Thesis On Craft S Vlllage Madhyapur Thim

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CRAFT’S VILLAGE
AT MADHYAPUR THIMI
BY
Rupesh Shrestha
(062 / B.Arch / 231)
Submitted in partial fulfillment of the

Requirement for the degree of
Bachelor of Architecture
In the Department of Architecture
Tribhuvan University
Institute of Engineering
Pulchowk Campus
January 2011
Kathmandu,Nepal
March 2010
Thesis on Craft’s Vlllage, Madhyapur Thimi.
CERTIF ICATE
This is to certify that this thesis entitled “CRAFT’S VILLAGE” at Madhyapur Thimi submitted
by Mr. Rupesh Shrestha has been examined and it has been declared successful for the partial
fulfilment of the academic requirement towards the completion of the Degree of Bachelor of
Architecture.
..……………………………
Ar. Rajesh Thapa
(Thesis Supervisor)
Date: ……………………….
RUPESH SHRESTHA B. ARCH. THESIS 2011

062 / B.ARCH. / 231 IOE, DEPARTMENT OF ARCHITECTURE
DECLARATION
I declare that this dissertation has not been previously accepted in substance for any
degree and is not being concurrently submitted in candidature for any degree. I state that this
dissertation is the result of my own independent investigation/ work, except where otherwise
stated. I hereby give consent for my dissertation, if accepted, to be available for photocopying
and understand that any reference to or quotation from my thesis will receive an
acknowledgement.
…………………….
Rupesh Shrestha
Date: …...…………

ACKNOWLEDGEMENT
I would like to express my sincere gratitude to all who have offered their help in
accomplishing this thesis.
I would like to thank my teachers; my guides who have continuously helped me with
their guidance’s and brainstorming ideas. I would like to thank my guide Ar. Rajesh Thapa for
his continuous support and his valuable inputs. Also I would like to thank Prof. Dr. Sudarshan
Raj Tiwari, Prof. Sri Niwas Bir Singh Kansakar for their valuable ideas that has been helpful to
shape this project.
Also I would like to mention a special thanks to Ar. Deepak Pant and Ar. Punya Sagar
Marahatta for their suggestions and continuous encouragement and gestures.
Also I am indebted to the reputed personnel of various craft centres for their valuable
co-operation during the case study. Also I want to express my gratitude towards Mr. Leela
Mani Paudyal- Secretary at Office of Prime Minister and Council of Ministers (OPMCM) and
Mr. Gopal “Kalapremi” Shrestha – a renowned artist for their support while doing case study
and programme formulation.
I would also like to extend my gratitude to my seniors Ar. Abhishek Mananda

Bajracharya, Ar. Monika Maharjan, Ar. Jeny Shrestha, Ar. Manisha Shilpakar, Ar. Timila
Bajracharya and juniors Shashi Mandal, Selma Vaidya and Lona Gm, Anuj, Nirajan, Zubin,
Nayan and my friend Prabin Man Baidya for their assistance and without who m this project
couldn't have fully materialised.
A word of appreciation also goes to my friends who have supported me in this

endeavour and to all whose names I couldn't mention here.
Thank you ….
Rupesh Shrestha
062 / B.Arch / 231

ABSTRACT
A craft is a branch of profession that requires some particular kind of skilled work. In
historical sense, particularly as pertinent to the Medieval history and earlier, the term is usually
applied towards people occupied in small- scale production of goods. The meaning of craft and
its values are ever-changing with development of new techniques and methods. Craft village is
a one-stop craft destination which offers visitors a unique variety of craft-related activities and
programmes. It is intended to be a “must visit" tourist destination. In this village, visitors will
learn about Nepali handicraft through craft demonstrations & hands-on interactive sessions.
Visitors will experience the interactive handicraft making besides viewing the techniques in
which they make such fine masterpieces. It also accommodates various trading units. This
project intends to provide spaces with forms and functions to foster the development of crafts
that Nepal is known for. The art and craft gallery housed in its premises displays wide
collections of handicraft products/artefacts based on time-honoured Nepali craft traditions. The
core concept of the Craft gallery is education and highlights the craft heritage of Nepal and
local handicraft production technologies.
There are many handicrafts promoting agency in Nepal. They are private, semi-
government and government agency with different scope and scale. But the y lack adequate
space which truly acknowledges the production, promotion and display of crafts. The project
has opted for traditional principles in architectural design –character of a traditional settlement
(tole).

TABLE OF CONTENTS
CONTENTS PAGE NO
1. Chapter 1: Introduction
1.1 Introduction……………………………………………………………………………………………………………. 1
1.2 Historical Background…………………………………………………………………………………………………….. 3
1.3 Objective of the Study……………………………………………………………………………………………........... 4
1.4 Scope of project ………………………………………………………………………………………………………. 6
1.5 Project Justification………………………………………………………………………………………………………….. 7
1.6 Methodology……………………………………………………………………………………………………………........ 9
2. Chapter 2: Literature Review

2.1 Literature Review…………………………………………………………………………………………………………… 12
2.2 Objective………………………………………………………………………………………………………………………... 12
2.3 Introduction
2.3.1 General Consideration ..……………………………………………………………………………….. 13
2.3.2 Design of Multifield workspace ………………………………………………………………….. 16
2.3.3 General requirement of studios …………………………………………………………………………. 19
2.3.4 Detailed study of studios……………………………………………………………………………………… 20
2.3.5 Library ………………………………………………………………………………………………………………... 23
2.3.6 Conference rooms and restaurants ………………………………………………………………….. 24
2.3.7 Display Spaces ……………………………………………………………………………………………….. 25
2.3.8 Energy Efficient Studies ……………………………………………………………………………………… 31
3. Chapter 3: Site Analysis

3.1 Site Analysis
3.1.1 Location ……………………………………………………………………………………………………………... 34
3.1.2 Physical features ……………………………………………………………………………………………….. 34
3.1.3 Site surroundings ……………………………………………………………………………………………… 35
3.1.4 Site area …………………………………………………………………………………………………………… 35
3.1.5 Access and approaches …………………………………………………………………………………….. 35
3.1.6 Vegetation ………………………………………………………………………………………………………. 36
3.2 Physical infrastructure …………………………………………………………………………………………………. 36
3.2.1 Infrastructure ………………………………………………………………………………………………... 36
3.2.2 Geology …………………………………………………………………………………………………………. 36
3.2.3 Climate ………………………………………………………………………………………………………….. 36
3.3 Few facts about Madhyapur Thimi ………………………………………………………………………………… 37
3.4 Site Justification …………………………………………………………………………………………………………….. 37
3.5 Bye Laws ……………………………………………………………………………………………………………………..... 37
3.6 SWOT Analysis ……………………………………………………………………………………………………………….. 37
4. Chapter 4: Case studies

4.1 Case Study …………………………………………………………………………………………………………..…… 39
4.1.1 Introduction to Handicraft Association of Nepal ………………………………………………… 40
4.2 Wood craft
4.2.1 Wood Carving Industries ……………………………………………………………………………………. 41
4.2.2 Wood carving at Bhaktapur ……………………………………………………………………………….. 44
4.3 Metal Craft
4.3.1 MahaBuddha Handicraft ……………………………………………………………………………………. 45
4.4 Stone Craft
4.4.1 Arniko Stone Carvers …………………………………………………………………………………………… 48
4.5 Clay Craft
4.5.1 Pottery Square ……………………………………………………………………………………………………. 50
4.5.2 Thimi Ceramics ……………………………………………………………………………………………………. 53
4.6 Gallery and Exhibition Space
4.6.1 Nehru Memorial Pavillion ………………………………………………………………………………….. 54
4.6.2 National Craft Museum ………………………………………………………………………………………. 56
4.7 Exhibition and Commercial space
4.7.1 Babar Mahal Revisited ………………………………………………………………………………………. 60
4.7.2 Siddhartha Art Gallery ……………………………………………………………………………………….. 62
4.8 Training and Development Center
4.8.1 Handicraft Design and Development center …………………………………………………….. 63
4.9 CRAFT VILLAGE
4.9.1 Folk arts and Craft’s Museum ………………………………………………………………………….. 66
4.10 Energy Studies
4.10.1 Piano's Beyeler Foundation Museum ………………………………………………………….. 68
5. Chapter 5: Design Inferences

5.1 Elements of Newar settlements …………………………………………………………………………. 70
6. CHAPTER 6: Programme and Area formulation …………………………………………………………………… 74
7. CHAPTER 7: CONCEPT
7.1 Concept ……………………………………………………………………………………………………………… 79
7.2 Design theme ……………………………………………………………………………………………………… 80
7.3 Zoning and site planning ……………………………………………………………………………………. 80
7.4 Proposed Utility and services …………………………………………………………………………….. 82
7.5 Fire hazard protection plan ………………………………………………………………………………. 83
8. CONCLUSION ………………………………………………………………………………………………………….. 84
9. BIBLIOGRAPHY …………………………………………………………………………………………………………. 85
Thesis on Craft‘s Vlllage, Madhyapur Thimi
CHAPTER 1
1.1 INTRODUCTION
Arts and crafts comprise a whole host of activities and hobbies that are related to
making things with one's own hands and skill. These can be sub-divided into handicrafts or
"traditional crafts" (doing things the old way) and the rest. Some crafts have been practised for
centuries, while others are modern inventions, or popularisations of crafts which were
originally practiced in a very small geographic area. (Word IQ.com 2010)
The specific name Arts and Crafts movement was also given to a design
movement of the late 19th and early 20th century, whose proponents included William Morris
and Edwin Lutyens. They believed that medieval craftsmen achieved a joy in the excellence of
their work, which they strove to emulate.
These activities are called crafts because originally many of them were
professions. Adolescents were apprenticed to a master-craftsman, and they refined their skills
over a period of years. By the time their training was complete, they were well-equipped to set
up in trade for themselves, earning their living with the skill of their hands. The Industrial
Revolution and the increasing mechanisation of production processes gradually reduced or
eliminated many of the roles professional craftspeople played, and today 'crafts' are most
commonly seen as a form of hobby.
Most crafts require a combination of skill and talent, but they can also be learnt
on a more basic level by virtually anyone. Many Community centres and schools run evening
or day classes and workshops offering to teach basic craft skills in a short period of time. Many
of these crafts become extremely popular for brief periods of time (a few months, or a few
years), spreading rapidly among the crafting population as everyone emulates the first
examples.
The term craft also refers to the products of artistic production or creation that
require a high degree of tacit knowledge, are highly technical, require specialized equipment
and/or facilities to produce, involve manual labor or a blue-collar work ethic, are accessible to
the general public and are constructed from materials with histories that exceed the boundaries
of western art history, such as ceramics, glass, textiles, metal and wood. These products are
produced within a specific community of practice and while they differ from the products

062 / B.ARCH. / 231 IOE, DEPARTMENT OF ARCHITECTURE 1
produced within the communities of art and design, the boundaries of such often overlap
resulting in hybrid objects. Additionally, as the interpretation and validation of art is frequently
a matter of context, an audience may perceive crafted objects as art objects when these objects
are viewed within an art context, such as in a museum or in a position of prominence in ones
home.
Art and Craft are inter-related in many aspects. They are a form of expression of
ideas and solutions through items they create. Different items that craftsmen have made, during
their civilization has brought a masterpiece and stated about the period of their times. Nepal is
a country with diversified cultures, art and traditions. It is a colorful country. It is because of
these cultures and tradition Nepal is known to the world today. These diversified cultures and
traditions are reflected on the art and crafts of the country, which not only specifies the identity
but has become one of the most important financial gains of the country. As stated in Wikipedia
(2010) Handicraft is known as craftwork is a simple craft. It is a type of work where useful and
decorative devices are made completely by hand or by using only simple tools. Usually the
term is applied to traditional means of making goods. They are usually labour intensive
specialized skills and uses indigenous raw material and resources. In the India – Crafts (2010)
it states usually, what differentiates handicraft from arts and crafts is a matter of intent, i.e.
handicraft items are intended to be used, worn, etc, having a purpose beyond simple
decoration. According to Handicrafts are generally considered more traditional work, created
as a necessary part of daily life, while arts and crafts implies more of a hobby pursuit and a
demonstration/perfection of a creative technique. In practical terms, the categories have a great
deal of overlap (Malcolm Tatum 2010).

1.2 HISTORICAL BACKGROUND
Gajurel and Vaidya (1994) suggest that history of Nepalese Handicraft is an old saga.
Traces of Nepalese handicraft dates back to Stone Age, where any kinds of tool were
inadequate. During 5th Century AD, different religions began to form their bases amongst the
people, along with the history of handicraft. Thus handicraft began with faith; a lot of religion
influence can be seen in Nepalese Handicraft. People from different spheres of life following
different religion from Hinduism to Buddhism influenced so much of Nepalese art and craft.
Documentary evidences indicate that Nepalese handicraft dates back to the period of
Kautilya. In 4th century, Nepal was known for quality rainproof woolen blankets, known as
"bhiringisi", as referred in ―Kautiliyam Arthashastra‖. Various Chinese travellers like
Wanghunshe and Huansang, in 648 A.D. have greatly appreciated Nepalese arts and crafts and
the skills of Nepalese craftsmen and artisans, in their travelogues. Terracotta toys, dolls and
figurines discovered at Tilaurakot in western Nepal and bronze peacock at Lumbini are among
the few best examples of the Nepalese handicrafts used by the people during and after the 6th
century B.C.
Production of various handicrafts and their use in the society has been an integral part of
Nepal‘s rural life. Agricultural and other tools(khukuri, Kuto Kodali, Halo, Chulesi etc), rugs
and blankets (Radi Pakhi), Bhangro (Hemp cloth) and Wickerwork (Gundri, Doko, Namlo etc)
have always been the part of rural life. In the same way, hand made paper, handloom cloth,
woolen knitwear and rugs have their own historical background that cannot be confined to a
specific era.
In Lichhavi period, development of artistic handicraft reached its height in various form
of metal/wood/stone craft. The Thangka, which is believed to be Tibetan origin, was also
developed as Pauva from Nepal.
After 1951, when Nepal opened its door to foreigners, such craft products meant for
domestic market also noticed the possibility of exporting to countries in Europe, USA and other
Asian countries.
One walking down the streets of Kathmandu cannot fail to notice the abundance
religious buildings in the city. These religious building became the source of traditional
handicraft. Almost every nook and corner space occupied religious artifacts. The temples were
the sites of magnificent stone and wood carvings. Most of the stone carvings were from the

eleventh and twelfth centuries and reflect the influence of Indian art from the Gupta (5 and 6th
century A.D.) and the Palasena (10th to 12th century AD.) periods. Wood carvings are
predominantly from the eighteenth century used to decorate pillars, door and window frames,
cornices and supporting struts (‗Craft News‘ 1999). These evidences showcase some of the
magnificent craft of the country proving the skill and ancient techniques still used today; they
are a source of inspiration.
1.3 OBJECTIVE
The main objective of this project would be to share crafts information through
workshops, gallery and exhibitions, and provide innovative craft design classes through latest
technology. In trend, we accumulate all different activities in a rented building with a single
character which results in loss of active participation of dwellers. Objective of this project will
be to transgress from this trend into providing an apt environment of healthy promotion of
Nepali crafts. The project at end will be a place of amalgamation of various trade guilds
distributed in Nepal and provide a platform for creative learning for people interested in craft
sector. This will also act as a community center to promote tourism as there will be a collection
of Nepali cultural traits. The development functions are determined to satisfy three different
parts of community requirements. The first would be an employment / facility center for village.
The second one would be the tourist related functions such as viewpoint and view decks, and
third one would be common for community and for tourists such as bank, information center,
etc.
In FHAN (12 May 2010) it describes that in Nepal there are clusters of crafts such as metal
crafts, handmade paper crafts, wooden crafts, thangkas and modern painting, potteries, stone
carving and so on. They are the basic livelihood of the people. As Nepal is a developing country
one cannot expect a huge global industry in the area but one which survives are small cottage
industry that we are more skilled in. Therefore a handicraft village can be a good platform for
those using them.

So the main objectives are as follows:
1.3.1 Social
 An interaction place for craftsmen.
 To provide a good working environment for the creation, workshop, exhibition and
presentation.
 To fulfill the solitude environment required by artists and craftsmen, coherent with
their way of living and working style.
 As a socialization ground for craftsmen.
1.3.2 Cultural
 To promote Nepalese culture through crafts.
 A cultural center that justifies the Nepali lifestyle.
 To blend with the culture of different generations.
1.3.3 Physical
 To provide an adequate, controlled and ideal environment for craftsmen.
 To promote Nepalese handicraft, both within inside and outside Nepal.
 To provide space for seminars and exhibitions, for exchange of their views and ideas.
 To create a new attraction for tourist.
1.3.4 Economical objectives
 To enable people to understand the relationship between economics, culture and

aesthetics
 The place maybe developed as a part of tourist spots in the Kathmandu Valley that
would in turn help in generating certain revenue
 Addition of employment.

1.4 SCOPE OF PROJECT

The project basically comprises of Crafts which are contextual to Kathmandu. Nepal is
diversified nation and so is its crafts industry. Thus all of the crafts is impossible to be
accommodated in a single complex. Thus taking this into account, crafts such as
a. Wood Craft
b. Stone Craft
c. Textile Craft
d. Clay Craft
e. Metal Craft and
f. Thanka
g. Mask making has been attempted to be accommodated.
Crafts Village includes
A. Administration : overall management and supervision of activities
B. Research and training: R & D, knowledge sharing, advancement
C. Workshop: demo rooms on prototype designs
D. Craft gallery: craft display, exhibitions
E. Exhibit, Sales and promotion: showrooms, shops
F. Supporting units: To manage the complex an administrative body is required.
G. Facilities and recreation: Such as restaurants, parking and rest rooms.

1.5 PROJECT JUSTIFICATION
Nepal is suffering for serious drawbacks such as poverty and brain-drain. We have not
been able to uplift Nepal and provide even basic requirements for our people. Although Nepal
boasts of a rich civilization and culture we have not been able to fully catch its potential and
develop it into a income generating source. We possess artists renowned in the world for their
craft but still they lack a formal way of training and a platform for information dissemination /
publicity of their skills.
Present status of Handicraft (source:FHAN)
Nepalese handicraft is not curio any more. Although produced in households,

some handicraft products have taken the shape of small industry.
 Volume of business / export
Handicraft export from Nepal is to the tune of 2.75 billion Nepalese rupees.
Although there is not any survey on local sales of handicrafts, on the basis of discussion
with peoples engaged in this sector, their sale is estimated to at 4.12 billion rupees.
Thus, total business of handicraft is estimated to at 6.87 billion rupees.
 Revenue to Government – Import, Export, Income Tax
Handicraft business contributes to national revenue from various ways. Tariff for
imported raw materials, fees paid for Custom clearance and income tax from profit
generated by numerous enterprises are the major forms of revenue from handicraft
sector. Furthermore, enterprise registration and renewal also contribute to national
revenue.
 Number of family engaged / population
Population census 2001 indicates that Nepal has a population of craft workers to
the tune of 1 million.
 Working environment
As most of the handicraft production is done in household scale, the working

condition is not ideal. In urban areas, space at household scale is felt inadequate to
expand production.

 Handicraft industry’s problems
Due to lower scale of economy, handicraft industry faces the problem of low
productivity, high cost of production, inconsistent quality and inadequate volume of
production. Each product has their own specific problems too. Absence of proper
infrastructure has been major problem in the areas of production, processing and
marketing of handicraft goods.
 Contribution to GDP
Handicraft sector contributes around 1% to the national GDP.
 Contribution in the employment
Handicraft sector contributes around 9% in the total employment of the country.

Moreover, it has been a solid base for self employment.
Craft industry is taking a developing route which must be preserved for its sustainability.
As said earlier a good designed environment is provided for creation, workshop, exhibition and
presentation. It employees and trains the people living in a society which in turn will also
promote the national craft to the world.
If there is any such medium to grasp their creative ingenuity then the present situation of
poverty and brain-drain may come to a steep decrease. Further it will be an asset for tourism
industry of Nepal in which tourists can perceive Nepal in form of its natural beauty and also in
terms of its culture and crafts.

1.6 METHODOLOGY
Essential academic steps conducted during the study are simply pointed out as shown below.
1. Preliminary stage:
A. Collection of data and information relevant to the project.
a. From various government and non-government authorities.
b. References from library and Internet.
c. Interview with the craftsmen.
B. Visit proposed site

a. Site analysis
i. Site parameters/ field visits and study
ii. Data required for site planning shall be recorded diligently.
iii. Soil investigation
iv. Assessment of locally available construction materials.
v. Funtional parameters relevant to the design according to the user requirement
i.e, external and internal communication.
vi. Planning and design parameter deals with planning code and design code.
vii. Climatic analysis
viii. Traffic flow analysis
ix. Weather, fire and damp resistances
x. Thermal and sound insulation
C. Empirical enqiry
a. Field case study
b. Library case study
c. Internet case study
After collecting all the data from the preliminary stage, the proposed requirement of
the design was formulated based on all above studies. From the above preliminary

stage the size, shape and function of the particular element of the whole project was
determined.
2. Secondary stage:
A. Planning
a. Development of master planning
i. Conceptual planning of site.
ii. Traffic management and parking
b. Conceptual design of building
i. General layout of building as per requirements
B. Building
a. General layout/arrangement
b. Architectural plans/elevations/sections
c. Perspective views/model.
 Design development variables

 Need
 Space
 Relationships
 Priorities
 Processes
 Objective
 Maintenance
 Access
 Equipment
 Environment
 Context
 Site
 Zoning
 Services
 Macro-Climate
 Adjacent Building
 Geological factors
 Vehicular Access

 Form
 Zoning
 Circulation
 Structure
 Enclosure
 Construction type
 Construction process
 Energy
 Climate control
 Image

2.0 CHAPTER 2
2.1 LITERATURE REVIEW
A literature review is an evaluative report of information found in the literature related

to your selected area of study. The review should describe, summarise, evaluate and clarify this
literature. It should give a theoretical base for the research and help you (the author) determine
the nature of your research. Works which are irrelevant should be discarded and those which are
peripheral should be looked at critically ( Dr Barbara Webster, 2000)
A literature review is an account of understanding particular topic or a preface to and

rationale for engaging in primary research. Generally a literature review is done to identify the
general topic, issue or area of concerns. For proceeding any project, proper and adequate
knowledge is a must. Almost theoretical knowledge for proper understanding of the project is
gained through study of literature such as books, journals, reports, articles and so on.
2.2 Objective of the study
 To collect required data on various aspect

 Analysis of requirements and developing concepts
 Theoretical standards for general requirement
 Theory based on experience and researches, giving guidelines.

2.3 INTRODUCTION
The general idea behind the production of craft related items is the production, display,
sales. Thus related studies were undertaken to understand these aspects. Various layouts and
working environment were studied thereafter to get knowledge about craft related works.
Following studies were done to understand and review basic design space and
consideration for specific purposes.
1. General Considerations
2. Design of Multifield workspace
3. Display Spaces
4. Energy related studies
2.3.1 GENERAL CONSIDERATION
The following gives guidelines to designing and maintain relation with other activities:
Freedom and Flexibility of Space:

As most of the handicraft production is done in household scale, the working
environment is not ideal. In urban areas, space at household scale is felt inadequate to expand
production. Hence, for ideal working condition - large ventilated rooms, with high ceiling and
transitional areas such as courtyard, or open to sky spaces should be well appreciated in the
studios and work areas. The link between indoor and outdoor space should be maintained as far
as possible.
Freedom of space

Visual Environments:
Studios must have good amount of natural daylight, with high level windows equal to at
least 25-30% of the floor area. Roof lighting is also preferred. All windows should have some
sort of daylight control.
Artificial light comes into use in absence of natural light, where detail work and
displayed images are to be focused. Lighting should be such that it does not produce any glare,
less maintenance, much saving of wall and ceiling space.
Natural Lighting
Buffer Zones:
It is possible that noise producing workspace can affect the other. So buffers can
be created by additions of walls or vegetations.

Locating space with respective to activities:
Spaces should be provided according to functional requirement. Work which requires

huge machinery or supply of materials should be placed on the ground floor.
Safety measures:
Fire hazardous activities should be separated and isolated from other activities.
Thermal comfort:
A workspace should be thermally, mentally and physically comfortable.

Thermal comforts can be gained by application of passive techniques. It is quite difficult to
maintain the thermal environment in a workspace. As there is frequent opening for supply of
raw materials, heat produced by machine and vibration, heat gain and loss are frequent. Use of
proper ventilation, growing vegetation as shading devices, using double glazing can be the
solutions.

Space inter-relation:
Spaces created should be inter-related- studios, gallery, café, outdoor space should be
interesting and inter-related. One cannot sit alone or isolated for longer time, it needs
communication and transition of space.
2.3.2 DESIGN OF MULTIFIELD WORKSPACE:
Generally a multifield workspace includes three basic units of accommodation:

 Workspace area which includes various workspace such as machine room, planning and
designing.
 Storage area for raw material, finished work, storage space for tools and small,
moveable equipments, worker‘s belonging
 Services & amenities such as staff room, locker room, wash room.
The flow sequence should be uninterrupted and carefully arranged such as – in and out of the
raw material from store, to the workspace, to the finished store and out. The space provided
should have comfortable working environment in respect with illumination, thermal comfort,

scale of furniture and fittings. There should be provision for services so as any possible user are
adaptable and comfortable. As workspace mainly deals with machinery items, the construction
of the building should be such as to allow admission of any sorts of machinery.
Workspace for individual and group work:
General considerations should be:-
a. Peaceful environment
b. Feeling of freedom
c. Outdoor setting
d. Space arrangement
e. Protective equipment / measure
f. Locating workspace with respect to activities
g. Buffer zone between workspace
h. Lighting
Generally a work space required to be designed is calculated as per place area. The
calculation is based on common combination of fields of study. Per place work space
calculation for any field of activity will have to take an account on:
 Individual workspace area plus circulation about the area
 The areas for common activities plus the associated circulation areas
 An area near one of the individual or other work spaces for tools and temporary
work store and an area for work space.
General practicing per place areas for work area in different countries are given below. It
suggest work space per person
Field of Activity Area Per Place in sq.m.

Wood Working 4.7
Metal Working 5.3
Electricity and electronics 3.3
Spinning and weaving 7.2

Ceramics 5.0
Rattan and Bamboo work 3.9
Leather work 2.8
Masonry 3.1
Technical requirements are:-
 Mechanical exhaust
 Dust removal system
 Step by step progress
 Related areas should be nearby
 Sound absorbents
 Furnishing equipments
 Display racks
 Lockers
 Tables
Artificial Lighting

2.3.3 GENERAL REQUIREMENT OF STUDIOS
 The workshops for each craftwork

are likely to have sufficient
number of students to justify
separate accommodation. One
lecture hall is usually adequate
except for the large departments.
 Craft workshops do not need true

north light and since many
involve noise in their use, they
may be placed on the noisier
Diagrammatic layout showing functional requirement of
part of the site. The control of a typical workshop
noise emanating from craft room must be carefully considered in order to prevent
disturbance in other rooms. Various craft rooms are better to be grouped together to
facilitate the concentration and distribution of services.
 General foundation level studios require floor area of about 50 sq.ft. per person and
height about 3.8m. If really good side light is available, top light may be omitted but
when circumstances permit, some top light should be provided. Although large
windows are essential, blinds for the control of lights should also be installed. For
windows, the blinds should be arranged to lift from sill in preference to being pulled
down from the window head. Sink is another integral part in any studio and workshop.
As an alternative to the sink in the studio itself, it is advantageous to have a small sink
room adjoining the studio and entered from it so that all the water and untidiness may
be kept away from the studio itself.
 A store for works- both finished and in progress- may be planned adjoining each studio.
In ceramics studio, the whole space for sink room should be given to sink and clay bins.
The amount of top light should be 1/3rd of the floor area. The windows on the side wall
should have a sill height of about 3‘. Blind boxes in studios should be sixed at sill level
and the blinds made to draw upwards.

2.3.4 DETAILED STUDY OF STUDIOS

It is very important to learn about the final product
that comes out from the studio. The character of each
studio depends on the final process involved in the studio
works. Each step and process involved in the studio work
demand separate consideration while planning the studio.
The planning depends on furniture required for studio
work, materials, tools and also equipments used during the
process. Space planning is very much dependent on these
requirements. It gives the idea of the studio area and
storage area.
2.3.4.1 Pottery studio
Pottery is made by forming a clay body

into objects of a required shape and heating
them to high temperatures in a kiln to induce
reactions that lead to permanent changes,
including increasing their strength and
hardening and setting their shape. It ranges
from valuable works of created by
professional potters to simple items made by
amateurs. The industrial product obtained by
baking clay is called ceramics and when an
artist creates something by baking clay, it is called pottery.
The traditional ceramic items can be classified into following groups.

a. Ceramic Building Materials - Bricks, Tiles, Doors and Windows made of clay,
b. Utensils - Cooking Pots, Stoves, Plates etc.
c. Decorative items - Idols, Flower Vase etc

The following were the technique used in traditional ceramic.

a. Pinch Touch Technique - by pressing e. Coil Technique - by joining the
with hands. different pieces in a line.
b. Slab Technique - By joining the f. Mold Technique - To prepare item
slabs to give desired shape. with the help of mold.
c. Beating Technique - Preparing g. Craving Technique - Giving artistic
items by beating with hammer. design to the product.
d. Wheel Technique - To give shape
with the help of wheel.
Materials, Furniture, Tools and Equipment Requirements

(With reference to pottery in Thimi, Bhaktapur)
Basic raw materials for pottery: Clay, water, colors, glazes etc.
Types of furniture  Portable clay cabinets  Spray booth
required:  Damp-proof drying cabinets  Kneading table
 Work tables and counters  sinks
Tools and  Wedging boards  Electric ceramic kiln

equipments:  Kiln carts  Enamel kilns
 Gas ceramic kiln
2.3.4.2 Drawing Studio
Drawing is the basic tool, with the help of which an artist can make a design or image, using
line or tone on any suitable surface. The design or image itself is called drawing.
Design requirement for drawing studio

 Drawings can be carried out in general studio space. No special machinery is required.
As a rule, dust proof cubicle and store is required with a spray room about 30 sq.m. An
area of 120 sq.m. is sufficient for 20 students. Benches should be 4‘6‖ length & 2‘8‖
width per student

 Natural north and east light is preferred for drawing activities. If daylight is not enough,
artificial light should be provided in preferred way.
 Display boards should be provided on the walls. Moreover, studio area should not be
obstructed by any kind of structural member like pillar.
Design requirement for drafting studio

 Design requirement is similar to drawing studio except for the furniture. The layout of
the room should be such that each student can work on his own drawing table
 Display boards are required for teaching
 Storage area for papers, drawing is required
 Natural north and east light is preferred for drawing activities. If daylight is not enough,
artificial light should be provided in much preferred way.

2.3.5 LIBRARY
The total need may be divided into five categories, viz.

a) Books
b) Readers
c) Staff
d) Group meetings
e) Mechanical operations
Space for Books

 Open reading rooms
 7 volumes per lineal foot, or 50 books per foot of standard height wall shelving, or 100
books per foor of double-faced shelving
 Book stack areas, 15 books per square foot or 2 books per cubic foot
Space for Readers
As an establishment rule of thumb, minimum allowances are made of 30 sq.ft. per adult
reader seating are in terms of net space for readers, chairs, tables, aisles and service desk.
Seating requirements should be listed according to the several areas of the building.

Space for Staff
There are striking differences in requirements between libraries open 20, 38 or 72 hours
per week. Staff space requirements should be calculated on the basis of 100 sq.ft per staff
member. It includes space for desk, chair, books and equipment. A checklist of staff work areas
should include:
 Administrative offices
 Work rooms
 Staff lunch and lounge rooms
2.3.6 CONFERENCE ROOM & RESTAURANTS
2.3.7
Cafe layout

2.3.7 DISPLAY SPACES
Generally, display refers to show or attract attention. Displaying Spaces are a source of
communication. Craft made and displayed are made commutable through these displays spaces.
Exhibit and display area are important in art and craft centers. Display spaces can be in the form
of a Museum, Gallery, showroom, shops and so on.
Gallery
Gallery is a formal space for displaying various items of art and craft. Spaces provided
can be for permanent, semi-permanent or special exhibits that are held from time to time. Care
should be taken while fixing devices and furniture in walls, floors and ceilings so that maximum
space is left vacant.
For planning and designing of an exhibition hall, following considerations have to be

made:
 A clear idea of what would be exhibited
 Number of exhibits planned per year
 Change in the kind of exhibits
 Number of pieces in view in case of permanent exhibits
 Scale of displays
 3-d objects to be displayed in cases or pedestal
Circulation pattern
 A gallery space should have well planned circulation pattern. The entry space should guide
the visitors to the gallery area, so that they are able to survey what is there to see, select a
starting point and moving to it as directly as possible. The circulation pattern should be
continuous and uninterrupted that allow the visitors to move from object to the other, from
one gallery to the other.
 Dead end should be avoided in the circulation pattern with exhibits mainly on one side or
with windows in one wall only. The visitors may pass along one side and return along the
other wall, if the lighting permits.

 It is human nature that, when visitors enter a gallery he/she tends to turn right, so the
circulation pattern as such should be kept in mind.
 Visitors should be able to move as such that one is not forced to walk past object he has
already seen. There should also be enough space for visitors to move at different speed so
that few viewers can move continuously, while others stop to take a detailed look.
Possible Gallery Arrangements
Source: - Time Saver Standard, Fifth edition

Lighting
Light is the main source of visual perception. It is important to every living creature on
earth. So lighting any space or area is very necessary. Lighting can be of two types
- Natural and
- Artificial Lighting.
In gallery and display space too, lighting play a vital role. The method of lighting and
the purpose of the space are the major ruling planning factors in a gallery. Every exhibits are
different from one another, and require separate kind of lightings- a room designed to provide
lighting for any art object may not be suitable for the other three dimensional object.
Different intensity of illumination carries an interesting visual effect, it keeps the
observer occupied and interested. To light different objects at the gallery, different types of high
and low intensity lighting is provided. Variation in ceiling height and different wall colors
throughout a sequence of galleries avoid fatigue and keep them interested.
For the display of pictures the source of light should be limited and so controlled that it
is strongest on the parts of the wall which are used for actually display and weakest where the
viewer stands. The source of light should be behind the observer as possible.
Use of Natural light

The level of illumination suggested for different tasks in school are
S. No. SPACES ILLUMINATION
1. classroom & lecture room(desk) 300 lux
2. classroom and lecture room ( chalk boards) 400 lux
3. laboratories 400 lux
4. art room 600 lux
5. work shops 600 lux
6. libraries 400 lux
7. offices 450 lux
8. staff room 250 lux
9. staircases 100 lux
In case of admittance of natural light,

windows sill level should be kept about 3ft. to
3ft.6in. from the floor and should reach up to 12ft.
from the ceiling if flat, or springing line if segmental.
However in some galleries high side light may be
Gallery Top Lighting

need and in such case, sill level is about 6ft to 8ft from the floor level, and hence allowing
medium sized wall art or exhibit cases to be placed below the windows. Such lightings
generally imply that the major objects are displayed in the centered position or on the wall of
the gallery opposite to the light source.
Top light is also a preferred lighting in galleries, although the light must be controlled to suite
the object to be displayed. Direct strong daylight must be avoided on pictures but at the same
time there must not be too great or uneven reduction of light on the picture.
Often objects to be displayed are light sensitive, and will deteriorate if exposed to continuous
high levels of light. Due to the corroding nature of u-v radiation of day lighting, artificial light is
better preferred over natural lighting as it is easier to manipulate and control the artificial
lighting system.
Gallery Side Lighting
Use of Artificial light

To accommodate changing displays, the lighting design should be flexible. This can be
achieved with track-mounted lights which can be easily adjusted. The quality of light must be
suitable for all objects displayed. Displays can be flat, two dimensional objects on vertical
surfaces, three dimensional objects or display cases.

Two dimensional lighting
Steep angles emphasize

texture, but may cause
shadows from fame
30 degree angle from

vertical is preferred
Shallow angles enhance color,

may cause reflected glare
Framing projector can make

objects look internally
illuminated
Adjust light cutoff precisely

match illuminated image

Three Dimensional Lighting:
Aim luminaire down at sharp

angle to minimize direct
glare
Keep light within

mass of display
object
Use uplights recessed

into floor to highlight
object.
Lighting large objects may cause glare. So

use of ambient diffused light in combination
with narrow beam light is preferred for
highlight.
30 degree angle for small,

low object
High-reflectance
pedestal
Light coming from different direction can

reveal shape and texture. Use of direct light
to add shadow and to express depth,
diffuse light helps to add detail in the
shadow

2.3.8 ENERGY EFFICIENT STUDIES:
Efficient Energy is simply using less energy to provide the same level of energy service.
Due to global energy crisis, alternative efficient energy has taken the priority in saving and
using energy efficiently. So studies of
following were made:
 RAIN WATER HARVESTING
 WASTE WATER TREATMENT
 SOLAR ENERGY
Elements of typical Water Harvesting system
 RAIN WATER HARVESTING
Rainwater harvesting is the gathering,

accumulating and storing, of rainwater. Rain
water harvesting is essential because surface
water is inadequate to meet our demand and
we have to depend on ground water. Due to
rapid urbanization, infiltration of rain water
into the sub-soil has decreased drastically and
recharging of ground water has diminished.
Rainwater collection and simple

filtration system
RAIN WATER HARVESTING TECHNIQUES:
There are mainly two main techniques of rain water harvestings.
 Storage of rainwater on surface for future use: storage of rain water on surface structures such
as underground tanks, ponds, check dams, weirs etc
 Recharge to ground water: n Pits, Trenches, Dug wells, hand Pump and so on.
The harvesting technique consists of the following principal:

1. Catchment Area: The catchment of a water harvesting system is the surface

which directly receives the rainfall and provides water to the system. It can be a paved
area like a terrace or courtyard of a building, or an unpaved area like a lawn or open
ground.
2. Conveying System: The collected water is conveyed for filtration in a filter. The
filter is used to remove suspended pollutants from rainwater collected over roof. A filter
unit is a chamber filled with filtering media such as fibre, coarse sand and gravel layers
to remove debris and dirt from water before it enters the storage tank or recharge
structure. Charcoal can be added for additional filtration.
3. Collection Space: the water is stored in small or big reservoir.
4. The tap system: a simple water tap or a pump, used to extract water from storage
space.
 WASTE WATER TREATMENT THROUGH Reed Beds Method
Reed beds are a tertiary treatment with the

process aim of removal of suspended and
dissolved matter. They remove 60 - 80% solids
from the secondary effluent. In the operation of
horizontal flow reed beds secondary treated
effluent is passed uniforml y over vegetation so
that suspended solid matter is retained in the
vegetation. Reed beds have are very good at
removing BOD, ammonia and nutrients, therefore Reed Bed Effluent Treatment Plant
this is one of the few forms of tertiary treatment
that can be used to improve poor quality secondary effluent.
Very simply, it consists of an area of reeds planted in a soil or gravel medium. It traps the solids
from the effluent during its travel across the bed. Reed beds planted in a soil medium are
capable of removing BOD and suspended solids up to 95% with potential removal of ammonia,
nitrate and phosphate.
 SOLAR ENERGY

Solar power is the generation of electricity from sunlight. This can be direct as with
photovoltaics (PV), or indirect as with concentrating solar power. Photovoltaic cell (PV) is a
device that converts light into direct current using the photoelectric effect. The PV cell consists
of one or two layers of a semi-conducting material, usually silicon. When light shines on the
cell it creates an electric field across the layers causing electricity to flow. The greater the
intensity of the light, the greater the flow of electricity. PVs will only produce electricity whilst
there is daylight.
A typical solar panel of 193.75 sq.ft, on a clear day (noon), produces 129 watt/sq.ft. The
amount energy collected is 372000 watt hr, i.e. 372 units per day.
*Source: Small scale solar electrical (photovoltaics)

energy and traditional buildings, English Heritage.
Schematic Diagram for off grid electric

system

3.0 CHAPTER 3
3.1 SITE ANALYSIS
3.1.1 Location:
The proposed site is located at Kamerotar,Madhyapur Thimi, ward no. 9 at
Bhaktapur district. The site is an agricultural land which has been planned by the
government for the future land pooling project. The site lies just below the traditional city
of Thimi. It is situated 10 Km east from Kathmandu and 3 Km west from Bhaktapur.
Location Map (Courtesy: Google earth)
3.1.2 Physical features:

Geographically: Latitude 27 o40‘15‖ and Longitude 85o16‘33‖. The site has
altitude varying from 1330m above sea level to 1320m to the lowest at the southern
boundary. Orientation: South with advantage of slope align southern direction.

3.1.3 Site surroundings:

The site lies in the gorge of a dense residential zone. The site can be referred as the
transitional zone as it has been surrounded by modern feature dwellings more than
traditional ones as traditional buildings are located in the core area only. Araniko
highway lies at the southern side of the site which is 650m away. Tuberculosis Center is
located at the south west side of the site. SOS Children‘s Village and Underprivileged
Technical Training Center lie at the north western side of the site. The site has been
facilitated with the presence of post office, health post, police station, cinema hall in a
short distance which further enhances its significance.
Site view
3.1.4 Site area:

The total area for the project is approximately 47 ropanies (24414.1671 sq.m.) . The
slope has an elevation difference of about 6 meters with three levels of contours. It has a
flat land with gradual slope at three sides. The site is elongated in north – south direction.
3.1.5 Access and approaches:

Currently there is no particular road linking the site and the highway but
according to the Planning Commission, 9m wide black topped road will be

approaching the site. The secondary road joining the site and the city is 11m wide which
is located 10m above the site. People often use a stone track passing through the site to
get to their homes.
3.1.6 Vegetation:
The site is being used for agricultural purpose. Few number of trees can be seen
within the western side of the site.
3.2 Physical infrastructure:

The site lies in the urban expansion zone and is facilitated with the amenities
like electricity, telephone and water supply. The site however lacks the drainage system
so an alternative means of disposal has to be sorted out. The site has the benefit
of natural surface drainage system due to its sloping character.
3.1.7 Infrastructures:
 Electricity available from NEA lines.
 Water supply available from public supply.
 Telephone lines available from NTC.
 9m wide road approaching the site.
 Natural drainage is possible due to its topography.
3.1.8 Geology:
The site lies in medium liquefaction zone in terms of seismic susceptibility
according to the environmental mapping report by NSET.
3.1.9 Climate:
 Mean max. temp.: 29 32 c
 Avg. minimum temp.: 12 14 c
 Annual rainfall: 1205 mm
 Wind direction: North West to South East direction

3.3 Few facts about Madhyapur Thimi:

 It is an ancient medieval city, also known as Nikosera.
 It is famous for terracotta work, pottery, molded candlesticks, ashtrays, mask
 making and dolls.
 Western part of the city is still traditional but slowly transforming into modern
 with rapid urbanization being taken place.
3.4 Site Justification:
 Enhancement of socialization is more prominent through a traditional and settled

community.
 The site has very strong social and cultural potentials.
 It is near to the culture, nature and community.
 It is far away from the hustle and bustle of the city yet easily accessible.
3.5 Bye Laws:
According to the bye laws of Kathmandu Metropolitan City, the site lies in Urban
Expansion Zone. Following are the regulations for the project as per the bye laws:
 F. A. R.: 2
 Max. Ground Coverage: 40 % of the total plot
3.6 SWOT ANALYSIS
STRENGTH
 Facility of Amenities
 Natural Surface Drainage
 9m wide road
 Less Pollution
WEAKNESS
 Drainage system

OPPORTUNITY
 Flat at middle
 Material availability
 Traditional settlement
 Tourist route
 East slope

CHAPTER 4
4.1 CASE STUDY
As according to Soy, Susan K. (1997) case study research excels at bringing us to an

understanding of a complex issue or object and can extend experience or add strength to what is
already known through previous research. Case studies emphasize detailed contextual analysis
of a limited number of events or conditions and their relationships. Researchers have used the
case study research method for many years across a variety of disciplines. Social scientists, in
particular, have made wide use of this qualitative research method to examine contemporary
real-life situations and provide the basis for the application of ideas and extension of methods.
Researcher Robert K. Yin defines the case study research method as an empirical inquiry that
investigates a contemporary phenomenon within its real-life context; when the boundaries
between phenomenon and context are not clearly evident; and in which multiple sources of
evidence are used (Yin, 1984, p. 23).
It is almost impossible to design or propose any project without studying similar cases.
The study will help to analyze the existing case and design a better space to solve the short
comings of the existing building. To gain appropriate knowledge about the subject matter, cases
studies will be performed on:
 Various working studios of the artists and craftsmen
 Different craft Centers
 Different Art Galleries and Museums
 Industrials areas
 Psychology with respect to audio-visual stimulation
Research on
 Working spaces (clay, metal, wood, stone etc)
 Display spaces (lighting, circulation, space arrangements, etc.)
 Research on the existing traditional forms in the valley.

4.1.1 Introduction to Handicraft Association of Nepal
Handicraft Association of Nepal was established in the year 1971 to promote the
handicraft sector by some group of business men. As it was related to my thesis project I had an
opportunity to visit the place and get some handful information about the handicraft scenario of
Nepal. The main aim of this association is that it helps members to improve their product
nationally and internationally. It is estimated to have export 40 different handicraft to about 70
different countries FHAN (12 May 2010).
Some of the case studies done:

4.2 Wood craft
4.2.1 Wood Carving Industries
4.2.2 Wood carving at Bhaktapur
4.3 Metal Craft
4.3.1 Maha Buddha Handicraft
4.4 Stone Craft
4.4.1 Arniko Stone Carvers
4.5 Clay Craft
4.5.1 Pottery Square
4.5.2 Thimi Ceramics
4.6 Gallery and Exhibition Space
4.6.1 Nehru Memorial Pavillion
4.6.2 National Craft Museum
4.7.1 Babar Mahal Revisited
4.7.2 Siddhartha Art Gallery
4.8.1 Handicraft Design and Development center
4.9 CRAFT VILLAGE
4.9.1 Folk arts and Craft‘s Museum
4.10 Energy Studies
4.10.1 Piano's Beyeler Foundation Museum

4.2 WOOD CRAFT

4.2.1 WOOD CARVING INDUSTRY
Location: Patan Industrial Estate
Area: 5 Ropanies
Crafts: Wood work, carving detailing, souvenir
General:
 Six sections- sale area, workshop,

store, carpentry, seasoning room
and temporary sheds store.
 The numbers of workers are 38 out

of which 14 are administrative and View of the Work area: Wood Carving Industry
24 are laborers.
Building Description:
The industry has 3 entry- side

entry, showroom entry and service
entry. The side entry leads to the
administration. Reception, designing,
account, marketing, waiting room is
managed in the hall with removal
partitions. Managing director‘s room is
separated from the hall which is nearby Plan of Work Space

showroom. One has to go through the administration to get in the workshop.
Showroom acts as the spine to connect administration and workshop from the elevation
i.e. it can be accessed either from administration or workshop. It can also be accessed from the
main road as it exposes it‘s façade to the main street. The showroom is a double storey building
where only the ground floor comes into use.

Area provided and stage of work:
S NO. WORK STAGE FLOOR SPACE (SQ.FT.)

1. RAW MATERIAL STORE 4750
2. SEASONING 900
3. MACHINE 1875
4. STORING 3750
5. SKETCHING 150
6. CARVING 1200
Machines and tools used (Machine room with size of base for each machine)
S NO. MACHINE SIZE
1. SEASONING MACHINE CAPACITY 5 CU. M.
2. PLANNER 5‘X4‘
3. HACKSAW 2‘X4‘
4. CIRCULAR SAW 4‘X3‘
5. DRILLING 3‘X2‘
6. GRINDING 3‘X2‘
7. LATHE 8‘X4‘
Infrastructure:
Buildings
 Large open to sky space and covered semi covered
spaces for the storage of raw materials and
finished products.
 Large open hall for machine room and workspace.
 Workshop and machine room are of load bearing
type with finishes such as plaster, mud motar and
brick finishes.
 The halls have sloped roof which uses queen post
truss to hold the GI sheeting slope roof (less than
35°)
 Indoor workspace ht. 16 ft

 Large openings – Sill ht.-3‘ , Lintel ht. 9‘
Working environment
Lighting and Ventilation:
 Workshop and machine room requires more light than others.
 Both natural as well as artificial lights are provided.
 The openings provided for natural light is approximately 35% of the floor area while
16% opening in machine room. As most of the operations are performed in main
workshop, natural light is sufficient.
 Ventilation is provided in work area but is not sufficient as the space is heated during
summer season, so electrical fans are used.
Thermal environment:
 Floor is the main working surface and is
made of cement finish.
 For 18m deep room, sunlight penetrates
mainly from south of window height of
2.7m, sunlight just penetrates up to 6.5m
of the depth.
Blow up Workshop plan
 Roofing is with GI sheet, and there is no thermal insulation so heat loss is more than
heat gain.
Security:
 Separate industrial zone.
 Separate rooms for workers and guards.
Safety:
 No fire extinguishers.
 Segregation of fire prone areas. Open area
acts as spill out area. Adequate Natural Light

Pros Cons
 Workspace (80 sq. ft / person)  Many Operations
 Daylighting  Wall surfaces with no recess.
 (Opening : Ventilation = 1:1.45)  No Locker room.
 White painted walls  Sill ht. at table ht.
 Separation of fire prone areas  No thermal insulation
 Open area, spill out area  No skylight
 Circulation continuous for easy escape
4.2.2 Wood carving at Bhaktapur

Location: Bhaktpur
Area: 5 Ropanies
Crafts: Wood work, carving detailing.
General
 Room less ventilated
 Less lighting
 Storage in dark, damp place View of the work area : Wood Carving at
Bhaktapur
 Top lighting
 Insufficient space.

Schematic layout of the center
Like wood, metal is also an integral part of traditional Nepalese culture and art. It is
stated that bronze figures, sometimes alloyed with copper, appeared in the valley around 8th
century AD. These images usually represented religious deities or legendary figures. The most
frequently used production technique is that of a form of wax casting. Images often contain
embedded semi-precious stones, usually coral or turquoise, or are gilded with gold.
4.3 Metal Craft

4.3.1 MAHA BUDDHA HANDICRAFT
Specialization: Metal works include images

of god and goddess, metal carving detailing,
utilitarian utensils, religious items, souvenir.
General: Maha Buddha Handicraft was

established in the year 2025. Like other
industry in the industrial area it deals with
handicrafts that are made out of metal. The
industry has four section- sales area,
workshop, staff room and store.
View of the Work area: Mahabuddha Handicraft

Building Description: The industry

has two entry points, one leading to the
show room while the other to the
workspace. The showroom can be
entered from workshop as well.
There is an open court which is
surrounded by semi open spaces i.e.
workspaces, offices and stores. The
workspace is provided for series of
work in process – casting, cutting,
carving, buffing, finishing and storing.
Distributed workspace of the industry
Lost Wax Process

The process of lost wax makes it a unique handicraft, which is why metal crafts are popular in
and outside the country.
The process involves:
 Firstly a key is prepared of wax model, and then it is covered with varieties of clay. The piece is
then heated so that the wax is melted; the melted wax is then extracted creating a cavity. The
cavity is then poured with melted metal syrup. It is then cooled and the original model is
translated into the metal image.
 The metal image out of the casting is very rough. The rough images are made smooth by
buffing; chiseling is done to bring out precision.
 The metal image is then painted or plated with gold as per client‘s requirement.
Infrastructure:
Buildings
 Open to sky space and semi covered spaces
for workspace.
 Both workspace and showroom are of frame
structure with rough plaster and brick finishes.
Kiln

 Ceilings are flat with cement mortar finishes.

 Working Environment:
Lighting and Ventilation: Natural light is sufficient in work
Showing kiln space as workspaces
(coal kiln) in workspaceare semi open
space facing the open to sky court. While artificial lights are used in show rooms and office
areas where light is insufficient. Ventilation are provided on the walls of workspace, which acts
as a cross ventilation.
Thermal environment: Floor is the main working surface and is made of cement finish. Workers
sit down on the floor over straw mat or wooden stools. During summer, due to semi open space
and cross ventilation, it is thermally comfortable but during extreme winters workers have a
hard time.
Safety: No fire extinguishers have been provided. Fire kiln are not separated or isolated to
another room but are visible. In case of fire break out, one can directly run to open areas.
Positive Aspect:
 Semi open work space provides good amount of natural light
 Clear division of workspace for specific works
 Since the ceiling is flat made of cement mortar, it does not get heated like C.G.I roofs
sheets.
Negative Aspect:
 Kiln is not isolated or separated therefore harmful smoke and dust affect the surrounding
 Cold winters makes difficult for workers to perform their task.
 Lack of changing room and lockers.
4.4 STONE CRAFTS

The history of stone goes back to at least two
thousand years ago. The oldest survival sculpture
in the country indicates that stone sculpture was
among the fist art forms to have been developed in
the country. Many sculptures of deities, animals,
serpents, people, bells, vessels, garudas etc. are
made of stone. The crafts men are highly creative
and gifted in their profession. Generally tradition is Stone Statue

to take the art from generation to generation.
4.4.1.1 ARNIKO STONE CARVERS
Specialization: Stone works, large stone works to small souvenirs.

General: From father‘s generation to the sons, Arniko Stone Carvers have been continuing the
generation of stone craft from generation to generation. The stone industry basically deals with
stone carving of small souvenir to large carving of images and deities. The industry has mainly
three section- store, workspace and sales unit.
Machines and tools used:

 Saw with Rail
 Hand Drilling
 Hand Grinding
 Hammer and Chisel
 Scribers
Infrastructure: Room for storage as well as display
Buildings
 Open to sky space and covered spaces for the storage of raw materials and finished products.

 Workshops are of both load bearing type and

frame structure with finishes such as plaster,
mud mortar and brick finishes.
Working Environment:
Lighting and Ventilation: As different spaces
are provided for work shop natural lighting is
not sufficient for detail work. Use of artificial
lighting is provides. Large workshop halls Unmanaged workspace followed with storage
which are both deep and high have minimal

penetration of natural light. Ventilation as such are not provided.
Thermal environment: As stone itself is a cold item, during winter season it is much difficult for
workers to work on stones. In some of the work space sue to large room height the thermal
environment is satisfactory during summers.
Positive Aspects:
 Continuous flow of work
 Machine section is separated from working area
 Display area for the customers is properly utilized within the finished store.
Negative Aspects:
 Due to the waste and dust produced, it sometimes become difficult for workers to work
efficiently and effectively.
 The spaces are not properly allocated for specific purpose.
 Noise producing area is not separated or isolated.

4.5 CLAY CRAFT
Pottery is the ceramic ware made by potters. The place

where such wares are made is also called a pottery (plural
potteries). Pottery can also refer to the material of which the
pottery ware is made. Major types of pottery include
earthenware, stoneware and porcelain. Pottery is one of the
oldest human technologies and art-forms, and remains a major
industry today. The definition used by archaeologists tends to
exclude ceramic objects such as figurines which are made by
similar processes, and perhaps the same people, but are not
vessels, or made on a wheel. Potter at work
Pottery Craft flourished in Patan, Thimi and Bhaktapur. Common forms of pottery are
terra cotta oil lamps used to light homes during the festival Dipawali, and flower pots decorated
with peacocks and elephants.
4.5.1 POTTERY SQUARE
Location: Bhaktapur, Pottery Square.

Specialization: Pots, Utensils, Decorative, etc.
General: The Pottery Square of Bhaktapur is a

conserved traditional village, where the whole
community is based on pottery making.
Pottery is the way of their livelihood. One can
see almost all the houses making pottery
every day.
The potters are called ―Kuma”, a caste for
potters. The whole family of Kuma is engaged
in the workshop. The tradition is- the trade is
Plan of potters workplace
handed down from father to son generation.

Space Used: Work is done in ground floor which opens up to a courtyard or community
gathering area. The upper portion of the house is used for residential purpose by the potters.
Raw materials are stored in the ground floor, as it is damp and dark, which is good for storage.
The squares are used for sun drying of pottery items. The crafts are either sold on the local
souvenir shop or are taken to market.
Machines and tools used:

 Potter‘s Wheel & Turntables
 Shaping Tools(paddles, anvils, ribs)
 Rolling tools(roulettes, slab rollers, rolling
pins)
 Cutting/piercing tools(knives, fluting tools,
wires)
 Finish Tools(Burnishing stones, rasps,
chamois)
Infrastructure:
Buildings
 The houses in the square are old traditional
type
 Most of the houses are 3 bay types, in ground
floor-the front part is used for Potter‘s wheel,
the second part is used for storing and the third
part is used for staircase. The staircase is
View of the pottery square, Bhaktapur
placed in front in case there is lack of space.
 Wall is made out of mud mortar and brick exposed façade.
 Courtyards or separate room on the ground floor are used for kiln.
Working Environment:
Lighting and Ventilation:
 Workspace on ground floor, lights are through door openings thus found inadequate.
 Ventilation inadequate.

Thermal environment:
 As traditional houses are thermally comfortable, extreme temperature does not affect the
workers.
 The kiln area produces smoke and dust which may affect the dwellers
Safety: In case the kiln is located inside the house, it can be dangerous if any fire breakout.
Otherwise kiln are isolated and made separate.
Positive Aspects:
 Whole community is based on pottery, court spaces are shared.
 Working environment is calm and peaceful.
Negative Aspects:
 Congested work space, work done in private space at the ground floor
 Natural light not sufficient in workspace, have to depend on artificial light
 Storage and workspace not separate have to depend on single room.

4.5.2 THIMI CERAMICS
Location: Bhaktapur, Pottery Square.

Specialization: Pots, Utensils, Decorative, etc.
Schematic layout
Features
 Production 650 ft.2 (8-9 person)
 Storage is 840 ft2
 Glazing done in addition but is contradictory to essence of pottery craft practiced in
Nepal.
 Is it authentic method to do????????

4.6 GALLERY AND EXHIBITION SPACE
4.6.1 NEHRU MEMORIAL PAVILLION
Location: - New Delhi

Architect :- Raj Rewal
General
 It is embedded in grassy mounds.
 Its form has been derived from Buddhist Stupas in
Nepal.
 It has affinity with Yantra.
 There are two levels Plan of upper level
o Upper level – with A/V room
 Harmonious relation between visitor and displays
 Glass bricks which subdue natural light
o Lower level is with 4 sections
o Double height enclosure
 There is a sense of monumentality combined with
human scale.
 Stepped roof as amphitheatre
 Considerable views of Natural and artificial lights Stepped roof provides a kind of
Amphitheatre.
Section

Exterior showing how structure has been embedded in artificial mound
Staircase leading to two levels of

containing exhibitions.
Interior View of the Pavilion

4.6.2 NATIONAL CRAFT MUSEUM
Location: Pragati Maidan, Delhi.

Architect: Charles Correa
Built – up area:- 6800 sq. m
Introduction
 The craft museum- set up in 1956 by

the all India handicrafts board.
 The museum is mainly divided into

three sections:
 Display gallery and store Display of terracotta figures
 Village complex
 Crafts Demonstration area
 It is organized around a central pathway, going from VILLAGE to TEMPLE to PALACE,

a metaphor for the Indian street.
 Objective to collect and display finest specimen of Indian crafts.
 Functions contained in the complex
 Museum for a large permanent collection of folk art
 Workshop area for the craftsmen
 Shop and sales area for the crafts
 Library
 Amphitheatre
 Administration
 Services
Planning Concept
 Galleries, store, administrative areas and library situated around a series of open to sky
courts.

 Unique rustic ambience coupled with modern functionality
Analysis
Spatial Character Architectural Character Activity
 Spontaneous flow of  Each court has a display  Work court off access
spaces symbolizing tradition. spine.
 Sequence of spaces Eg:- Tulsi  Hierarchy of performing
revealed after another.  Local construction space.
 Work court designed of material.  Open air amphitheatre
the access spine.  Mud plaster and terra- for large performance.
cotta tile.
 Contemporary expression
– carved windows,
perforated iron screens.
Functions held in the complex:

 Research and Documentation: The Museum has a specialized library of more than 10,000
books and periodicals pertaining to Indian arts and crafts. Filed research is commissioned with
research scholars to document the living arts and crafts.
 Educational Program: Thousands of schools children and students of art colleges visit the
Museum for general exposure to India's rural artistic heritage or for more exercises such as on-
the-spot painting or participating in 'Creativity Workshops'.

 Committee room: capacity of 35 persons

holds official seminars, conferences.
 Reference library: The reference library
in the museum, houses approximately
10000-books/journals on Art and Culture
with 35 seating capacity.
 Conservation Laboratory looks after the
preservation of the Museum's collection.
 Auditorium: Museum has an air-
conditioned auditorium, for screening of
educational films, holding of lectures,
seminars and conferences. It has a seating
capacity of 180 persons.
 Exhibition Hall: for holding temporary
exhibitions by the Artists.
 Crafts Museum Shop: The museum shop
sells books and a whole range of
exquisite handicrafts. The objective of
the Shop is to sell original creations of
the finest Indian craft persons and not to
market mechanically replicated
'souvenirs'
 Cafeteria: Museum has an open air Plan of Craft’s Village
Source:- Charles Correa, The perrenial press, Bombay
cafeteria in its vicinity, where the visitor
can relax in the rustic rural ambience.
Conclusion:
 The Craft Museum has stated a good example by preserving and conserving the tradition
or art and culture in a modern way. The skill full art, the lost tradition must be preserved
as they are our identity; we need not go out and search for our identity if it is preserved.
The craft museum serves and preserves the spirit of art, making awareness. The
thoughtful space planning, the human scale, the tribal and rural display all gives a sense
of belonging.



4.7.1 BABAR MAHAL REVISITED
Location: Babarmahal Revisited, Babarmahal.
General:
 Six Courtyards of elegant shopping and eateries in historic setting.
 Sunken court with chautari.
 Narrow lanes interconnect courtyard
 Semi-open spaces. Eg:- Patis
 Neo-classical architecture.
Site plan (Source: KVPT)

 Interior with open space plan

 Exposed wooden joists

 Difference of levels between courtyards
 It shows conservation and development moving side by side.
Bird’s eye-view
Site section
Bird’s eye-view

4.7.2 SIDDHARTHA ART GALLERY
General
 The gallery inside the mahal is
accessed through various souvenir shop
restaurant.
 The gallery is a two storied building
which has halls of area 750 sq. ft. It
displays temporary exhibits of art from
all around the world.
Focus light on pictures
Lighting:
 Artificial lights are used to light the
displayed exhibits. Focus light, spot
light with adjustable support is directly
hung on the ceiling.
 Skylight is used to light the stair case
that connects the ground floor with the
upper floor. Windows have low
ceilings, but the natural light provided
is not sufficient. Gallery Space, use of artificial to lit the

display
Space used: As seen, exhibits are mainly those of art that are hung on the walls. Floor space
can also be used for displaying exhibits.


4.2.4.1 HANDICRAFT DESIGN AND DEVELOPMENT CENTER
Location: Pulchowk, Lalitpur
General
Established in 2006 focusing on the preservation and dissemination of knowledge on traditional
arts and crafts Part of their mission is to bring this educational institution one step further into
the future with the development of a resource center and library within the facility that collects
and shares appropriate master research analysis for the archives returning the true meaning and
representation of original art to Nepal.
Functions:
The Center offers seminars, workshops
and exhibitions on the development of
traditional art. Counseling programs offered for
students on marketing, career development and
skill technology. Research analysis and archive
development. It offers trainings to artisans on
Thanka painting, Clay sculpture, Metal carving
(repousse work), wood carving and stone
carving. Section
Alongside the full 2 year

degreed package and 3 month
workshops, there will be 2-3 day
seminars enhancing one‘s
knowledge on the development of
traditional art.
No. of students: 40
8 students in each stream
For three months package: 8
students in each group Floor plan (Courtesy : Ar. Jeny Shrestha)

Architectural Character:
 In a residential bldg.
 Three blocks :- a) guard house, handloom workshop
 b) design training center
 c) administration
 14' x 20'-6" computer lab for 20 student - 10 computer
 14' x 20'-6" classroom for 22 student - 22 drawing seats
Pros Cons
 Visual appearance doesn't define
 Interior use of handmade products
character
reflects craftsmanship.
 Congested classroom and computer
 Provision of enough space for training
lab.
purpose.
 Lack of toilets
Floor plan Front view

Floor Plans
Interior of Conference hall
Interior of Training hall Interior of Computer lab

4.9 CRAFT VILLAGE

4.9.1 FOLK ARTS AND CRAFT’S MUSEUM
Location: Sonargaun, Bangladesh.
General
 Mini Bangladesh = ―Craft‘s village‖
 Museum with maximum floors space of
75,000 sq. ft.
 Double storied
 Accommodate reception, lobby, permanent
exhibition, temporary exhibition, reserve
collection, conservation section, library,
auditorium with 500 seats capacity, offices, Exterior View

craft shop, cafe and other service areas.
 On the campus housing
 Typical rural houses reconstructed on the plot
with maximum attention on authentic design,
dimension and materials.
 Typical Bangladesh village style architecture
 Display galleries around courtyards
 ―Invisible‖ building
 Low and spread out horizontally
Interior View
 Concealed with trees
 Very little seen from outside
 Avoiding strong contrast

Ground floor plan
Inner of Courtyard Entrance View

4.10 Energy studies

4.10.1 PIANO'S BEYELER FOUNDATION MUSEUM
Architect: RenzoPiano
Location: Switzerland
General
 Naturally lit environment
 Museum 395 ft. (120 m ) long
 Pavilion running north / south, with a park to the west.
 The outermost element is the layer of fritted glass brise-soleil inclined and positioned to
prevent direct sun penetration during all museum opening times but also to maintain
optimum admittance of diffused light.
 When the museum is closed, for example, the louvers are closed to prevent exposure of
artworks to daylight.
 The louver system lies in the zone between ceiling and roof, which is designed as a "loft
thermal buffer zone" and combines with the exterior brise-soleil of incident solar
radiation from reaching the gallery spaces below. to prevent 98 percent
 Thermal buffer spaces extend from the roof to the east and west sides of the facade,
helping to limit the effects of climatic extremes on the building — 12 degrees Fahrenheit
(-11 degrees Centigrade) in winter and 91 degrees F. (33 degrees C.) in summer.
Multi-layered roof system allows for Day lit Galleries
A. BRISE-SOLEIL
 fritted glass inclined and positioned
to prevent
 direct sun penetration and maintain
optimum
 admittance of diffused light
B. WEATHERPROOF LAYER
 double glazed skin with an
ultraviolet filter that
 removes the parts of the electromagnetic

 spectrum most likely to

damage the artwork
C. COMPUTER MOTORIZED
ALLUMINUM LOUVERS
 that control light levels in
each room
Interior View
D. “LOFT THERMAL BUFFER ZONE”

 louver system lies in this zone between the
 ceiling and the roof, combined with brise-soleil
 prevents 98% of incident solar radiation from
 reaching the spaces below
E. LAMINATED GLASS CEILING

 designed to support maintenance access to the
 louver motors and electric lights
F. GRID OF PERFORATED METAL PANELS

 incorporates a paper that diffuses the light once
 more and hides the ―loft‖
 The east facade is climatically buffered by the service and ancillary rooms, and to the
west the "winter garden" performs the same task, while providing a resting place with
views across the countryside.
Exterior View

CHAPTER 5:
DESIGN INFERENCES
5.1 Elements of Newar settlements
A. Streets
a. The street for gods/the festival routes
This street connected the palace square with major town centers. The major
festivals are connected and chariots are drawn through these streets .These streets are not
as wide as compared to modern streets but wide enough for chariots to pass through.
b. The streets for people
These streets connected different neighborhoods and also different major

streets.The functions of these streets are mainly for connectivity and trade along with
more intimate socializing .The characters are similar to the main streets , except for the
widths.
c. The streets for dead people /the funeral route
These streets system runs hiding from the major street and the royal palace .This
became a practice after a Malla king .The dead are taken through a system of alleyways
between and through the dwellings ,culminating to the funerary river bank.The streets
surrounding the city running along the city wall also forms a part of this hirerarchy and
possess a signifcants cultural important.

B. Buildings
a. Temple
The temple by virtue of their grand

scale and ornamentation served as visual
relief and also as landmarks along the streets
.Most of the temples of Kathmandu follow a
traditional Newari temple architecture:
Patan Durbar Square near Jhom Bahal
symmetrical with square or rectangular plan,
brick clad with a single or multi-tiered overhanging and sloped roof and also odd
number of fenestrations in each wall. Besides the tires temple other temple styles include
the Shikhara style temples and composite types as well. These temples are generally for
religious purpose.
b. Layaku (palace)
Palaces are the dwellings for royal family. Layaku is the old Newari term for the
word ‗Palace‖. The traditional Malla palace of Kathmandu comprise of a number of
buildings surrounding a number of courtyards, these were generally three major
courtyard ,along with family temples ,palace gardens, ponds or other water sources etc.
c. Newa chen (Newari Residence)
Generally, newari houses are 3 and half storied

.According to the utilization of spaces ,there is vertical
arrangement of the spaces in newari houses .Ground floor
called chedi,is used either as shop or for cattle raising ,the
first floor ,called Matan is the beginning of the living space
,used for sleeping purposes ,the second floor of chota is the
living space ,and finally the topmost or the baiga is the
Newa Residence in Jhom
kitchen and the family shrine .The façade of a residential Bahal
building is brick exposed with Tiki Jhya (lattice window) in
the matan and Saa Jhya in the choto.The length of the house varies from house to house
but normally rectangular houses are of 4 to 8 meters in length and 6m in depth.

d. Falcha (rest room)
Rest house serves mainly for overnight

stay of the trading traveler‘s .These are placed
along the streets at strategic locations. Besides,
these were also public spaces where people
gathered and interacted .
Bahal with Chuka- open space in Jhom
Bahal
e. Dyo che (Priest house)
Dyo chen is the house of God .It is also

known as Math and its design and activities are
bound by specific rules .The form should be square
with a two storied courtyard building. The design
of a Math, its location, orientation and its internal
planning correspond to that of a standard dwelling Falcha Pati in Jhom Bahal
house .Math has no fixed orientation and if space allows, a Math is built with a central
load bearing wall and the design of the math resembles that of residential house
C. Open Spaces
a. Public squares
Public squares are large open spaces surrounding the palaces .These squares have
different components such as temples ,stone water spouts and rest houses etc .
b. Bahals
Bahals are the buildings with open central courtyards ; these courtyards can be
public or privately owned .The purpose and specific activity of these spaces vary with its
ownership ,occupancy and other religious as well as social factors .

c. Chuka
Chowks are basically courtyards, generally square in shape and surrounded by a

number of houses ,either residential or others .
D. Services
a. Lohan Hiti(stone water spouts)
The public water spouts are the water supply system that existed in the valley
long before the Malla period .The stone water spout, placed in a depressed spaced
(sometimes a storey deep) ,laid in stone is provided with proper drainage and walled
with brick and stone decorations. The form of the stone water spout represents the
mirror image of the temple profile. This system followed gravitational flow of water.
These were major urban amenities, serving the local community and also the travelers‘
.Usually there used to be a public rest house near the water spouts
b. Water supply
Water supply system was developed in Kathmandu during the Licchhavi times
,the water supply mechanism of the Licchhavi times were very well developed ,they
were used for both irrigation as well as supply to the public water supply systems
.Water supply was also done in the valley by wells and ponds.

CHAPTER 6: PROGRAMME AND AREA FORMULATION

SPACE REQ(sq.
NO. DESCRIPTION
m.)
1 A Reception
Entrance lobby + Waiting (0.5
m2 per person) 150
Information counter 14
Ticketing 10
Cashier's office 30
Toilet 24
228
B Administration
Reception 35
Director's office 20
Manager's room 14
Accounts section 18
Marketing section 18
Meeting Room (15 Person) 25
Toilets 20
150
2 Arts and Crafts Gallery

I Gallery permanent collection 500
Store area (4 @ 25sq. m.) 100
Curator's office 15
Toilets 40
655
3 Crafts Section
a Wood carving
Display Area 25
Raw Material Store 30
Seasoning 25
Equipment Room 50
Design Room 15
Carving – Big ( 10 craftsman) 80
Carving – Small 16
Assembling + Finishing 20
Finish Store 32
Staff Area 20
Learner's Area 20
Toilet 16
Pantry 6

355
B Metal craft
Display Area 25
Design 10
Waxing / Mud Moulding 30
Kiln (2 electric kilns) 40
Assembly 15
Finishing 10
Polishing 10
Store 30
Staff Area 20
Casting 10
Learner's Area 20
Face painting 30
Toilet 15
Pantry 6
285
C Clay craft
Display Area 25
Clay Storage 20
Mixing 25
Design Room 10
Working area (15 artists) 250
Kiln (2 Courtyard kilns) 20
Unglazed Item Store 25
Staff Area 20
Learner's Area 20
Toilet 15
Pantry 6
436
D Mask making
Frame 20
Paint 25
Finish store 20
Staff Area 20
Learner's Area 20
Toilet 16
Pantry 6
142

E Textile weaving
Design Room 10
Cone roll 30
Beam Roll 15
Weaving (10 looms) 160
Cutting / Check 18
Packing 18
Store 20
Staff Area 20
Learner's Area 20
Toilet 16
Pantry 6
353
F Stone Craft
Kiln 40
Welding 15
Engraving 42
Polishing 6.8
Gold & Silver Plating 38
Face Painting 30
Design Rm. 13
Lab 6.5
Face painting 30
258.3
G Thanka Painting
Work Studio (20 artists) 100
Preparation 45
Store 10
Toilet 10
185
4 Multipurpose Hall (100 people)

Main Hall with stage (100 @ 1.5
sq. m.) 15O
Projection control room 25
Store 12
Green room with wash (2 @ 18 36

sq. m.)
Rest rooms 35
258
B Open air theatre
5 Design Training and Research

a Administration 115
Conference 75
Product Development 70
Training Halls (1 Computer Lab
+ Drawing Rm + A/V Rm.) (3 @
b 50 sq. m.) 150
c Reference Library
Main Stack area 75
Reading area 50
Issue counter 100
Photocopy 12
Catalogue + Baggage 15
Reference area 125
Librarian office 15
Toilet 30
422
6 Theme Restaurants / Eatery

Dining Area (70 @ 2 sq. m.) 140
Kitchen (70 @ 0.7sq m.) 50
Store 20
Counter 15
Toilets 20
245
7 Souvenir shops 150
8 Sales Unit
Show Room (3 X 192) 576
Account Section 8
Store 16
Toilet 15
615
9 Quarters

Staff Quarters (9 X110) 990

Trainee Hostel ( 2X 240) 480
Indoor Sitting 110
1470
10 Other Facilities
a Cafeteria 100
b Washrooms 20
C Toilets 20
D Store 20
E Generator/ Machine room 120
F First aid room 20
G Guard House (3 @ 20 sq. m.) 40
ANALYSIS
BUILT-UP AREA …………………. 6997.3 SQ.M

CIRCULATION SPACE @ 35% OF BUILT - UP AREA = 2449.055
SQ.M
TOTAL BUILT – UP AREA …………. 9446.355 SQ.M
PARKING AREA ………………….. = 7.5% OF T.A.
= 1602.45 SQ. M
ACCORDING TO BYE – LAW,
MAX. GROUND COVERAGE AREA = 40 % OF T.A.
= 0.4 X 24414.1671 (45 R0PANIES)
= 9765.27 SQ.M
DESIGN INFORMATIONS:
NO. OF STAFFS: 90
NO. OF CRAFT STUDENTS: 48
MAX. NO. OF VISITORS EXPECTED: 450 per day
DESCRIPTION AREA PERCENTAGE

TOTAL AREA: 24414.1671 sq.m. 100%
GROUND COVERAGE:) 6997.3 sq.m. 28.66 % of total area
TOTAL BUILT UP AREA: 9446.355 sq.m. 38.69 % of total area
PARKING AREA 2434 sq.m 9.5% of total area
PARKING NO. OF VEHICLES: 50 cars, 60bikes, 5 buses

CHAPTER 7
7.1 CONCEPT
Craft‘s Village has planning that bears attachment to the

traditional architecture of the Kathmandu valley, yet being
modern in terms of the function and utility. The concept has
been derived from the analysis of site and functional
requirements of the craft activities. The important aspects being
the serial flow of the various processes systematically. The
traditional outlook has been tried to be achieved with the help of
square and rectangular forms, use of courtyards, slope roof, use
Eight nodes for planning
of cornices, local materials like brick, timber. It is also important to analyze that the used form
is suitable not only to achieve the outlook, but it is also a appropriate shape with due
consideration to material availability, environmental suitability as well as the tourism potential
within the area.
Since c raft requires both open / closed spaces as per the activities. So courtyard
planning has been opted. For planning of overall site, different forms and doctrines have been
used. The number 8 is considered as sacred both to the Hindus and Buddhists.Eg:-
―The game of chess has a brahmanic origin is proved by the eminently sacerdotal character of
the diagram of 8 x 8 squares (ashtāpada).‖
" It may be recalled that the Hindus recognize eight planets: the sun, the moon, the five planets
visible to the naked eye, and Rāhu, the "dark star" of the eclipse; each of these "planets" rules
one of the eight directions of space.‖
―We have seen that each phase of a cycle, ―fixed‖ in the scheme of 8 x 8 squares, is ruled by a
heavenly body and at the same time symbolizes a divine aspect, personified by a deva. It is thus
that this mandala symbolizes at one and the same time the visible cosmos, the world of the
Spirit and the Divinity in its multiple aspects.‖

7.2. DESIGN THEME

Design of Craft‘s Village revolves around
four themes:-
a. Nepali Spirit
b. A modern synthesis
c. Structural Rationalism
d. Tradition and Pragmatism
Design Theme
7.3 ZONING AND SITE PLANNING
The whole site has been divided into eight quadrants with centre as a mandala
(Art and Craft Gallery). The entrance is made through south and the visitor reaches the a large
entrance court which is symbolic to ―lacchi‖ of newari settlement. The buildings are arranged in
in the eight nodes in a ―pinwheel‖ kind of arrangement. The serial flow of spaces has been
maintained. The work areas are arranged in a way such that they can be like galleries where
visitors can walk and see different craft skills being executed. Restaurants and souvenir shops
are placed lastly providing refreshments or they can be entered at first also. There are hierarchy
of spaces which a visitor can experience. Through the main entrance visitor can experience a
public space. When they enter they experience semi-public space of workshops and display
areas. Then at the rear end of the site there is placement of quarters for the craftsmen and
learners. Thus basically three level of planning has been opted. Viz.
a) Public
b) Semi-private
c) Private

Zoning and site planning
Functional organization of spaces and its layout gives importance to the visitor flow and
rapid evacuation incase of accidents. The open courts provide visitors as well as craftsmen to
have a space for working and display exhibits. In and out of goods and services have also been
taken into consideration. For this service road is provided.
Juxtposition of different forms

7.4 PROPOSED UTILITY AND SERVICES
Service roads
Since the materials for each of the craftworks had to be supplied to the blocks in a more
effective manner, the whole handicraft complex has been serviced by a 3m wide road.
Two service gates are provided on east and north-east side.
Eleectricity
Electrical unit that monitors and supplies electricity to the whole complex has been
placed near the service entry. It also consists of a stand by generator for continual supply
of electricity
Drainage
Surface drainage provided along the buildings and courtyards for the easy runoff of the
water from paved areas. The water would be filtered and stored in the rain water
harvesting tank.
Water supply
Rain water is the source of all water and rain water harvesting is a technique to collect
and store the rain water at the surface or sun-surface aquifers, before it is lost as surface
run-off. Thus, a system of harvesting rain water from the roof and the paved areas have
been proposed to be used for the craft activities, cleaning purpose and watering plants.
For the purpose, rain water harvesting tanks have been at lvl +1 near service entry& lvl
+2 near amphitheatre
Harvesting potential: Area of the plot = 24414.1671 sq.m.
Avg. Annual ht. of rainfall = 1.6m
Vol of rainfall over the plot = 24414.1671 x 1.6 = 39062.67 cu.m.
Capacity of water that can be harvested = 80% of total volume = 48828.3 cu.m.= 4,88,28,000 lts
Soak pits would be provided at intervals for ground water recharge. This will also help to
reduce the runoff from site and lessen the chances of contributing to the downstream flooding.

7.5 FIRE HAZARD PROTECTION PLAN
Smoke sensors for fire detections are used in all public areas, which are connected to
alarm sensors, at 24 hours attendant area, eg. The Guard House. Localized fire extinguishers
have been provided within an interval of 45m .With due consideration to the fire safety for the
studios, the major fire prone areas have been separated from the main studio space with the
provision of quick access to open space. Moreover, fire hose reels would be places at an interval
of 50m in major areas, like studios, that draws water from the underground water tank with
pressure controlled fire pump that is connected to the fire hose reels- capacity 140,000 litres.
Waste treatment
Wastes coming out from the complex – organic or inorganic – need to be separated at
first, before treatment. The inorganic wastes would be recycled through the recycling
station sand the non- recyclable wastes would be taken away by the municipal vehicles.
Sanitation
For the sanitation, reed bed effluent treatment plant has been proposed as it requires
little energy as compared to conventional mechanized plants.

CONCLUSION
Traditional crafts, visual arts and other forms of traditional cultural expression are
closely related to the identity, heritage and socio-cultural well being of indigenous and local
communities. Tradition referring to cultural expression generally were first created a long time
ago, which have been transmitted from generation to generation and are regarded as pertaining
to a particular people or its territory.
Craft as such are a source of tradition which has been passed on from one generation to
the other. It is our duty to continue this generation of craft, a skill to be preserved and promote.
The Craft‘s Village tries to achieve this continuation of generation. It will space a space for craft
as well as craft people to house different craft in a single community. It will continue the culture
of craft and inspire people to be indigenous.
Modernization has crept into scene but it is also true, that forgetting our tradition and
culture is like losing our identity. Both should go hand in hand - preserve and develop. Craft‘s
Village is a modern achievement but the elements provided are traditional and based on culture
and society.
Thus the Handicraft Village has tried to achieve a communicable space for craft,
craftsmen and visitors.

BIBLIOGRAPHY
1. Korn, Wolfgang. Traditional Architecture of the Kathmandu Valley. Ratna Pustak

Bhandar, Kathmandu, 1979.
2. Gajurel C.L. and Vaidya, K.K. Traditional Arts and Crafts of Nepal. S. Chand and
company Ltd, New Delhi, 1994
3. Khan, Hasan Uddin, Charles Correa, Concept Media Pte Ltd., 1987
4. Maharjan, Sampurna, Craft Center at Lubhu, B. Arch. Thesis, 2005,
5. Khakurel, Sarita, Center for Fine Arts at Kirtipur, B. Arch. Thesis 2000
6. Shrestha, Jeny, Handicraft Center, Kirtipur, B. Arch. Thesis 2009
7. Adamson, Glenn. Thinking through craft , Glenn Adamson. Oxford; New York: Berg,
2007.
8. Tatum, M. 2010 ‗What are Handicrafts？‘, conjecture corporation, viewed 11 May
2010, http://www.wisegeek.com/what-are-handicrafts.htm
9. FHAN 2010, Historical Background, 2008, viewed at 16 May 2010,

http://www.nepalhandicraft.org.np/handicraft_prof.php#t2
10. Webster, B, ‘What is a literature review?‘, Central Queensland University Course

Resources, viewed 11 May 2010,
http://www.library.cqu.edu.au/tutorials/litreviewpages/what.htm
11. Ching, Frank (Francis D.K.), Architecture: Form, Space & Order, Van Nostrand
Reinhold, New York 1975, 2nd ed. 1996, 3rd ed. John Wiley, Hoboken 2007; ISBN
0471752169
12. Hamel, J. (with Dufour, S., & Fortin, D.). (1993). Case study methods. Newbury Park,
CA: Sage
13. Soy, Susan K. (1997). The case study as a research method. Unpublished paper,
University of Texas at Austin.
14. Pandit, R.V., Charles Correa, The perrenial press, Bombay, 1996

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

Thesis · January 2011

Green School Project Nepal View project

Housing Recovery and Reconstruction Platform (HRRP) View project

The user has requested enhancement of the downloaded file.

Submitted in partial fulfillment of the

RUPESH SHRESTHA B. ARCH. THESIS 2011

RUPESH SHRESTHA B. ARCH. THESIS 2011

I would also like to extend my gratitude to my seniors Ar. Abhishek Mananda

A word of appreciation also goes to my friends who have supported me in this

RUPESH SHRESTHA B. ARCH. THESIS 2011

RUPESH SHRESTHA B. ARCH. THESIS 2011

2. Chapter 2: Literature Review

3. Chapter 3: Site Analysis

4. Chapter 4: Case studies

5. Chapter 5: Design Inferences

6. CHAPTER 6: Programme and Area formulation …………………………………………………………………… 74

RUPESH SHRESTHA B. ARCH. THESIS 2011

RUPESH SHRESTHA B. ARCH. THESIS 2011

1.2 HISTORICAL BACKGROUND

RUPESH SHRESTHA B. ARCH. THESIS 2011

RUPESH SHRESTHA B. ARCH. THESIS 2011

So the main objectives are as follows:

 An interaction place for craftsmen.

 As a socialization ground for craftsmen.

 To promote Nepalese culture through crafts.

 A cultural center that justifies the Nepali lifestyle.

 To blend with the culture of different generations.

 To provide an adequate, controlled and ideal environment for craftsmen.

 To promote Nepalese handicraft, both within inside and outside Nepal.

 To create a new attraction for tourist.

1.3.4 Economical objectives

 To enable people to understand the relationship between economics, culture and

RUPESH SHRESTHA B. ARCH. THESIS 2011

1.4 SCOPE OF PROJECT

e. Metal Craft and

g. Mask making has been attempted to be accommodated.

Crafts Village includes

A. Administration : overall management and supervision of activities

B. Research and training: R & D, knowledge sharing, advancement

C. Workshop: demo rooms on prototype designs

D. Craft gallery: craft display, exhibitions

E. Exhibit, Sales and promotion: showrooms, shops

F. Supporting units: To manage the complex an administrative body is required.

G. Facilities and recreation: Such as restaurants, parking and rest rooms.

RUPESH SHRESTHA B. ARCH. THESIS 2011

1.5 PROJECT JUSTIFICATION

Present status of Handicraft (source:FHAN)

Nepalese handicraft is not curio any more. Although produced in households,

 Volume of business / export

 Revenue to Government – Import, Export, Income Tax

 Number of family engaged / population

As most of the handicraft production is done in household scale, the working

RUPESH SHRESTHA B. ARCH. THESIS 2011

 Handicraft industry’s problems

Handicraft sector contributes around 1% to the national GDP.

 Contribution in the employment

Handicraft sector contributes around 9% in the total employment of the country.