a-sleepy-artist-village/ - http://www.tribuneindia.com/news/himachal/community/andretta-a-village-ofartists-in-palampur-cries-for-govt-attention/158997.html - http://www.being-himachali.com/andretta-a-mystical-himalayan-village/ - http://www.khamir.org/about/khamir/who - Gandhi nu gam, Ludiya, partnering with people : redevelopment with community participation _ By Vastu-Shilpa Foundation for Studies and Research in Environm-ental Design. - kochimuzirisbiennale.org/wp-content/uploads/2017/12/KMB-Impact-report.pdf

ANNEXURE Questionnare ANDRETTA VILLAGE SURVEY “Questionnaire”

Survey no: ________

Name: ______________________________________________________________________ Number of members in family:_________________________________________________ Age Group :( 0-20)________(20-40)_________(40-60)________(60 & above)_________ Sex: (no. of Males) _____________________ (no. of Females) ______________________ No. of Earning Members in Family: (Males)______________ (Females) _____________ Education: (Metric)______(intermediate)_______(grad.)_______(post-grad.)_______ (Any other tech. qualification) _____________________________________ Type of Job: (Professional ______________________ (Manual) _____________________ Nature of Job: (Permanent)____________________ (Casual) ______________________ Category of Job: (skilled)__________(semi-skilled)___________(unskilled)___________ Monthly Family Income (in Rs.) ________________________________________________ VILLAGE SURVEY “Questionnaire” urvey Sheet SANDRETTA

ANDRETTA VILLAGE SURVEY

TOTAL Name: ______________________________________________________________________ Survey No.

Total members in family Number of members in family:_________________________________________________ No. of Males No. of Females

Age Group 0-20)________(20-40)_________(40-60)________(60 & above)_________ Age group ( :( 0-20) Age group ( 20-40) Age group ( 40-60) Age group ( 60&above)

Sex: (no. of Males) _____________________ (no. of Females) ______________________ Total earning members in family No. of earning Males No. of earning Females

No. of Earning Members in Family: (Males)______________ (Females) _____________ Total family Income

Education: (Metric)______(intermediate)_______(grad.)_______(post-grad.)_______ Education Male (ME/I/G/PG/O) Education Female (ME/I/G/PG/O)

(Any other tech. qualification) _____________________________________

Type of job Male (Pr/Ma) Type of job Female (Pr/Ma)

Category job Male(Professional (Si/Se/Un) Type ofofJob: ______________________ (Manual) _____________________ Category of job Female (Si/Se/Un)

Nature of (Permanent)____________________ (Casual) ______________________ Nature of job Job: Female (P/C) Nature of job Male (P/C)

Members of family outside Andretta

Nature of of job (P/C) Category Job: (skilled)__________(semi-skilled)___________(unskilled)___________ Type of job (Pr/Ma) Category of job (Si/Se/Un)

Monthly Family Traditional skill in familiyIncome (in Rs.) ________________________________________________ Possibility of homestay (Y/N)

Entries ANDRETTA VILLAGE SURVEY Survey No.

Total members in family No. of Males No. of Females

Age group ( 0-20) Age group ( 20-40) Age group ( 40-60) Age group ( 60&above)

1M,2F 1F 1F -

1M,IF 2M,2F 1M,1F 1M

1M,IF 1M,IF -

1M,IF 1F 1M 1F

1M 1M 1M,1F -

Total earning members in family No. of earning Males No. of earning Females

Total family Income/month

Education Male (ME/I/G/PG/O) Education Female (ME/I/G/PG/O)

1ME,2IE I IE

1ME,1IE 1ME,1IE

Type of job Male (Pr/Ma/Nm) Type of job Female (Pr/Ma)

Category of job Male (Si/Se/Un) Category of job Female (Si/Se/Un)

Nature of job Male (P/C) Nature of job Female (P/C)

Members of family outside Andretta Nature of job (P/C) Type of job (Pr/Ma) Category of job (Si/Se/Un)

Traditional skill in familiy

Possibility of homestay (Y/N)

* Only a few variable entries are shown in table

• • • • • •

M:Male; F:Female ME:Metric; I:Intermediate; G:Graduation; PG:Post Graduation; O:Other Pr:Professional; Ma:Manual; Nm:Non-manual Si:Skilled; Se: Semi-skilled; Un:Unskilled P:Permanent; C:Casual Y:Yes; N:No

Definitions • Professional Job : someone who does a job that requires special training, education, or skill. • Manual Job : manual work is physical work done by people, most especially in contrast to that done by machines. • Non Manual Job : a person whose job involves the use of their mind, rather than the use of their hands or physical strength. • Skilled labour : Skilled labour refers to workers who have specialized training or skills. These labourers are capable of exercising judgment and have knowledge of the particular trade or industry they work. • Semi-Skilled Labour : Semi-Skilled labour does not require advanced training or specialized skills, but it does require more skills than an unskilled labor job. • Unskilled labour : Unskilled labour refers to workers who possess no particular skills and likely have no formal education. This type of work usually involves simple duties that don’t require judgment. • Permanent employee : regular employees or the directly employed, work for an employer and are paid directly by that employer. Permanent (regular). • Casual employee : employees who do not have regular or systematic hours of work or an expectation of continuing work.

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