BOOK ORG-7413

LIVING AND LEARNING DEVELOPMENT CENTRE

CASE STUDIES CONTENT DESIGN DRAWINGS ABOUT

ABOUT THE DESIGN INTRODUCTION THE DESGN AIMS AT FORMING A LIVING AND LEARNING CENTRE WHICH USE ARCHITECTURE AS A MEDIUM TO EXPLORE VARIOUS CONTEXT AND TO CREATE A SUITABLE ARCHITECTURE FORM WHICH INCLUDES THE UNDERSTANDING OF A REGION AND THE PEOPLE LIVING IN THAT REGION, THEIR CULTURE ETC. SO HERE THE SITE IS IN CHENDAMANGALAM WHICH IS FAMOUS FOR THEIR RICH TEXTILE HERITAGE. THE CHENDAMANGALAM WAS ONCE HIT BY A MAJOR FLOOD AND LOST ALL THEIR HANDLOOM AND WEAVING AREAS. SO THIS DESIGN MAINLY FOCUSES ON FORMING A LIVING AND LEARNING CENTRE IN CHENDAMANGALAMBY STUDYING THEIR REGION AND CULTURE.



LIVE CASE STUDIES AHMEDABAD 01 KHAMIR CRAFT RESOURCE CENTRE 02 LIVING AND LEARNING DEVELOPMENT CENTRE 03 CEPT 04 NID 05 SANGATH 06 IIMA 07 AMDAVAD GUFA 08 POL HOUSES 09 ADALAJ STEP WELL 10 SABARMATI ASHRAM 11 MANEK CHOWK 12 SARKEJ NO ROJO

LIVING AND LEARNING DEVLEPOMENT CENTRE Client Living & Learning Design Center- LLDC - Ajrakhpur - Kutch Location Ajrakhpur, Dist - Kutch, Gujarat Architects Uday Andhare & Mausami Andhare Site Area 8 acres Building Area 1.2 lac sq.ft Completion Year 2015 Civil Engineers Shrujan Team • It was meant to be a ‘place’ that would becomes a tactile and visual repository of the various crafts of Kutch. Its primary role as a resource center for artisans doubles up as a public museum and place for demonstrative, hands on learning.

• Design strategy The overall master plan has three main components: the museum, the crafts school and the residential enclaves. The museum block was part of the first phase of work on site. Its strict guidelines for conservation and preservation of textiles meant that the building had to be inherently thermally stable so as to rely less on artificial means of conditioning. This concern was followed right through the design of the buildings and became the core of the building design strategy. • The architecture of the museum block is a series of large solid volumes, punctuated by conidial skylights that cut out the elements and the dust. Along with this core, are the ancillary passageways and shaded spaces for craft demonstrations and impromptu workshops that attach to the core as porous appendages, allowing spontaneous and simultaneous experiences. • This archetype for a museum seeks to establish the primacy of place making over, manneristic form making prevalent in public architecture today. A museum, in this context, is thus a “ place” to experience, move through and habit in an informal way, making language and information more tactile than textual in nature. The vocabulary is purposefully simple and contemporary in nature, emblematic of the nature of craft as industry and vice- versa today. Sustainability issues and solutions: Economy of means and materials were to be the backbone of this endeavor. Judicious use of materials and sustainable design strategies aimed at thermal comfort were developed and integrated in the design of the campus. Thermal barriers: Lime and fly ash bricks were manufactured on site using waste carbide lime slurry, sand and fly ash to reduce cost and get the required strength and thermal stability compared to any other material. Lime mortar was prepared on site by slaking lime in large ponds and grinding it with sand and crushed brick. Gauged lime mortar was used in the masonry work and natural lime plaster using traditional methods* was used in three coats in some areas.

PHOTO GALLERY

KHAMIR CRAFT RESOURCE CENTRE • It was instituted in 2005 as a platform for the promotion and sustainable development of crafts, heritage and cultural ecology of Kutch. • The conception of the 2200 square metre crafts facility spread across two acres of land resonates with the ethnography of Kutch and its environs. A low-rise clustered campus, the overall architecture of such a complex programme is humbled by the land surrounding it. As a seemingly simple modular orthogonal plan, the design facilitates a rather complex sequence of movement, revealing only parts of the campus as one walks through, encountering plausible points for informal exchanges in between- sometimes under the shade of a tree, sometimes amidst a cluster of buildings- in many ways tapping into a familiar way of living, congregating and working. • Moving through the verandas alongside the workspaces and across a series of shaded courtyards, references a walk through the winding alleys that are characteristic of rural Indian townscapes: from a harsh sunlit landscape to a welcoming shaded courtyard, stepping onto an elevated veranda and finally entering the deep, cool interiors is an experience that is integral to the rural fabric of the place. • The built-spaces are primarily a cultural construct, where the architecture is employed to strengthen an identity that the people of Kutch represent. Using local materials and appropriate construction techniques, the finished surfaces (built as infills in a steel frame of the buildings) receive and reflect a familiar light.

• As the buildings rise further, the architecture departs from the conventional with a modern, lightweight steel construction allowing for a generous space above the robust walls. The steel frame takes over the roof to support a double-layered roof lined with fired clay Mangalore tiles. Through a collaboration with the Hunnarshala Foundation, one of the key innovations that the project saw was the installation of wattle and daub panels as infills between timber and steel frames. • An oasis for the artisans, the Khamir Crafts Resource Centre is an architectural translation of a sensitively planned economic model to support, sustain and nurture the knowledge of the diverse craft forms by facilitating interactions. Lending the clusters a sense of dwelling, the workspaces are designed as ‘otlas’ (raised plinths) adjoining a quiet protected room that is often used as a store for raw materials and tools, a space for research and development, or as a small display area for finished products. The infrastructure at Khamir is designed to engage in the development and documentation of craft techniques and use of materials, training and enhancement of skill, sales and marketing among other operations.

DRAWINGS CLUSTER PLAN SECTIONS SITE PLAN

PROJECT DETAILS CHENDAMANGALAM A small town in Paravur taluk in Ernakulam, is a rare geographical combination of three rivers, seven inlets, hillocks and vast expanses of green plains. It has deep roots in history with its close proximity and association with the ancient port of Muziris. When Kerala established itself as a major center for spice, it was the ancient port of Muziris that emerged as its hub. Sangam literature describes Roman ships coming to Muziris laden with gold to be exchanged for pepper. However, tragedy struck in 1341, when the profile of the water bodies in the Periyar River basin on the Malabar Coast underwent a major transformation - and Muziris dropped off the map due to flood and earthquake. The centre of trade shifted to the port of Kochi which formed as a result of the flood. Chendamangalam, under the Paliath Achans, was a model of religious tolerance. It is one of the unique places in India where places of worship from the four major religions, Christianity, Islam, Hinduism and Judaism exist within a short distance of each other2.

Chendamangalam has been known for its rich textile heritage with the looms having a unique reputation of weaving finer count cotton combed yarn (of 120s, 100s and 80s) which is a rarity across most clusters in India today. There are four main centres for weaving the traditional handlooms of Kerala – Balaramapuram, Chendamangalam, Kuthampully, Kannur. Like in other parts of Kerala, weaving communities in Chendamangalam were under official patronage of the feudal family of Paliam, who served as chief ministers for the Rajas of Cochin3. The 2018 floods submerged areas along the banks of the Periyar river including most weaving centres. The handloom units at Karimbadam and Kuryappilli areas had suffered major damages. Flood waters had entered all the units, destroying products worth lakhs of rupees, weaving equipment, furniture and thread. The central dyeing unit, too, had been completely destroyed. With the efforts of the community and many organisation, the looms were revived to some extent. In 2019 again due to heavy rainfall, the weaving centres were partially submerged in water destroying the cotton yarn, bringing the looms to standstill for a crucial period of time. The livelihood of the weaving communities is adversely affected by this phenomena. The outcome expected from the studio is a cultural institution in Chendamangalam that would function as a Living and Learning Development Centre .

CASE STUDY CHENDAMANGALAM KAITHIRI HISTORY PALIYATHACHAN’S PRIMEMINISTER TO THE KING OF KOCHI BROUGHT THEIR CLOTHES FROM TAMILNADU WHICH FIND IT TOO COSTLY. DURING THAT TIME GOVIND VALYACHAN MEET A PERSON OF CHALIYAN COMMUNITY WHO MADE GOOD QUALITY WEAVEN CLOTHES, PALIYATHACHAN BROUGHT HIM TO CHENDAMANGALAM.THIS PARTICULAR PERSON STARTED WEAING IN CHETHAMANGALAM. THE WEAVING MACHINE IS DUG INSIDE THE MUD THEREFORE IT IS KNOWN AS KUZHITHARA . THE CLOTHES WHERE MAINLY WEAVEN ONLY FOR THE RICH FAMILY MAINLY PALIYATH FAMILY. THEN THE INFERIOR QUALITY THREADS WHERE BROUGHT AND STARTED TO MAKE CLOTHES FOR LOWER CASTE PEOPLE ALSO.AT THAT TIME THE MAIN JOB OF ‘EZHAVA’ COMMUNITY IS ‘CHETTU’ AND THEN THEY MOVED TO ‘KAITHIRI’. DURING 1930, KRISHNANKUTTY MENON , A CHEMICAL ENGINEER INTODUCED A HANDLOOM FACTORY OULET IN CHENDAMANAGALAM. THIS WAS TURING POINT FOR SMALL AND SMALL NEYTHU SHALAS FOR NAYAR FAMILY NEYTHU SHALA WAS A SYMBOL OF PRIDE AND STATUS. CHENDAMANGALAM CLOTHES WERE SOLD IN MANY PARTS OF COUNTRY.

CHENDAMANGALAM KAITHIRI FLOOD AND CHEKUTTY DOLLS CHENDAMANGALAM HANDLOOM WEAVERS COOPERATIVE SOCIETY –H47 FOUNDED IN 1957 BY TT MATHEW WHO HAD BEEN THE SECRETARY FOR 35 YEAS .AROUND 99 LOOMS ASSOCIATED WITH THE SOCIETY WAS DAMNGED DURING THE FLOOD IN AUGUST 8TH. FINISHED TEXTILE PRODUCTS,WEAVING INSTRUMENTS AND HUGE STOCK OF THREAD AND DYE WERE COMPLETELY DESTROYED. RECENTLY THE CHENDAMANGALAM KAITHIRI HAS GOT THE GI(GEOGRAPHICAL INDICATION). THE STAINED CLOTHES CANNOT BE USED AFTER WASHING. GAVE BIRTH TO CONCEPT OF CHEKUTTY (GIRL WHO SURVIVED THE FLOOD) THE CONCEPT WAS BORN IN THE MIND OF SOCIAL ACTIVIST AND FASHION DESIGNER LAKSHMI MENON AND HER FRIEND GOPINATH. SINGLE 5 METRE SAREE - 360 DOLLS ONE SAREE - RS 1300 CHEKUTTY DOLLS WHERE USED TO ADORN THE WALLS ,BAG, CAR AND KEY CHAINS ETC…

CHENDAMANGALAM KAITHIRI TODAY COMPARING TO OTHER HANDLOOM FABRICS, THE FABRICS IN CHENDAMANGALAM WE GET IS SLIGHTLY HEAVIER AND HA COLOURED BORDERS AND SMALL AMOUNT OF KASAV . THE YARN THREAD AND DYE SOLUTION PROVIDED FROM VARIOUS HANDLOOM WEAVERS COOPERATIVE SOCIETY PARUTHI NOOL TO SOCIETY CLEANING PROCESS BY WASHING AND BEATING ACCORDING TO THREAD LENGTH AND MODERATE SUNLIGHT . DYING CHARKA CHUTTU FOR ROLLING THE THREADS (THE SAME PROCESS IS DONE IN ANOTHER INSTRUMENT CALLED CHATTAKOODU) TO NEYTHU INSTRUMENT AND FROM THEIR FINAL PRODUCT IS PRODUCED

AFTER FLOOD WEAVING AT HOME CHEKUTTY

SCHOOL CONCEPTCENTRAL PATHWAY PRIVATE PUBLIC 1. 2. STREET CANAL THE PLOT IS DIVIDED FROM THE CENTRE,FORMING A THEN THE BUILDINGS ARE GROUPED AS CENTRE PATH WAY AND OTHER PATHWAYS ARE BRACHED PRIVATE , PUBLIC AND ACCORDING TO OUT FROM IT. THEIR FUCTIONS 3.

PRIVATE AREA BUILDINGS CENTRAL COURTYARD PATHWAY TO THE STREET PUBLIC BUILDINGS PATHWAY TO THE CANAL CANAL

ZONING 7 9 8 6 1 ADMIN 2 SHOP 7 5 3 ORIENTATION SPACE 5 4 4 EXHIBITION HALL 2 5 CAFE 3 6 HANDLOOM WORSHOP 1 7 ACCOMADATION 1 8 STUDIO+R AND D 9 DYING UNIT

GROUND FLOOR PLAN B B’ ADMIN ROOM A’ RECEPTION SHOP EXHIBITION HALL ORIENTATION SPACE CAFE HANDLOOM WORKSHOP STORAGE DYING UNIT 10 ACCOMADATION ROOM 11 STUDIO WORSHOP 12 STUDIO CLASS

1ST FLOOR PLAN 1 R AND D SPACE 2 HANDLOOM WORKSHOP

SECTIONS

HANDDRAWN SHEETS GROUND FLOOR PLAN

FIRST FLOOR PLAN

SECTION AND ELEVATIONS

VIEWS

THANK YOU CREDITS: This presentation template was created by Slidesgo, including icons by Flaticon, and infographics & images by Freepik ALEN EMERSON ,S4 KMEA COLLEGE OF ARCHITECTURE