Jumlis(khas) socio-cultural centre

TRIBHUVAN UNIVERSITY

INSTITUTE OF ENGINEERING THAPATHALI CAMPUS

JUMLIS (KHAS) SOCIO-CULTURAL CENTRE AT SINJA

BY DINESH CHAUDHARY (071/B.ARCH./510)

A THESIS TOPIC SUBMITTED TO THE DEPARTMENT OF ARCHITECTURE IN PARTIAL FULLFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF BACHELOR IN ARCHITECTURE

DEPARTMENT OF ARCHITECTURE THAPATHALI CAMPUS, THAPATHALI

OCTOBER 2019

To The Chairman and Members of the Jury Department of Architecture Thapathali Campus, Thpathali, Institute of Engineering Tribhuvan University

Dear Sir/Madan In compliance with the requirement of the course V Year architectural design thesis (AR 851) for the Bachelor in Architecture degree, I hereby respectfully present my thesis for evaluation and approval.

Project Title: Jumlis (Khas) Socio-Cultural Centre at Sinja Project Location: Sinja, Jumla

Very respectfully yours ………………………….

Dinesh Chaudhary Roll. No. 071/B.arch/510 (Thesis Candidate) Presentation Date: 2076-06-09

Recommending Approval ………………………..

…………………

Ar. Tilottama Kandel

Ar. Umesh Dimal

………………………………

Assoc. Prof. Battuk Krishna Parajuli

External Jury Member

Jury Member

…………………….

……………………….

Asst. Prof. Reena Devi Bajracharya

Ar.Pradeep Adhikari

Thesis Supervisor

Head of Department

Jury Member

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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 stare that this dissertation is the result of my own independent work/investigation, except where otherwise stated. I hereby give consent for my dissertation, if accepted to be valuable for photocopying and understand that any reference to or quotation from my thesis will receive an acknowledgement.

………………………………………..

Dinesh Chaudhary Date: Oct. 2019

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CERTIFICATE

This is to certify that the thesis entitled "JUMLIS (KHAS) SOCIO-CULTURAL CENTRE AT SINJA" submitted by Mr. Dinesh Chaudhary (071/B.Arch./510) has been examined and it has been declared successful for the partial fulfillment of the academic requirement towards the completion of the degree of Bachelor of Architecture.

…………………………………………..

Asst. Prof. Reena Devi Bajracharya (Thesis Supervisor) Date: ……………………….

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ACKNOWLEDGEMENTS This thesis project has become possible due to my longstanding I am deeply grateful to all my teachers, friends and the family of department of Architecture.

I want to express my sincere gratitude to my course tutors Ar. Shashi Kumar Mandal and Dr. Shree Hari Thapa for his guidance and valuable suggestion to choose my topic. I am also very obliged to those who help me in this project.

I want to express special thanks to Basudev Upadhya for the valuable feedbacks, supporting and guidance for further ahead.

I wish to express my sincere and heartfelt gratification to respectful teacher, my supervisor Reena Devi Bajracharya for assisting and guiding me throughout this project.

Through the thesis presented here, I would like to extend my sincere thanks and gratitude to all the personals who have assisted me directly or indirectly during my thesis. I will always cherish their support, guidance and encouragement which bolster me to achieve the goal.

And lastly thanks to the Department of Architecture of Thapathali Campus to provide this opportunity.

Dinesh Chaudhary October, 2019

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ABSTRACT Nepal is small country but very rich in cultural diversity. Historically in Nepal has three civilization namely in eastern Simroungadh-mithila civilization, in Mid Newari and in west Khas civilization. Jumlis (Khas) Socio-cultural center is the story about Khas civilization. In every civilization, it brought the human values, economic condition, built and open architecture, attires, living style, belief system and social values etc. Culture is the collective programming of the mind which distinguish the members of one group from another. It is the daily basic way of life style of people, religious, belief and socio economic condition.Culture center is the media of cultural exchange. It reflects the life style, behavior and tradition of the society. It also creates a sense of public center which can be shared by community.

Khas are one of the indigenous tribal people scatters all along the southern Central Asian origin who spoke an Aryan language closely allied to Sanskrit. They are found Western Nepal during the 3rd to 5th Centuries A.D. They are spoken khas language called Nepali language. Nepali language was originated first at Sinja Valley of Jumla district, which known as Khas language then. Sinja was the capital of Khas Kingdom, Therefore, the Nepali dialect "Khas Bhasa" is still spoken among the people in this region.

A ‘Jumlis (khas) socio-cultural center is a functional community center with a specific purpose to encourage cultural practice by providing facilities such as theatre space, gallery space, workshop areas, educational facilities, etc. A Jumlis (khas) socio-cultural center is specially created to promote and provide continuity to the art and culture. It stores, informs, displays, performs and trains people about the creative arts, culture and also helps to create/build upon socio-cultural by providing a platform to interact and express their creativity.

A Jumlis (khas) socio-cultural center has direct/ indirect positive effects on the community or neighborhood. The Jumlis (khas) socio-cultural center acts as a communal hub for the people focusing on creative culture to express their visions & interactivity with other people of same or different field. It is a center which displays, educates and spreads cultural practice in the community. The Jumlis (khas) socio-cultural center enhances the overall environment of the community.

The core concept of the Jumlis (khas) socio-cultural center is to connect, spread and develop culture practice especially: performing and visual activity and address in development of socio-cultural scene in Jumla. First off it will assist in bringing together the artists in a same space to connect people through interactions. Further it will help in producing its own stars and gems in craft through various cultural education and studio workshops. It will also spread the arts through various exhibits and showcasing the live social and cultural. The project will basically approach to design a functional cultural center serving as an institutional building also providing a public space.

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TABLE OF CONTENT DECLARATION ............................................................................................................................................... ii CERTIFICATE ................................................................................................................................................. iii ACKNOWLEDGEMENTS ................................................................................................................................ iv ABSTRACT...................................................................................................................................................... v TABLE OF CONTENT ..................................................................................................................................... vi LIST OF FIGURES ............................................................................................................................................ x LIST OF TABLE............................................................................................................................................... xi 1

2

INTRODUCTION ..................................................................................................................................... 1 1.1

Background ................................................................................................................................... 2

1.2

Statement of problem................................................................................................................... 3

1.3

Project justification ....................................................................................................................... 4

1.4

Scope and limitation ..................................................................................................................... 5

1.5

Research question? ....................................................................................................................... 5

1.6

Objective ....................................................................................................................................... 5

1.7

Need of socio culture center......................................................................................................... 6

1.8

Methodology................................................................................................................................. 6

1.9

Output envisaged .......................................................................................................................... 9

LITERATURE REVIEW ............................................................................................................................. 9 2.1

2.1.1

History of Cultural forum -International Context ................................................................. 9

2.1.2

Cultural forum in Islam -Regional Context .......................................................................... 10

2.1.3

Cultural forum in Nepal –National Context ........................................................................ 10

2.2

3

Community forum – public space ................................................................................................. 9

Historical background of sinja (jumla) ........................................................................................ 11

2.2.1

Khas Malla dynasty rulers ................................................................................................... 12

2.2.2

Kings of Jumla...................................................................................................................... 13

CONTEXT STUDY.................................................................................................................................. 14 3.1

Jumla, sinja .................................................................................................................................. 14

3.2

Climate ........................................................................................................................................ 14 vi

3.3

Demographic ............................................................................................................................... 16

3.4

Architecture and planning .......................................................................................................... 18

3.4.1

Settlement study ................................................................................................................. 18

3.5

Vernacular architecture .............................................................................................................. 20

3.6

Building materials ....................................................................................................................... 22

3.6.1

Stone and slate:................................................................................................................... 22

3.6.2

Timber: ................................................................................................................................ 22

3.6.3

Sand:.................................................................................................................................... 22

3.6.4

CGI Sheets: .......................................................................................................................... 23

3.6.5

Cement: ............................................................................................................................... 23

3.6.6

Brick: ................................................................................................................................... 23

3.7

Construction technology ............................................................................................................. 23

3.8

Transformation of vernacular architecture ................................................................................ 26

3.9

Physical infrastructure ................................................................................................................ 27

3.9.1

Road .................................................................................................................................... 27

3.9.2

Electricity............................................................................................................................. 27

3.9.3

Drinking Water Supply ........................................................................................................ 27

3.9.4

Education & Health ............................................................................................................. 28

3.9.5

Irrigation & Sewerage ......................................................................................................... 28

3.9.6

Banking................................................................................................................................ 28

3.9.7

Communication ................................................................................................................... 28

3.10

Festivals and paith ...................................................................................................................... 28

3.10.1

Dashain................................................................................................................................ 28

3.10.2

Tihar .................................................................................................................................... 29

3.10.3

Saune Sankranti .................................................................................................................. 29

3.10.4

Janai Poornima/Gai Jatra .................................................................................................... 29

3.10.5

Krishna janmasthami........................................................................................................... 29

3.10.6

Maghe Sankranti ................................................................................................................. 29

3.10.7

Shivaratri: ............................................................................................................................ 29

3.10.8

Fagu Poornima: ................................................................................................................... 29

3.10.9

Chaite Dashain: ................................................................................................................... 29 vii

3.10.10

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3.11

Art and Craft................................................................................................................................ 31

3.12

Khas dresses ................................................................................................................................ 32

3.13

Rituals and rites........................................................................................................................... 33

DESIGN STANDARDS ........................................................................................................................... 35 4.1

5

Masta Pooja/jatra ........................................................................................................... 29

Auditorium .................................................................................................................................. 35

4.1.1

Space Attributes of Auditorium .......................................................................................... 35

4.1.2

Seating................................................................................................................................. 36

4.2

Gallery ......................................................................................................................................... 37

4.3

Library ......................................................................................................................................... 38

4.4

Restaurants ................................................................................................................................. 39

4.5

Parking requirements.................................................................................................................. 39

4.6

Office spaces ............................................................................................................................... 40

CASE STUDY......................................................................................................................................... 41 5.1

National case study ..................................................................................................................... 41

5.1.1

Nepal arts council................................................................................................................ 41

5.1.2

Pokhara provenance museum ............................................................................................ 41

5.2

Regional case study ..................................................................................................................... 46

5.2.1

Kala academy ...................................................................................................................... 46

5.2.2

Bihar museum, patna .......................................................................................................... 48

5.3

International case study.............................................................................................................. 50

5.3.1

National museum of the American Indian .......................................................................... 50

5.3.2

Tjibao cultural center .......................................................................................................... 52

5.4

Comparative chart of case studies .............................................................................................. 54

National museum of the American Indian .......................................................................................... 54 5.5 6

7

Inference from precedent study ................................................................................................. 55

PROGRAM FORMULATION.................................................................................................................. 56 6.1

Major program elements/ activity .............................................................................................. 56

6.2

User description groups .............................................................................................................. 56

6.3

Statistics of users /groups ........................................................................................................... 57

SITE ANALYSIS ..................................................................................................................................... 61 viii

7.1

Location....................................................................................................................................... 61

7.2

Site boundaries ........................................................................................................................... 61

7.3

Land and Land use: ..................................................................................................................... 62

7.4

Topography: ................................................................................................................................ 62

7.5

Area: ............................................................................................................................................ 62

7.6

Vegetation ................................................................................................................................... 62

7.7

Access:......................................................................................................................................... 63

7.8

Justification: ................................................................................................................................ 63

7.9

Existing Infrastructure and Services:........................................................................................... 64

7.10

Development trends: .................................................................................................................. 64

7.11

Swot analysis ............................................................................................................................... 65

7.12

Design inferences from site analysis ........................................................................................... 65

8

DESIGN CONCEPT AND DEVELOPMENT .............................................................................................. 65 8.1

8.1.1

Approach 1: SYMBOLIC INSPIRATION ................................................................................. 66

8.1.2

Approach 2: A JOURNEY THROUGH THE EXPERINCE .......................................................... 67

8.1.3

Approach 3: VERNACULAR ASPECT ..................................................................................... 67

8.1.4

Final concept ....................................................................................................................... 67

8.2

9

Concept development................................................................................................................. 66

Design development ................................................................................................................... 67

8.2.1

Planning............................................................................................................................... 71

8.2.2

Administration and tourism information ............................................................................ 72

8.2.3

Oat area or multipurpose space ......................................................................................... 72

8.2.4

Museums............................................................................................................................. 72

8.2.5

Craft section ........................................................................................................................ 72

8.2.6

Library ................................................................................................................................. 73

8.2.7

Restaurants ......................................................................................................................... 73

8.2.8

Circulation ........................................................................................................................... 73

REFERENCES ........................................................................................................................................ 74

10

3D VIEW .......................................................................................................................................... 76

11

APPENDIX ........................................................................................................................................ 78

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LIST OF FIGURES FIGURE 1 WORK FLOW FROM UP TO DOWN ..............................................................................................................................7 FIGURE 2ROMANIANS USED TO DO DIFFERENT ACTIVITIES IN THE COLOSSEUM FIGURE 3THE PARTHENON WAS USED TO DO DIFFERENT ACTIVITIES IN GREECE PERIOD ....................................................................................................................................... 9 FIGURE 4 PERFORMING DIFFERENT ACTIVITIES INSIDE THIS FORT. NOW IT IS CONVERTED INTO TOURIST'S HUB .....................................10 FIGURE 5 GATHERING AREA IN ASQSA MOSQUE ....................................................................................................................10 FIGURE 6 STONE CONDUIT ..................................................................................................................................................10 FIGURE 7 FALCHA USED SOCIAL INTERACTION .........................................................................................................................10 FIGURE 8 GUTHI USED DIFFERENT ACTIVITIES ..........................................................................................................................10 FIGURE 9 SHOWING HISTORICAL MIGRATION OF KHAS PEOPLE ON SINJA VALLEY ............................................................................11 FIGURE 10 A MAP SHOWING SINJA, JUMLA ............................................................................................................................14 FIGURE 11 JUMLA CLIMATE GRAPH.......................................................................................................................................14 FIGURE 12 COMPARATIVE DATA OF JUMLA ............................................................................................................................17 FIGURE 13 SHOWING MALE & FEMALE RATIO, AREA DENSITY RATIO ............................................................................................17 FIGURE 14 COMPACT NUCLEATED SETTLEMENT OF LUDKO VILLAGE .............................................................................................18 FIGURE 15 SETTLEMENT SHOWING HOUSE FORM LINKED SPACE .................................................................................................19 FIGURE 16 JUMLIS HOUSE UNDER CONSTRUCTION ...................................................................................................22 FIGURE 18 SAND AND STONE ..............................................................................................................................................22 FIGURE 19 BUILDING HAVING ROOF CGI SHEET ......................................................................................................................23 FIGURE 20 TYPICAL JOINT DETAILS OF TYPICAL KHAS HOUSES .....................................................................................................24 FIGURE 21 TYPICAL CONSTRUCTION TECHNOLOGY ...................................................................................................................24 FIGURE 22 TRANSFORMATION DUE TO TIME...........................................................................................................................26 FIGURE 23 GARVEL ROAD ...................................................................................................................................................27 FIGURE 24 POWER HOUSE .................................................................................................................................................27 FIGURE 25 COMMUNAL TAP ...............................................................................................................................................27 FIGURE 26 SCHOOL AND HEALTH POST..................................................................................................................................28 FIGURE 27 MASTA, PAITH ..................................................................................................................................................30 FIGURE 28 DHAMI NAACH ..................................................................................................................................................30 FIGURE 29 SHOWING DIFFERENT ART AND CRAFT ....................................................................................................................31 FIGURE 30 KHAS WOMEN IN 1990'S & ATTIRE OF KHAS PEOPLE ................................................................................................32 FIGURE 31 BIRTH CEROMONY AND DHAMI NACH DURING OTHERS CEROMONY .............................................................................34 FIGURE 32 SPACE CIRCULATION OF POKHARA MUSEUM............................................................................................................42 FIGURE 33 PROVINENCE MUSEUM, POKHARA .......................................................................................................................43 FIGURE 34 MATERIALS AND CONSTRUCTION TECHNOLOGY .......................................................................................................44 FIGURE 35 LIVE MODEL ……………... .. ...............................................................................................45 FIGURE 37 LIVE MODEL OF HINDU TRADITION .................................................................................................45 FIGURE 39 FLOOR PLAN .....................................................................................................................................................46 FIGURE 40 TOP VIEW OF MUSEUM .....................................................................................................................................48 FIGURE 41 JUMLA DISTRICT ................................................................................................................................................61 FIGURE 42 SITE SURROUNDING............................................................................................................................................61 FIGURE 43 SLOPE LAND......................................................................................................................................................62 FIGURE 44 TOURISTS ROUTE ...............................................................................................................................................63 FIGURE 45 ACCESS ............................................................................................................................................................63 FIGURE 46 DEVELOPMENT TRENDS .......................................................................................................................................64 FIGURE 47 BUBBLE DIAGRAM ..............................................................................................................................................69

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FIGURE 48 MASTER PLAN ...................................................................................................................................................71

LIST OF TABLE TABLE 1 TIME SCHEDULE ......................................................................................................................................................8 TABLE 2 ATTIRE OF KHAS PEOPLE .........................................................................................................................................32 TABLE 3 SHOWING LIFE RITUAL CALENDAR .............................................................................................................................33 TABLE 4 SHOWING DEATH RITUAL CALENDER........................................................................................................................34

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1 INTRODUCTION Jumla is one out of the ten district of Karnali, 6 no's province, with as its district headquarters in the MId- Western Development Region of Nepal. Its cover an area 2,531 km² and had a population 108,921 in 2011 Nepal census. It elevation varies from 915 m to 4,679 m. Jumla is an entirely mountainous region with no flat land except for narrow stripe alongside the beds of the various tributaries of the Karnali River which drain the region. The major rivers in Jumla are Hima, Tila and Jawa. (Jumla (town), 2018) The primary purpose of this dissertation is to understand Jumla religion within the context of Jumla culture. As Jumla religion can be distinguished into two separate tradition, which I have labeled Jumla Brahmanism (Dharmic) and oracular religion (non- Dharmic), the bulk of this study is devoted to exploring the roles and meaning of these two traditions and their relationship to each other. In addition, considerable attention has been devoted to Jumla social organization, emphasis on spatial features of jumla, architectural characteristic, as well as through a comparative analysis in social and religious context to explore the hidden socio-cultural Centre.

JUMLIS Jumlis are one of the indigenous tribal people scatters all along the southern Central Asian origin who spoke an Aryan language closely allied to Sanskrit. They are found Western Nepal during the 3rd to 5th Centuries A.D. (Campbell, 1978) They are spoken khas language called Nepali language. Nepali language was originated first at Sinja Valley of Jumla district, which known as Khas language then. Sinja was the capital of Khas Kingdom, Therefore, the Nepali dialect "Khas Bhasa" is still spoken among the people in this region CULTURE Nepal is very rich in Culture. East-West to South-North have been found different ethnic group which is more influenced by the climatic and geographic factor. In east, Dhimal ethnic group of architecture, In Mid-East, Maithali ethnic group of architecture, In Mid, Newari ethnic group of architecture, In Himalyan region, Sherpa ethnic group of architecture, In mid-west, Khas ethnic group of architecture etc. are the main ethnic groups rich in their in own ways. Thus Nepal is blessed with one of the richest cultural diversity in the world. Culture has been called "the way of life for an entire society". This means that in Nepal where every aspects of life, clothing, food, and even the occupations are culturally guided, the culture of Nepal includes the codes of manner, dress, language, rituals, norms of behavior and systems of beliefs. It is the system of knowledge shared by a relatively large group of people.

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Culture is the whole complex of distinctive spiritual, materials, intellectual and emotional features that characterize a society or a social group. It includes not only arts and letters, but also modes of life, the fundamental rights of the human being, value system, tradition and beliefs (Samiksha).

So, the culture is not only about intellectual and creative products like literature, music, drama, painting etc. and again it is not only about beliefs and practices of society but culture is more than that. Culture can be classified as; Material culture and Intangible culture, Where material culture represent all physical objects including arts, crafts, built structure and monuments that possess culture value to human beings. Intangible culture means the set of value, beliefs norms, regulation and customs, traditions, religions etc. that shape of our life.

"SOCIO-CULTURAL CENTRE": (SOCIO + CULTURE CENTRE) "Jumlis (Khas) socio-cultural centre" is an organization, place, new ideas, building or complex that promote or share culture and uplift the economy of Jumlis or Khas, group of people.

Slogan: Culture of the nation express their identity, if lost culture lost identity

1.1 Background Culture refers to the symbolic communication. In addition to the cumulative of knowledge, experience, beliefs, values, attitudes, meanings, hierarchies, religion, notions, spatial relations, concepts of the universe, and material objects and possessions acquired by the group of people in the course of generations through individuals and group striving.

Jumlis Culture is the most common culture around the Karnali, Mugu, Dolpa and Even the Dullu and Dailekh. Different Folk songs, Folk ballades, Folk dances, Folk dramas according to the seasons, animistic beliefs, social structures, festivals has their culture quite more interesting and impressive.

A social life of Jumlis people was quite more interesting and different from others. The main occupation of Jumlis people was agricultural. They fully depend on this occupation and rice and potato are main producing elements in this region (Manoj, 2017). A Ropai festivals, which occur before one month of Agriculture day is the most animistic celebrating jumlis people. Red Marshi, which was grown at the highest elevation in the world was very famous rice in Jumla. Jumlis people sharing the happiness to the birth of son in the agriculture field and the people trying to push the relative people to fall down in the preparing rice field. Another job was done by the Jumlis people are production of woolen cotton dress, musical instruments, and apple production. A natural medicine are produced by this people and Yarsagumba is the famous natural medicine in this region.

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Jumla is the main starting point of the trade route of Rara Lake and Se-phoksundo taal. It falls on the main touristic home stay area (EXPLOREDOLPO, 2015). This type of hub provides not only the facilities but also helps to preserves the traditions and culture, promotes our culture to others countries. And from very old time khas architecture itself is very rich in its traditions and culture which needs to be explored and should be preserving from degrading by new cultures from present conditions. Thus this type of project helps to promotes tourism development as well as local development both culturally and economically.

1.2 Statement of problem Jumla is one of the remote area of mid-western region of Nepal. Most of the villages have been found the different ethnic group of people. Sinja is the old civilization of the jumla and had capital of the khas kingdom therefore Sinja is dominated by the jumlis. Jumlis are rich in their own culture and traditions. In today context, the globalization and modernization as the pace transformations intensifies that there is a real danger of our unique tradition, rituals, beliefs, customs and material aspects of our multi-cultural society (Nepali Samaj UK, 2015 ). Roof was replaced by the CGI sheet which is affected the climatic responsive building design (2018). In those days, jumlis had conducted the social phenomena like birth ceremony, ropai, horse racing and different festivals on the social space such as bado, goth, paith, etc and agricultural field but nowadays this space are diminishing due to the transformation of vernacular houses in terms of materials, form, and as well to increase for the basic need.

Sinja is one of old civilization of the Nepal and had capital of the khas kingdom and also the origin of Nepali language therefore Sinja is the identity of our nation. In 2008, Sinja felled the world heritage site and Department of Archeology had preserved the some monuments and that particular area but nowadays monuments are in ruined condition due to ignorance and lacking of preservation because the private property of people (Republica, 2019). So it is one historically, naturally, culturally, politically important area. It is the identity of our nation but due to increasing the basis needs, ignorance and lacking of proper preservation. The identity will be in processing of loose.

Transforming the vernacular architecture due to this diminishing the socio attributes and cultural values. In Jumla there is no any community centre or cultural museum for preserve and promote this cultural and historical significance. There is no any khas language training centre although it is the origin of this. (Ramanda Acharya). People are migrating that area because of in search of better living condition & education Jumla is the best tourist destination place as it is starting point for trekking majestic Rara Lake, Se Phoksundo tall, Sinja valley, Patrasi Mountain and Chandannath Temple etc. According to the tourism department, there are more than 2000 tourists come in the Jumla but they are lacking to give the facilities. Tanka Raj Pandit, housekeeping manager of Pauwa Hotel said that currently, they are serving around 100 tourists per day. “Although the number of tourists is increasing in 3

Jumla, there is lack of proper services and facilities to offer our visitors,” Pandit said, “If infrastructure and proper accommodation could be managed for visitors, Khalanga in Jumla district could become a tourist hub,” he said. “Generally more domestic tourists than foreigners visit Khalanga.” (BUDDHA, 2018) “In lack of proper lodging, visitors have to sleep in conference hall, lobby and couch as well,” Pandit told Republica. “Tourists are happily sharing their experience of hearing about remote areas and directly experiencing it. In lack of rooms, we are even letting visitors to sleep at our staff rooms". (gurung, 2016) They don't have any museums and culture center or hub to preserve and promote them. With the introduction of modern ideas and facilities their culture is rapidly disappearing. In this regard, this project will play vital role for preservation and development of Jumlis culture. It will provide various built, open and semi open spaces to perform different activities. It mainly includes various display of Jumlis (khas) collection, cultural shows, craft demonstrations, product sale and vernacular architecture of Jumla or climatic responsive building etc.

1.3 Project justification We know that Nepal is very rich in culture. But nowadays culture are in endanger condition because of globalization. Many museum were also established to conserve and protect it but the policy of conserving museum and gallery were not work properly due to lack of design parameters, elements space and others various reason. Thus the modern globalization and international practice can be seen that demand of cultural hub that serves the social organization, encourage daily activity, revitalize the neighborhood etc.

The focus of this architectural thesis project is on the socio-cultural identity of the Nepal (developing country) and how architecture can help revive a lot stand neglected culture. By analyzing topics like globalization, global architecture, I will make a case why these are, in a sense, harmful to developing countries and the cultural identity of those. The effects of globalization over developing counties implicate cultural changes, implicate imposing a global cultural that is ultimately with the goal to create a homogenous world, one world. This thesis project seeks to use Post-Colonialism theory as a way to understand how to give power back to the power less mass, and understanding how architecture can be the method of delivery. It seeks to create and revive the neglected and forgotten identity of the people, and at the same time create an architecture identity for them.

The revival of diminishing of khas cultural is also one of the main focus areas of this thesis. So the methodology of the revival of the culture and tradition would be through the conservation of intangible cultural heritage. Functional objects made by folk groups, such as musical instruments are created to be practical and visually pleasing. They are also symbolic representation of the knowledge and skills in creating them, and whilst the products are physicals and tangible, the knowledge, skills and culture associations attached to them are intangible.

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Folk performing Arts constitutes of Folk music, dance and drama. There are a variety of songs dances, and plays performed in different parts of the country by different communities. Each performance creates a unique identity for a particular folk group, and it serves to reaffirm group identity within the wider Nepalese caste/ethnic group.

1.4 Scope and limitation Nepal had mainly three civilization. History tells that in east Maithili, Mid Malla and west Khas civilizations are in Nepal. Two civilizations are in endanger conditions but Khas civilization is in totally ruined condition in western development region of Nepal. Jumlis(Khas) socio-cultural innovative hub attempts to accommodate all Jumlis (Khas) traditions and architecture. It will be like a civic community where all people can share Jumlis culture. Culture is neither static nor isolated but evolves and increases as time passes and acts as a means for creating better social environment. The innovative hub provides for cultural exchange.

This project aims on conservation of the folk life or the intangible cultural heritage of Jumla. The major attraction of this place is the ancient civilization and origin of Nepali language. The place has rich history as it was also the capital of khas kingdoms. Jumla is also famous for Yarshagumba, agricultural of apple, Marshi rice, vernacular architecture in materials, technology etc. It is the starting point of majesty rara lake, sephoksundo taal, Paatrashi moutains and many more sightseeing.

Due to the time frame, all the cultural activities of all over the jumla was not included in this study.

And also the subject limitation social and cultural behavior are mentioned in this study.

I mainly focus on showcasing of archeological and historical significance and culture values connecting the way of Jumli (khas) life. I.e. Socio-cultural clusters venues

1.5 Research question?  How can architecture and design represent a nation or khas identity?  Is it possible to create living built and open spaces connecting by jumlis daily activity?  How all these tradition and culture revitalize and conserve the vernacular architecture

1.6 Objective  To use architecture feature in a symbolic way in conveying a khas identity building, places that would appropriately translate and celebrate khas cultural diversity.  To create a place for various cultural performance, exhibition and displays of various jumlis culture and to fulfill diverse interest of people by providing spaces for seminars, lectures, study, performing dances, and dramas as well as information about culture and traditions including its philosophy and reason behind it.  To uplift the socio-economic condition of neighborhood village.

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1.7 Need of socio culture center  Need for public space where citizens can watch or do culture in their own neighborhood  Need for people dedicated and or trained for catering for the cultural needs of the citizens.  The role of culture lies not only in the context of promotion of economic growth but also in relation to other objectives of creating an environment that encourages self-expression and exploration on the part of individuals and communities besides support to arts and artists and encouraging active participation in cultural expression by people at large, and developing creativity as a social force.

1.8 Methodology The methodology adopted to make this report was literature review through secondary sources like internet, social media, interviewed etc. The case study was done by field visit and questionnaire on the site.

Different procedures are to be followed for the fulfillment of objective of this project. For the completion of project steps to be followed are listed below: •

Literature study and General data collection

•

Case studies and analysis

•

Site analysis

•

Analysis of collected information

•

Formulation of program

•

Concept design

•

Design development

•

Final design proposal

•

Drawings and presentation model

•

Report

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AREA OF STUDY IDENTIFYING AND DEMARCATING

SITE STUDY 1. Field survey and study Observations, photographs, surveys, questionnaires, interviews, group discussions, 2. Secondary data collection Literature review, internet sources, online maps, plans and proposals by other consulting firms

ANALYSIS OF DATA

INFERENCES DRAWN

DATA COMPILING AND REPRESENTATING IN VARIOUS FORMS like maps, sketches, drawings etc.

PREPARATION OF PLANS, PROPOSALS AND REPRESENTATING IN GRAPHICAL FORMS Figure 1 work flow from up to down

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Table 1 Time schedule

Nov/ Dec/ Jan/ Feb/ March/ April/ May/ June/ July/ Aug/ Sep/ 2018 2018 2019 2019 2109 2109 2019 2019 2019 2019 2019

Topic research Topic Justify Proposal research Literature review Final proposal report Case study presentation on literature & case study Context study Site study Data analysis & program formulation Concept development Design drawings Model report Final output

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1.9 Output envisaged As the thesis combines research and implementation, the output is expected to provide a solution of problems identified and analysis undertaken. The project will produce built spaces which will incorporate all the required functionalities of khas socio-cultural center. The built spaces and landscapes will be created which will reflect a sense of place in coherence with the local rural fabric and climate of the location. The design will be presented in form of panel of literature studies, case study, concept, design development and final drawings. Final drawings will consist of master plan, site plan, floor plans, elevations, sections, virtual (3d) views and a model.

2 LITERATURE REVIEW 2.1 Community forum – public space Forum A space where a specified activity takes place. A building or group of buildings where people go to do a particular. A place of activity or influence.

Community forum Is an organization buildings or complex that promotes culture and arts. Cultural center can be neighborhood community art organizations private facilities government sponsored activist-run.

2.1.1 History of Cultural forum -International Context Culture is a modern concept based on a term first used in classical antiquity by Roman Orator, Cicero, and “culture animi”. In the mid-19th century, some scientists used the term “culture” to refer a universal human capacity.

Figure 2Romanians used to do different activities in the Colosseum Figure 3The Parthenon was used to do different activities in Greece period

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2.1.2 Cultural forum in Islam -Regional Context The mosque, intended as a place of worship, has come to build to serve others related purposes, such as housing the Madrasa, library, lecture hall guest house and dispensary.

Figure 5 Gathering area in Asqsa Mosque

Figure 4 Performing different activities inside this fort.

Now it is converted into tourist's hub

2.1.3 Cultural forum in Nepal –National Context In Nepal There is various socio-cultural space such as Dabali, Square, Chowk,streets etc used to do different activities in medieval period. In Lichhavi period stone conduit is the place for social gathering. Guthi is used to do different activities. Falcha is used for social gathering. We used different built structure for community activities throughout the history era to modern age

Figure 6 stone conduit

Figure 8 guthi used different activities

Figure 7 Falcha used social interaction

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2.2 Historical background of sinja (jumla)

Figure 9 showing historical migration of khas people on Sinja valley

Khas Empire: Sinja Valley contains the archeological evidence of the capital city of the well organized and influential Western Malla or the Khas Kingdom of the 12th and 14th century. Khas kings ruled over Nepal by making Sinja valley as their capital. It is also famous for the name of Sinja Empire. Sinja valley is located in Jumla district at present (Lamichhane, 2108).

Nagraj came from the Khari state of south-west Tibet and started to rulemaking the Sinja as his capital. The inscriptions of Dullu clearly mention that Nagraj had made several rules and regulations in Khas kingdom. The inscription is the something written or engraved, especially a word or words written on a solid substance for preservation or public inspection. For example, inscription on the stone, statues, monuments, pillars, etc. He had made several reforms. He had extended the western border line of his kingdom up to Kumau and Gadhwal, northern border line up to Tibet, southern border line up to terai and eastern border line up to Gandaki River. Jumla seems to be a least developed place in the context of present situation because it is not so much connected with the capital city and also far from the capital city Kathmandu. However, It was the most powerful, strong and prosperous state during the rule of Nagraj (Wagley, 2015).

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After the rule of Nagraj, different kings like Kranchalla, Ashok Challa, Jitari Malla, Aditya Malla, Punya Malla, Prithvi Malla, Ripu Malla, Abhaya Malla, etc. rule over the Khas Kingdom. Jitari Malla had changed his surname after attacked over Kathmandu Valley for three times. Aditya Malla got conquer over Kathmandu twice a time. Punya Malla also had attacked over Kathmandu Valley. It is mentioned in the history that in 1369 BS, Ripu Malla had offered a dinner to the people of Kathmandu valley after doing puja to Pashupati, Swyambhu, and other religious places.

It is believed that the present Nepali languages were originated from the Khas state or Sinja Valley.

Therefore, the present Nepali language is also known as the Khas language. The temples, inscription, stupas, pillar, etc found in Sinja valley and western Nepal.

2.2.1 Khas Malla dynasty rulers The list of Khas kings mentioned by Giuseppe Tucci is in the following succession up to Prithvi Malla: (Tucci, 1956) •

Nāgarāja also knownas Jāveśvara

•

Cāpa, son of Nāgarāja

•

Cāpilla, son of Cāpa

•

Krāśicalla, son of Cāpilla

•

Krādhicalla, son of Krāśicalla

•

Krācalla, son of Krādhicalla

•

Aśokacalla, son of Krācalla

•

Jitārimalla, first son of Aśokcalla

•

Ānandamalla, second son of Aśokcalla

•

Ripumalla (1312–13), son of Ānandamalla

•

Saṃgrāmamalla, son of Ripumalla

•

Ādityamalla, son of Jitārimalla

•

Kalyāṇamalla, son of either Ādityamalla or Saṃgrāmamalla

•

Pratāpamalla, son of Kalyāṇamalla, had no scions

•

Puṇyamalla, of another Khas family of (Purang royalty)

•

Pṛthvīmalla, son of Puṇyamalla 12

Kingdom of Jumla The Jumla Kingdom was one of the many kingdoms that dotted Nepal before its reunification by King Prithvi Narayan Shah of Gorkha and later by his younger son Bahadur Shah. The kingdom was founded around 1404 when Baliraja, who married the daughter of the last ruler of the Yatse (Malla) Kingdom, succeeded his father-in-law. It was one of the most powerful kingdoms in western Nepal, being one of the 22 Baise principalities of the Karnali region which had once been part of the larger Yatse Kingdom. In the late 18th century the Jumla kingdom successfully defended itself against the first attack by King Prithivi Narayan Shah, and legend even has it that he got injured in the battle. Later, with the help of the kingdoms surrounding Jumla, Bahadur Shah attacked again and annexed Jumla for the Gorkha kings in 1789. The Jumla kings were Thakuris (Sijapati, Malla, Shahi) like the Gorkha Kings.

2.2.2 Kings of Jumla •

For the pre-1400 kings of the region, (Adhikary, 1997)

•

Baliraja 1404-1445

•

Vaksaraja 1445-? (son)

•

Vijayaraja (son)

•

Visesaraja fl. 1498 (son)

•

Vibhogaraja (?)

•

Matiraja (?)

•

Sahiraja (?)

•

Bhanasahi c. 1529-90 (son)

•

Saimalsahi c. 1590-1599 (son)

•

Vasantaraja 1599-1602 (son)

•

Visekaraja 1599-1602 (brother)

•

Vikramasahi 1602-c. 1635 (brother)

•

Bahadurasahi c. 1635-65 (son)

•

Virabhadrasahi 1665-75

•

Prithvipatisahi 1676-1719 (son)

•

Surathasahi 1719-40 (son)

•

Sudarasanasahi 1740-c. 1758 (son)

•

Suryabhanasahi c. 1758-89 (son) 13

3 CONTEXT STUDY 3.1 Jumla, sinja Sinja was the capital of Khas Kingdom dated back to 11th to 14th century lies in jumla district.

Sinja is predominantly khas people and rich in khas culture. After the collapse of Khas Empire, it was reverted to a great unification of Nepal. During this period Khas culture was flourished at significance level.

Sinja

Figure 10 a map showing sinja, Jumla

3.2 Climate The climate of Jumla is found warm and temperate. The summers are much rainier than the winters in Jumla. The average annual temperature is 13.5 °C in Jumla. In a year, the average rainfall is 766 mm. In Jumla, the wet season is comfortable and partly cloudy and the dry season is cool and mostly clear. Over the course of the year, the temperature typically varies from 25°F to 74°F and is rarely below 17°F or above 79°F. (JUMLA, n.d.)

Temperature

Figure 11 jumla climate graph

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The warm season lasts for 4.2 months, from May 4 to September 10, with an average daily high temperature above 19°C. The hottest day of the year is June 20, with an average high of 24°C and low of 9°C. The cold season lasts for 2.6 months, from December 11 to February 27, with an average daily high temperature below 6.8°C. The coldest day of the year is January 20, with an average low of 2°C and high of 12.8°C.

Clouds In Jumla, the average percentage of the sky covered by clouds experiences extreme seasonal variation over the course of the year.

The clearer part of the year in Jumla begins around September 13 and lasts for 9.5 months, ending around June 29. On November 2, the clearest day of the year, the sky is clear, mostly clear, or partly cloudy 93% of the time, and overcast or mostly cloudy 7% of the time.

Precipitation A wet day is one with at least 0.04 inches of liquid or liquid-equivalent precipitation. The chance of wet days in Jumla varies very significantly throughout the year. The wetter season lasts 3.2 months, from June 10 to September 16, with a greater than 28% chance of a given day being a wet day. The chance of a wet day peaks at 55% on July 19.

Among wet days, we distinguish between those that experience rain alone, snow alone, or a mixture of the two. Based on this categorization, the most common form of precipitation in Jumla changes throughout the year. Mixed snow and rain is the most common for 2.6 months, from November 28 to February 16. The highest chance of a day with mixed snow and rain is 4% on February 14

Rainfall The rainy period of the year lasts for 3.7 months, from October 24 to February 16, with a sliding 31-day rainfall of at least 0.5 inches. The most rain falls during the 31 days centered on July 18, with an average total accumulation of 4.1 inches.

Snowfall As with rainfall, we consider the snowfall accumulated over a sliding 31-day period centered on each day of the year. Jumla experiences some seasonal variation in monthly liquid-equivalent snowfall.

The snowy period of the year lasts for 3.0 months, from December 11 to March 10, with a sliding 31-day liquid-equivalent snowfall of at least 0.1 inches. The most snow falls during the 31 days centered on January 22, with an average total liquid-equivalent accumulation of 0.3 inches.

Humidity 15

We base the humidity comfort level on the dew point, as it determines whether precipitation will evaporate from the skin, thereby cooling the body. Lower dew points feel drier and higher dew points feel more humid. Unlike temperature, which typically varies significantly between night and day, dew point tends to change more slowly, so while the temperature may drop at night, a muggy day is typically followed by a muggy night.

The perceived humidity level in Jumla, as measured by the percentage of time in which the humidity comfort level is muggy, oppressive, or miserable, does not vary significantly over the course of the year, remaining a virtually constant 0% throughout.

Wind This section discusses the wide-area hourly average wind vector (speed and direction) at 10 meters above the ground. The wind experienced at any given location is highly dependent on local topography and other factors, and instantaneous wind speed and direction vary more widely than hourly averages.

The windier part of the year lasts for 6.3 months, from February 15 to August 25, with average wind speeds of more than 5.0 miles per hour. The windiest day of the year is May 23, with an average hourly wind speed of 6.0 miles per hour. The predominant average hourly wind direction in Jumla varies throughout the year.

Best Time of Year to Visit To characterize how pleasant the weather is in Jumla throughout the year, we compute two travel scores.

The tourism score favors clear, rainless days with perceived temperatures between 65°F and 80°F. Based on this score, the best time of year to visit Jumla for general outdoor tourist activities is from late May to early July, with a peak score in the third week of June

3.3 Demographic Many households consisted of single women and widows who have been living by themselves.

Their children have settled themselves in Kathmandu and pay visit once in a while. They go to Kathmandu during vacations but live a major part of the year here. They were surviving on the little food crops they grow in their land while financial expenses were met from the remittances sent from the valley. There were also retired ones who were once teachers and ran small shops to meet daily expenses.

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Comparative analysis of different RM of Jumla Area

14190

12395

Population

13607

Density 19047 14638

14571

10553

9920

204.66427 23.23814.07 18 201.6770.36153.29 81 13279.751175 77.54 526 27.85102.04

Figure 12 Comparative data of jumla

sex ratio

Area/density ratio

Category 1 0 male

female

Column1

100 density

200

300

area

Figure 13 showing male & female ratio, area density ratio

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3.4 Architecture and planning 3.4.1 Settlement study There is a relatively compact nucleated settlement at the main core area where masto is worshiped around the place. However, the settlement also been seen dense around the market area. Jumli live in homes which share a common roof and courtyard with other families. The roof is called Thado, for the social interaction and agricultural activities. The fields lie within/outside the settlement for agricultural activities. The buildings were mostly traditional with vernacular architectural style.

They were mostly 2 stories with cow shed on the ground floor, living and bed room in the upper floor. However, modern concrete buildings were also found in a small number. These buildings were of mixed use, operated as a lodge cum residence.

3.4.1.1 Settlement of Ludko Village The settlement of ludko village is slightly contrast and compact nucleated which is near the village of Hard Sinja area. This village is situated southern part of the steeped hills where climate is favor throughout the year. At the centre of this village have community courtyard where masto is worshiiped and all social activity take place. The agriculture field is outside the village near the Hima Rivers.

High hills

Steeped hills

Masto

Agricultural field

18 Figure 14 compact nucleated settlement of Ludko village

3.4.1.2 Settlement of Bajagada Village This village lies in Hima gaupalika, ward no. 5. Although the village is different, the settlement pattern is same as found almost in jumla. Mostly the socio-culture space is found on the roof. They share common courtyard and roof where now they are segregated to each other. The type of houses in which Jumlis live, while similar to some other Bhotia populations, is unique among Parbatiyas. Constructed with wooden beams and stone with mud mortar.

Figure 15 settlement showing house form linked space

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3.5 Vernacular architecture The village settlement and housing patterns of the jumlis is in striking contrast to all other parbatiyas (caste-Hindus) in Nepal. Except for a few richer families who often live in a large house separated from the rest of the village, roost Jumlis live in homes which share a common roof and courtyard with other families and form a relatively compact nucleated settlement. These long, rectangular common houses are called BADO and are divided into Sections each containing a front door for each separate family unit GHAR. In addition to referring to a collection of dhevalgaun under one roof, the term bado is used to identify a group of adjacent bado or pagri of the same caste usually presumed to be of the same extended line age. For example, in the map of Dangibada hamlet, a part of Suni-gaon village of Jarmi-tatopani-chayat, there are a total of thirty-three dheval-gau distributed in seven different bado. Not shown on the map are the two other settlements -one of Duma and one rich Thakuri family--which are about a half mile away but are also considered part of the larger unit of Suni-gaon.

Figure 16 Showing village pattern

The type of houses in which Jumlis live, while similar to some other Bhotia populations, is unique among Parbatiyas. Constructed with wooden beams and stone with mud mortar, their most obvious difference from other Parbatiya's houses is their pounded earth flat roof. This roof (thiro) is utilized to dry, store, and prepare grains and vegetables as well as a vantage point from which to carry on conversations and arguments with others BADO inhabitants. Since all Houses are oriented to the south whenever possible to derive the most benefit from the sun's warmth, houses 20

built on southern facing slopes usually have their roofs attached to the ground on the north, allowing them to construct various upper stories for additional storage. The roof and any additional stories are connected by ladders made of notched logs.

In all except for the richer houses, the main floor of a dhevalgaun consists of three or four rooms usually aligned in a straight line in which one room serves as the passage for the next. The outer room contains various wooden and earthen storage vessels used for storage of grain and implements as well as copper water pots and may have an adjacent bedroom where outsiders area entertained or accommodated for the night. The next room usually contains the cooking fire (chula, kaula, agena), which is placed near the middle of the room in a slightly sunken area above which pots are suspended on a metal tripod. At night or during meal-times, this room is the central meeting place for kinsmen or visiting high caste guests. Family members usually sleep in this room at night due to its warmth, and unlike other parbatiya will remove their clothes before sleeping.

Alternately, some members May sleep in one of the next rooms which are also used for clothes storage. Aside from the door in the front, the only other openings are usually a small smoke hole above the kitchen and a small window in the back room. This mean that even during the day most of the house is completely dark unless the cooking fire is going, necessitating the use of pine-pitch faggots in order to see. Needless to say, these faggots along with the lack of a chimney for the cooking fore results in a very smoke-filled house and is partially responsible for the black coating Jumlis develop on their face and hands.

Below the main floor of any house are basement animal room called Goth. In addition to providing a place where cow, buffalos, horses and goats can be kept these Goth serve as the site for important social and religious occasions. The inner of jagge Goth is utilized for conducting the major Brahmanical ceremonies of the life-cycle such as the bratabandha and marriage. In addition, these inner Goth are the site for the semi-secret singing parties which will described later.

Separate from the main building, but usually located close to the courtyard there is usually a small wooden shed about three feet high and four feet square. This shed, called pire used both for drying chilies and as a place for menstruating women to stay during the five days in which they must sleep outside the house.

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3.6 Building materials 3.6.1 Stone and slate: Stone is abundantly found there making it the most feasible building material. Stones are used for masonry, boundary wall as well as to pave the road. Stone slates were used as roofing material in the past which can still be seen in old traditional buildings. In old traditional building mud plaster is used on the stone masonry wall as both inside and outside for the thermal comfort. Nowadays the contemporary building have stone exposed wall. Stones are available everywhere in the village.

Figure 17 Jumlis house under construction and used stone slate on roof

3.6.2 Timber: Timber is easily available there. It is used as struts, posts, frames and sill and lintel bands in most of household. It is also used for making partition walls.

3.6.3 Sand: Sand is one of the feasible building material as it is found here locally. It is mostly brought from nearby Hima River. It is used rare in buildings as mud is found abundantly as locally and easily and used as cohesion provision.

Figure 18 sand and stone

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3.6.4 CGI Sheets: It is commonly used as roofing material replacing the stone slate. Most of the temporary house have used CGI sheets as both walling and roofing material.

Figure 19 building having roof CGI sheet

3.6.5 Cement: Cement is imported from market at Surkhet. It is found to be used as plaster in old buildings and as mortar in modern buildings.

3.6.6 Brick: Use of bricks as building material is rarely found there. It is found to be used mostly in RCC buildings.

3.7 Construction technology Construction of Jumlis houses were found the local materials and simple techniques. In the absence of machinery, people work together and found mutual sharing. Wood, stone and mud are the primary construction materials. Load bearing stone structure embedded with wood were mostly found in this area.

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Figure 20 typical joint details of typical khas houses

Figure 21 typical construction technology

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Typical construction details

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3.8 Transformation of vernacular architecture

Figure 22 transformation due to time

Vernacular architecture of Jumla was transformed due to fulfill the increasing basic necessary of Jumlis life. The way of Jumlis people life turning towards the modernization. Due to this Vernacular architecture was transferred on the basis of materials, technology wise, form etc.

Due to globalization, this bring the changes of social life and cultural attributes according to the people life. The architectural attributes defines the basic life of people and defines the territory of socio-cultural attributes. The basic needs and globalization attracts the people life and this is the major things that contributes towards the changing of indigenous architecture.

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3.9 Physical infrastructure 3.9.1 Road The Jumla is now connected by road, air transportation thorugh Surkhet (141Km) & Nepalgung (25minute) respectively.

Figure 23 gravel road

3.9.2 Electricity The electricity was produced local itself which was help from Garibi Niwaran Sanstha. Every village have own small power house.

Figure 24 Power house

3.9.3 Drinking Water Supply The drinking water is supplied through pipe from the high hills at all time. Water is distributed in every household through personal taps. The water is come out at higher Himalaya hills whereby the water is channeled to households in the lower region. Problem of scarcity of water is not seen. The water comes all the year all the time. A communal tap is found at outside the village.

Figure 25 Communal tap

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3.9.4 Education & Health There is primary and secondary school and primary health post near the Hima Rivers in Ludko village. The rural municipality has one each of health post and a hospital for health services.

Primary health facilities are provided in Ludko Village Health Post operating at Ward 3 while Karnali hospital provides all major health facilities in Khalanga.

Figure 26 School and health post

3.9.5 Irrigation & Sewerage Every house hold has its own toilet in their house. The solid waste are led to septic tank managed in their respective houses. Almost every house has a septic tank.

The kitchen waste are decomposed in a compost pit and used as manure in the fields. Previously the waste from each household used to be flushed out by the pond at the top of the hill running downstream which accumulated at a river in the lower hill.

3.9.6 Banking Only one banking (Kumari bank at Hard Sinja) services is available here. Few co-operatives operate near Bus Park. The remittances have to be collected from banks located at Hard Sinja.

3.9.7 Communication People use cellular phones as their means of communication with services of NT and Nell around the rural municipality. A few households have landline services.

They have used internet services in remittance.

3.10 Festivals and paith There are a lot of religious and cultural events that are observed in Jumla, Sinja according to the lunar calendar. Paith is the main festivals of Khas people. Paith is one kind of jatra celebrated by the Jumlis or Khas people in western region of Nepal. The common festivals celebrated in Jumla are as follows;

3.10.1 Dashain Similar to all the places in Nepal, Dashain is celebrated for 15 days. Ghatasthapana, Fulpati, Saptami, Asthami, Nawami, and bijaya Dasami according to the Hindu tradition Dashain are celebrated by Khas people with cheerful festival.

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3.10.2 Tihar Tihar is celebrated after the Dashain as according to the Hindu religion and tradition.

3.10.3 Saune Sankranti This festivals is celebrated on the first day of Shrawan month. It is the especial festival and differ among others Hindu tradition. On this day the Khas people are free to shout at the neighborhood house or village if they are rude of any other times. On this day wooden log is used for fire called Rako and the Khas people travel at night by keeping this fire on hand.

3.10.4 Janai Poornima/Gai Jatra Observed in the day of Parewa (The day after poornima) Remembrance of deceased and demonstration of humor and satire. Artistic expressions in dance and songs of all ethnicities including all people.

3.10.5 Krishna janmasthami On the day of Krishna Janmashthami, Pooja and worship of Lord Krishna is done during the day and Jhaki procession with dance is performed in the evening.

Naag Panchami

3.10.6 Maghe Sankranti Every household celebrates Maghesankranti by worshipping Kulyan of Household and offering Naibedh in temples.

3.10.7 Shivaratri: Mahadev stuti performed in Dungal and Pingal. Abir Jatra is done in the evening to mark the advent of Holi.

3.10.8 Fagu Poornima: Fagu is performed for 1 days but on this special day, a unique Holi song is sang by the locals.

3.10.9 Chaite Dashain: Devi bhagawati is worshipped and Pooja is performed in Kanakasundari temple.

3.10.10

Masta Pooja/jatra

Masto Pooja are celebrated by the Khas people. It is the special jatra called Paith celebrated one or two days where the Masta is situated. On this day all the people are gathering together and sing a song, dance ceremony called Deuda take place on this day. Local people worshipped Masta and to pray for the better living condition, health, wealth and happiness etc. Babiro dance Radeu dance, Jheudeu dance, Devat dance, Lama Dance, and last on the day they conduct Deuda dance by the young group of people. Before to worship the Masta the wooden log called Lingo is put straight on the roof where the god of masta are kept. The Lingo was collected by local people from the nearest forest. The length of Lingo had according to the name, and fame of the masta such as; Dadar Masto, length 52 hands, Budu Masto, 51 hands, Tharpa Masto, 50 hands, Baha Masto, 49 hands, Kava Masto, 45 hands. (ETHNOFLORENCE, 2010)

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There are 12 masta god and nine goddess such as PLACES MASTA NAME budu, sijadara, jumla

GODDESS

1. BAWANI 2.MALIKA tharpa, bomdara,mugu 3.KALIKA , kawa, khatyad, mugu 3. KAVA, KAH, KAU, KA 4.KANAKASUNDARI 4.BABIRO babiro, tatopani,jumla 5.TRIPURASUNDARI 5.UKHADI ukhadi, asidara, jumla 6.PUGELNI 6.SUNARGAON 7.JALPA sunargaon, tatopani, jumla 7.DADAR 8.THAGALNI 8.KALOSILTO, KALASILA dadar, bajhang binayak, kunna dara, accham 9.HIMALINI 9.BATPAL dadar, bajhang 1O.GURO is an anomalous god (p) sorudara, humla 11. BIJULI bijulidado, jajarkot 12KHAPAR srinagar 1. BUDU 2.THARPA

Many locaion given jumla. dharal, litakot, malika, lekh, jumla-bajura, hadsija sijadara, jumla-chauda jumla-tibrikot rakaldara, khatyar lekh ukhadi, chaudabhisdara.

Figure 27 masta, Paith

Figure 28 Dhami naach

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3.11 Art and Craft In the research process, I have looked through the ancient and current crafts and artifacts of the area. This is done to have some better understanding about the local patterns and craftsmanship.

Here the crafts are assorted by the crafting technique, and then the material typology. The same techniques are applied to multiple materials and have different results. The objective of this research was to find inspirations for design and to understand different material qualities.

Figure 29 showing different art and craft

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3.12 Khas dresses Table 2 Attire of Khas people

S.NO.

DRESSES MALE

FEMALE

1

Docha (Shoes made by raw animal skin)

Lam/ Sukilam ( shoes )

2

Jangailo (surwal)

Gaman/ Phariya

3

Daura/ bhoto ( bagkhu)

Goje cholo

4

Topi

Ballo, barko, pachaura, dautoo

5

Patuko

Patuko or dautoo

Figure 30 Khas women in 1990's & attire of khas people

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3.13 Rituals and rites All the rites and rituals since the birth of an individual to his death are performed as per the Khas (Bahun/Chhetri) traditions and culture. The practice of Pasni (Rice feeding), Bratabandha, and Gufa (Surya darshan) is prevalent. According to a local, these are performed at open spaces, roof of house, in front of temple and streets etc. They indulge themselves in feasting and merry making too but no social grounds were found. It is done in their respective household. Since it is a cultural and religious society, there are a number of temples in its vicinity. Temples worshipped by locals on a daily basis includes Kanakasundari mai temple.

Table 3 Showing life ritual calendar

S.NO.

LIFE RITUALS

AGE

LOCATION

1

Garvadhan (birthday)

2

Chaitti karma

6 days

house

3

Nauran

9 days

house

4

Namakaran

11 days

house

5

Anna Pasan (rice feeding)

5-8,6 month

house

6

Chudakarma

3 yrs male/ 5yrs female

house

6

Bartabanda

11yrs

7

Wedding Ceromony

ACTIVITY

Goth (middle roomof ground floor)

odd female, even male

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Table 4 Showing death ritual calendar

S.NO. 1

DEATH RITUALS Day 1

LOCATION Burial ground

ACTIVITY Crematiom (Dawary Pinda given at first home, middle of road and cremation area.)

2

Day 2-10

Appropriate location near rivers pond etc.

Sumer Uthane ( rising mud on ground ) smearing the mud day to day and giving pinda & last day

3

Day 11

home

Pulto khuwane ( devidatta bahun)

4

Day 13

home

Worshipping Hawan, Chokhine

5

6month for mother/1year father

Wearing white dress

Figure 31 Birth ceremony and Dhami nach during others ceremony

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4 DESIGN STANDARDS 4.1 Auditorium The Auditorium space are areas for large presentations, and performances. Auditorium facilities may include assembly halls, exhibit halls, auditoriums, and theaters. Auditorium space types do not include such features as sound reinforcement systems, audiovisual systems and projection screens, food service facilities, proscenium stages with heights greater than 50'- 0" or fly gallery, orchestra pits, revolving or hydraulic stage platforms, flying balconies, movable seating, or billboard systems.

4.1.1 Space Attributes of Auditorium Auditorium spaces are designed to accommodate large audiences. As such, they tend to have wide spans and are multiple-stories high in order to accommodate seating, sightline, and acoustical requirements. Raised stage/dais floors and special lighting equipment are often required as well.

An auditorium can be divided into three major parts:  Front of House- entrance, foyer, lounge, toilets, and cloak room.  Seating  Stage and support stage, backstage, green room, changing, rehearsals, technical rooms, store, and preparation.

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4.1.2 Seating The seating capacity should be derived from the visual and acoustic limits for a particular kind of performance and the form of auditorium to stage relationship. In the case of teaching theatres and drama studios, seating capacity is of secondary importance. The main purpose is to provide the drama student with the feeling of an audience and seating for between 100 and 300 is usually sufficient.

The seating capacity is not the only measure of the size of a theatre. The size of the stage, the production facilities to support it and the scale on which the public areas are provided may have more effect. As a rough guide and to define terms, the following definitions are adopted.

Very large: 1500 or more seats Large: 900-1500 seats Medium: 500-900 seats Small: Under 500 seats 3.1.2.1 Basic Forms of seating:

Consideration to be made in Proscenium type fan-shaped seating arrangement to determine seats at the edge:

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3.1. Visual limits for the performer and audience For a performer, there is a limit to the distance at which he can project his performance and hold his audience. This depends partly on his skill and partly upon the eyesight and acuteness of hearing of the audience. For most activities, it is essential that the audience should be close enough to discern facial expressions. The usually accepted maximum is 20 m from the geometrical center for an open stage or from the setting line of a proscenium stage. For musicals and opera, in which facial expressions are less important, the distance can be increased up to 30 m. If it is necessary most of the time for performers to be seen against a background of special scenery, as in the conventional proscenium theatre, the sight lines and maximum distance from the performer restrict the number of audience it is possible to fit in. The number of people required to be accommodated in the auditorium should not be the sole criterion for selecting the width of proscenium opening.

4.2 Gallery A gallery for visual art facility is a formal space for displaying the visual art items like paintings, sculptures, etc. Galleries may have to provide accommodation for permanent and temporary exhibits, or special exhibition held from time to time, with varying display objects.

Display area should be continuous allowing visitors move from object to object without dead ends. Dead ends should be avoided by provision of exhibits mainly on one side or with 37

galleries with windows in on wall only or use of clearstory windows. The visitors may pass along one side and return along the other wall, if lighting conditions permit.

A viewer tends to turn right once he enters the gallery so the circulation path should be in anti-clockwise direction. The viewer should be able to survey the gallery in one sweep.

Movement should be such that one is not forced to walk past the same object twice. Enough space for visitors to move at different pace should be provided so that few visitors can move continuously while others can stop to take a detailed look.

Fig: General layout of a gallery spaces

Fig: Lighting display techniques in galleries

4.3 Library Library acts as a resource center for information and ideas serving as a tool to assist learning, teaching and research and offers hospitality to students, faculty members and visiting students.

Standard workplace: 0.35-0.55 sq. m Book issue and return: 5 sq. m/person Information desk: 19-20 sq. m/person Storage in 1000 volume stacks: 20-30 vol. /meter Access per person: 4 sq. m Circulation route: 1.2 m Spaces between shelves: 1.3-1.4 m Fig. Height of Shelves

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4.4 Restaurants Rest and refreshment is requirement and necessity of people visiting the arts center. A good restaurant with adequate seating facility and good service attracts visitors.

Surrounding of restaurant also plays important role in wellfunctioning of restaurant.

Min. table size: 40 x 60 Floor height: 2.5-3 m Window area: 1/10 of floor Min. walkways: 1.1 m Min. width of service aisle: 0.9-1.35 m Waiter station: 1 per 20-30 seats Dining area per seat 1.5-2.2 m2 Kitchen area per seat: 0.4- 0.6 m2 Net Kitchen area: 15-25% Ratio of service area to total area: ¼ - ½

Fig: Typical functional layouts of restaurants

4.5 Parking requirements The type, size and shape of a turning and parking place in a road depends on the road use in that particular area and the size of the vehicles. Separation of moving and stationary traffic is necessary due to the growth of the transportation.

Space requirements 90 parking = approx. 20 m2 45 /60parking = approx. 23m2 39

45/60 oblique spaces, easy entry/exit to parking 45/60oblique spaces, easy entry/exit to parking Space, for one-way traffic

Fig. 60o Oblique Parking

Fig. 90o Parking Turning radius required for different vehicles are: Types of vehicles Length (m) Width (m)

Height(m)

Turning circle radius (m)

Motor cycle

2.20

0.70

1.00

1.00

Car (standard)

4.70

1.75

1.50

5.00

Bus (standard)

11.40

2.50

3.30

6.50

4.6 Office spaces Reception area – Reception or information area should be located at the main entrance so that information to the visitors can be easily given.

Waiting area – it can be accommodated within the reception or can be separated.

Office area 18- 30m2 depending on the functions of use.

Floor height: 2.5-3m Circulation: 15% Avg. workstation floor: 12-15 sq. m Min. room size: 8-10 sq. m workstation layouts

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5 CASE STUDY 5.1 National case study 5.1.1 Nepal arts council SELECTION CRITERIA: Study Gallery spaces LOCATION: Babbarmahal, Kathmandu, Nepal BUILDING TYPE: Government building ORIENTATION: East SITE CONTEXT: Commercial zone ACTIVITIES: visual arts exhibition Gallery plan and specifications  Symmetrical plan on ground floor  Overall upper floors are used for galleries  Mezzanine floor on top floor  Use of clearstory windows for continuous daylighting and providing space for artworks  Use of sky lighting

Circulation in gallery

INFERENCES  Building should express its purpose a  Lighting techniques important for displays  Display spaces should be spacious

5.1.2 Pokhara provenance museum SELECTION CRITERIA: Study Exhibition spaces, Museum,Limkage LOCATION: Pokhara, New road, Nepal BUILDING TYPE: Government building ORIENTATION: East-south SITE CONTEXT: Commercial zone ACTIVITIES: exhibition of socio-cultural of western region

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This regional museum focuses on the ethnological objects. Different aspects of life –style, culture, tradition of this region can be observed. The globalization and modernization as the pace transformation intensifies that there is real danger of our unique tradition, rituals, beliefs, customs and material aspect of our multi-cultural society.

This regional museum offers quick information about the cultural identities, tradition and practices of various ethnic groups and caste spread in this development region at a glance.

EXHIBITION BLOCK TOILET EXHIBITION BLOCK

ADMINTRATION

CONNECTIVITY

EXHIBITIO N ROOM

CONNECTIVITY

Figure 32 space circulation of Pokhara museum

King Birendra Bir Bikram Shah Dev had inaugurated this regional museum on 5th February 1985 AD. During his unofficial tour of the western development region. This museum was opened to the public on that day.

The objectives of Regional Museum.

•

To help for the protection of archeological and cultural objects of this region.

•

To develop this museum as the tourists center.

•

To provide feasible information to the students, visitors, artists and scholars.

•

To make this museum as a recreational spot.

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Galleries to be opened in future.

•

To organize a special or temporary exhibitions from time to time.

•

Local history and archelogy

•

The grate Gorkhas

•

Ethnology

•

The present and past of Pokhara

•

Traditional arts and crafts.

•

Special temporary Exhibition

•

The grate personalitie

Figure 33 showing circulation plan

Figure 34 Provenance Museum, Pokhara

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Figure 35 Materials and construction technology

The cultural diversity of this region The district culture and tradition of the ethnic group of this region Thakali, Gurung, Magar, Dura, Darai, Bhote, Tharu, and other occupational group have been exhibited with their respective dresses, utensils and tools.

The households & daily life A model of Ghumauro Ghar (Gol Ghar) traditional residence of Gurungs, has been fixed in order to know visitors about local shelter and life pattern. Metalic and wooden utensils and dishes like Gargi, Kasaudi, Madani, Theki, Belna Chauki, Pakwar, Paru, Pauchai etc are displayed which explain about the culture of ethnic group of this region. Traditional agriculture tools are also displayed in this section.

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Figure 36 live model

Figure 37 exhibition area

Belief system The life size model of wedding Mandap with groom, bride and the priest display the traditional Hindu marriage system. The traditional wedding objects Dola, Tamandi, Kalash etc. are also displayed. It is generally Nepal custom to cremate the dead. A dying person may be carried to a riverbank to die with his on her feet in the sacred water and if this is not possible then a continuous stream of water is poured over the feet to prevent the soul form escaping into lower birth. Some of the cast have to bury. All information can be gathered as local tradition & beliefs.

Figure 38 live model of hindu tradition

Figure 39 showcasing of archelogy artifacts

Archeological section Archeological artifacts found in ancient cave mustang district by Nepal-German excavation team (1995-95AD) including ancient object like butter lamp, turtle bone, iron fragments, wooden objects, cowries etc. are exhibited in different showcases.

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5.2 Regional case study 5.2.1 Kala academy SELECTION CRITERIA: Study spaces of arts center ARCHITECT: Ar. Charles Correa LOCATION: Panaji, Goa, India BUILDING TYPE: Institutional building ACTIVITIES: Performing arts and visual arts Layout and specifications  Approach: Four entries to site  Well defined pedestrian and vehicular systems  Site divided to Main building, Muktangan (recreational space), parking area & exhibition space

Figure 40 floor plan

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Building Style and character   

Importance given to process of moving through the spaces in the building Built form kept low – 3 floors Enhanced horizontality by use of parapet walls

Building level zoning

  

Divided into 3 zones: public, admin, academic Provided in different level to avoid conflict 3group of user’s staff, students and audience

Facilities Provided  Auditorium – 1000 seat capacity  Open air theatre – no chair 2000, chair 1312  Black-box – 200 seat capacity  Meeting room  Teaching studio  Art gallery  Library  Administration  Cafeteria - 100 capacity INFERENCES  Priority: Separate entry  Hierarchy: fluid transition of activities  Stepped terrace maintain low profile  Entrance highlighted by pergola 47

5.2.2 Bihar museum, patna SELECTION CRITERIA: Study spaces of arts center ARCHITECT: Maki and Associates + Opolis; Lord Cultural Resources LOCATION: Patna,bihar,india BUILDING TYPE: Institutional building ACTIVITIES: Performing arts and visual arts YEAR: 2017 SIZE: 24,000 sq. m Conceptual plan The constant presence of the natural environment within the museum campus creates a rich, unique experience with each visit, one that changes with the time and seasons. It is hoped that this will encourage repeat visitors, and together with word class permanent and temporary exhibits ensure that the bihar museum has a lasting educational impact for the children of bihar and other visitors from across the world. (Mauli, 2018)

Figure 41 Top view of Museum

Site plan Inspired by the generous site, fumihiko maki conceived the bihar museum as a campus with interconnected landscape of built-up and open spaces with modest but dynamic profile, in harmony with the land. The campus incorporates primarily four zones i.e. entrance, education, exhibition and administration. Each wing has been given a distinct and recognizable form within the complex.

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Figure 42 Showing block view with landscape

Circulation plan The circulation pattern was based on the history of bihar, starting with Buddhism and Jainism followed by Mauryan and gupta empire to sher shah suri and to the colonial past to exhibit the great history of bihar to the visitors. (Technomedia, 2014)

Zoning

The spaces divide galleries into different specializations, also distinguishing the children’s gallery with its own orientation section. The architecture constantly works to enhance the feeling of wonder and belonging to allow the visitor to explore and discover. The environment is thus envisioned as a learning landscape, a place that creates a sense of calm that is conductive to education.

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5.3 International case study 5.3.1 National museum of the American Indian REASON OF SELECTION Study native museum spaces

INTRODUCTION The National Museum of the American Indian Washington D.C. USA houses one of the world’s largest and most diverse collections of its kind. The museum’s sweeping curvilinear architecture, its indigenous landscaping, and its exhibitions all designed in collaboration with tribes and communities from across the hemisphere, combine to give visitors from around the world the sense and spirit of Native America.

The NMAI’S object collections (266000 catalog records) scope encompasses two and three dimensional object/works made, created, used, designed, or commissioned by Native peoples of the Western Hemisphere (excluding Hawai’i); preserved botanical, plant, animal, and mineral samples representative of agriculture, gathering, hunting, medical practices and other Native knowledge systems; items that illustrate or document the history and work of the Museum of the American Indian (MAI), Heye Foundation, the National Museum of the American Indian, and the life and work of George and Thea Heye; and it items that reflect or help interpret attitudes toward Native people.

THE ARCHITECTURE DESIGN PROCESS A series of themes emerged from the dialogues. One involved the intuitive nature of the building; it needed to be a living museum, neither formal nor quiet, located in close proximity to nature.

Another was that the building’s design should make specific celestial references, such as a castfacing main entrance and a dome that opens to the sky. Many comments expressed the desire to bring Native stories forward through the representation and interpretation of Indian cultures as living phenomenon throughout the hemisphere. Some basic parameters for the building structure were dictated by the 4.25 acre trapezoidal site, the building restrictions for the National Mall, and an active creek bed flowing below the site.

The building’s distinctive curvilinear form, evoking a wind-sculpted rock formation, grew out of this early work, forming the basis for the architecture. Extended collaboration with many firms resulted in a building and site rich with imagery, connections to the earth, and layers of meaning.

The building is aligned perfectly to the cardinal directions and the center point of the Capitol done, and filled with details, colors, and textures that reflect the Native universe.

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The complex consists of following regional character.

The native landscape Native people believe that the earth remembers the experiences of past generations. The National Museum of the American Indian recognizes the importance of indigenous people’s connection to the land; the grounds surrounding the building are considered an extension of the building and a vital part of the museum as a whole.

Hardwood forest The grouping of trees, plants, and shrubs on the museum’s north side is known as an upland hardwood forest, Forests have provided Native communities with important material for shelter, food, and medicine, among other purposes, including Eastern red cedar, staghom sumac, and white oak.

Wetlands Culturally significant to many tribes, wetlands are rich, biologically diverse environments. The museum’s diverse wetlands area-and the ducks, squirrels, and dragonflies that make it their home represent the original Chesapeake Bay environment prior to European settlement. Chesapeake means “Great Shellfish Bay” in the Algonquian Language derive from their connections to land, religion, traditional knowledge, self-government, and self-expression.

Mitsitam café “Mitistam” means ‘Let’s eat” in the Native language of the Delaware and Piscataway peoples. The museum’s Native Foods Café enhances the museum experience by providing visitors the opportunity to enjoy the indigenous cuisines of the Americas and to explore the history of Native foods. The Café features Native foods found throughout the Western Hemisphere, including the Northern Woodlands, South America, the Northwest Coast. Each of the five food stations depict regional lifeways related to cooking techniques, ingredients, and flavors found in both traditional and contemporary dishes..

Museum store Architecturally warm and inviting, the Roanoke Museum Store presents Native American items from the past and present, illustrating how different artists interpret cultural traditions and art forms. On the museum’s Second Level. The store features jewelry, textiles, and other works by Native artisans; souvenirs; and children’s books and toys. The name ‘Roanoke” reflects the importance of waterways to Native commerce, a reference to the shells once used as currency by local Native peoples.

Universal accessibility Wheelchair access and availability 51

5.3.2 Tjibao cultural center

REASON OF SELECTION Study native museum spaces and to study climate responsive design INTRODUCTION Located at thin peninsula near capital Noumea, New Calcdonia cultural center is designed by Architect Renzo Piano. The project accommodates 8 acre of land. Total build area is 6060 sq. m. oriented along Peninsula which runs Castro west.

Form The building’s ten wooden cases, referencing the traditional Kanak huts as well as the surroundings vegetation, create the imagery of the building. Cases also sits harmoniously with tall trees and enhancing ventilation through wind.

Function The cultural center is composed of 10 house grouped to three villages with each of distinct role.

The area of cases are 63m (small), 95 sq. (medium) and 140 sq. m (large). Height of the cases reaches 20-28 m high. Circular floor plans are created by round cases connected by spine of pedestrian walkways which run centrally between the cases and other blocks. The hierarchy of spaces is shown below.

Material Structure of case is done by laminated iroko wood beam which is African rot resistant timber while supported by steel cross bracing and connections.

Climate response 52

Climate: oceanic tropical (warm and humid) Temperature: 65 F winter 93F summer RH 75 Ventilation as best solution for such climate Wind speed: 53-3.04 m/s min: 28m/s Solution Stack ventilation Ventilation due to wind force Meadow The museum’s meadow environment consists of abundant grasses, wildflowers, and shrubs, including buttercups, fall panic grass, and black-eyed Susans. Meadows are important sources of medicinal plants used by traditional healers, who give thanks for plants through an offering of tobacco, song, and prayer. Plants are considered by some tribes to be the hairs of Mother Earth, and one must express appreciation when taking them from the soil.

Traditional croplands About 60 percent of the world’s diet today is derived from Native American foods, such as potatoes, chilies, tomatoes, and even chocolate. The “Three Sister” (ortres hermanas) plants. A popular museum event for all ages, for all ages, the release of ladybugs throughout the summer provides a natural form of pest control.

Grandfather rocks Forty large uncarved rocks and boulders, called Grandfather Rocks, welcome visitors to the museum grounds and serve as reminders of the longevity of Native people’s relationship to the environment.

Cardinal directions markers A subtle yet significant design concept, the museum’s Cardinal Direction Markers are four special stones placed on the museum grounds along the north-south and east-west axes. Those axes interest at the center of the Potomac area of the museum building, linking the four directions to the circle of sandstone that marks the figurative heart of the museum. The four stones also honor the Native cultures of the north, east, and west.

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INFERENCE Ventilation due to wind force Regional architecture Climate responsive design

5.4 Comparative chart of case studies Attribute s

Nepal Arts Council

Provenance Kala Museum Academy Pokhara

Expressio n

Post modern

vernacular architecture

modern

modern

Native architectur e

Approach

Singular entry from secondary road gallery space on upper floor, admin on GF

singular entry, separate pedestrian & vehicle Building block separate as for exhibition section, archeologic al section, live model etc. giving roof to connect the buildings blocks

separate pedestrian and service entry Main building, garden space, exhibition space

separate

separate

separated each other's

main building, recreation al space

Zoning

Circulatio n

wide stairs and lobby for connectio n

National Tjibao museum cultural center of the America n Indian

defining wide stairs and zoning for lobby unhindere d circulation

connection with natural space

Inference

Indigenou s architectur e separate for pedestrian and vehicle zoning according to function

Unhindere d an lively circulation space required

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Open Spaces

garden space

recreational space

garden space

plaza

Planning

planned pre ease circulatio n in gallery

planned with asymmetric al

planed segregatio n public space

well planned defines transitional space

Form

form evolved as

rectangular with gable roof

Use pergola for emphasis entrance

organic with nature blended

Material

RCC steel local structure material stone slate timber

RCC brick RCC wall

blended with nature

open spaces with nature blended recreation al activities planned planned according to facilities and movement rectangula Inspired r with by local curved for architectur climatic e and friendly friendly with nature. local local indigenous building material material should be accepted

5.5 Inference from precedent study  

   

Building should respond the cultural context and showcasing the social and culture through the built form as well as planning or movements.

Technology is also the solution of design problems. For people without disabilities, technology makes things easier. For people with disabilities technology makes things possible. (ibm training manual 1991) The museum must be a cultural hub promoting community interaction.

Museums prove to be best spaces for learning centers since they demonstrate practical based knowledge and hands-on experience.

It is also necessary to include the right balance of retail in the museum complex to ensure better functioning of commerce.

It's about the journey not the destination 55

6 PROGRAM FORMULATION The Project requirements and program analysis are carried out by the contextual study of different spaces of Khas Settlement of Jumla and analyzing by the needs of socio-cultural spaces. Different built and open spaces are derived by the Khas socio-cultural attributes such as household possession, gods, life and death rituals, etc. including different elements related Khas culture. Also the spaces are calculated by the standards and compare the values between them. Preservation, Promotion and development are the main objective of this projects. It requires various kinds of closed and open spaces for various functions. It is divided into three parts;

6.1 Major program elements/ activity Performing activity Visual activity Others

Auditorium (Arena type) Open Air Theater Community Hall

Gallery Complexes

Deuda Culture Social Gathering Community Ceremonies For showcasing Khas socio-cultural attributes

Audio/video room Administration Training Section Recreation

To control and sustain To Learn and Transfer CafĂŠ/restaurants, tourists stay. To create at stop point

6.2 User description groups Villagers

Travelers/ Tourists Students/ Professional

Villagers will have the opportunity to showcasing the Socio-Cultural attributes and Cultural exchange. It can be made a part of daily life.

Villagers will fulfill the lagging of Communal space. They can create as Socio-Cultural HUB. All types of tourists such as nature lover, history, adventure, researcher, etc. will accommodate to this center. It is a stop point or transits area for others district.

Students will have the opportunity to learn the Khas culture and transfer generation to generation. To learn the folk music, dance, ceremonies etc. to keep the culture live. The professional also have the facility will employ local artists, musicians, performers and actors 56 to teach various workshops and lessons.

6.3

Statistics of users /groups

Data Population in present (Po) = 2274 (Hard Sinja, Ludko, Chimpata, lakekore) (approx.)

Population in 20 yrs (Pt) = Po x (1+ R/100) ^n = 2274 x (1+ 2.5/100) ^20 = 3727 ~4000 According to locals in Hard Sinja, approx...

4000-5000 tourist come in month, in peak months So assuming total tourist = 2500 in a month 1 yr. = 2500x 12 = 30000 No of tourists: 85/ day So, assuming forecast % as 3 % Forecasted total no of tourists= 85 x (1.03) ^20= 150 per day 3 Day package/ tourist duration Max tourists = 3x 150= 450 Assumed tourists to be accommodated in 3 days= 0.5x3x150=225

Total Users = villagers + tourists + researchers+ students = 1000 + 500 + 50 + 300 = 1850 (approx.) in a day

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1. PERFORMING ACTIVITY

1. AUDITIORIUM (ARENA TYPE) Seating (250) Stage (40% of auditorium seating)

Nos 1

2. OPEN AIR THETRE Seating Stage (40% of auditorium seating)

1

3. COMMUNITY HALL Hall (100) Meeting Space(10) Storage Restaurant Toilet

1

Standards 2

1 m /person

Area 250 m2 100 m2

1 m2 /person

200 m2 80 m2

1 m2 /person 2.2-2.8 m2 /person

100 m2 50 m2 50 m2 100 m2 50 m2

Total Area 980 m2

2. VISUAL ACTIVITY 1. GALLERY COMPLEXES History Archeological artifacts (2 nos.)

Devanagari language Attire and ornament section Agriculture and iron tools Household possessions Folk musical instrumental section Live models Audio/video room Reception/store Staff/toilet

Nos 2 2

2 2

Standards

Area 50 m2 100 m2 50 m2 200 m2 100 m2 50 m2 50 m2 50 m2 100 m2 50 m2 /50 m2 25 m2 /50 m2 Total Area 925 m2

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3. OTHERS 1. ADMISTRATIONS Information Area Ticket counter office/ticket check Staff room Manager room/accounted Utility room Kitchen Toilet Meeting room Circulation space 2. ACADEMIC SECTIONS Reception Language class (1nos.)

Folk music and dance class (2nos.)

3. SHOP Souvenir Shop (2nos.)

Agricultural Product shop (2nos.)

Ayurveda shop 4. TOURISTS STAY (80 Nos./day) Administrative spaces Rooms Cafe Toilet Circulation space

Nos

Area 50 m2 50 m2 100 m2 100 m2 50 m2 25 m2 25 m2 50 m2 50 m2

1 2 2

50 m2 100 m2 150 m2

2 2

100 m2 50 m2 50 m2

50 m2 350 m2 100 m2 50 m2 100 m2

15

5. LIBRARY General section Research section Store (15% of library) Reception Staff Toilet 6. PARKING Motorcycle Car

Standards

2.3-2.6 m

40 24

2

2.5 m2 /bike 12.5 m2 /car

200 m2 100 m2 50 m2 25 m2 25 m2 50 m2

100 m2 300 m2 59

Bus Circulation 7. RESTURANT Lobby Service counter Dining Hall Kitchen including store Staff room Toilets 8. TEMPLE 9. CRAFT BLOCK Stone craft/display Wood craft/display Woolen craft/display Metal craft/display Ayurveda herbs Staff/changing/reception/store 10. MUSEUM STORE

2

100 2 2

1 1 1 1 1 2

48 m2 /bus

0.5 m2 /person 36% of dining

100 m2 200 m2 50 m2 50 m2 350 m2 100 m2 25 m2 25 m2 100 m2 100 m2 100 m2 150 m2 200 m2 100 m2 200 m2 150 m2

Total Area 4500 m2

Total Area 980 m2 + 925 m2 + 4500 m2 = 6405 m2 Adding 15 % circulation space

= 960.1 m2

Adding 25 % of wall area

= 1601.5 m2

Total Area

= 8966.6 m2

Total Site area

= 15375.39 m2

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7 SITE ANALYSIS 7.1 Location The proposed site is located at between the Hard Sinja and Ludko village, Kanakasundari Gaupalika, Jumla. The Site is in the route of Nagma-Gamgadi Highway which capture the both historical village and cultural significance. The site justify the significance of socio-cultural values which is assumed to uplift the socio-economic condition of neighborhood.

The government also want to do the project of museum where they tentatively allocated the site in this area.

Proposed site

Nagma-gamgadi highway

Khalaga

Nagma

Karnali highway Figure 43 Jumla district

7.2 Site boundaries The site has almost rectangular shape. It is parallel to the Nagma – Gamgadi Highway, below the 50 meter from the main road. The site was bounded by Agricultural field on south, east and west side while on the north side there is steeped hill where small earthen road is connected to the main highway on the upper level.

North view

West view

South view

Figure 44 site surrounding

East view

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7.3 Land and Land use: The land is the property of under the Kanakasundari Gaupalika. At present the land has no any use because of topography and below the site was used as agricultural land while small drainage was flowing across the site for the irrigation below the field. Sometimes it is used as the communal function.

7.4 Topography: The site is sloppy land and 50 meter down the main road. The slope of the land is approx. 21.5

Figure 45 slope land

7.5 Area: The site area is about 30R-3A-2P-1D (15375.39 m2)

7.6 Vegetation The Long trees are not found in this area. Basically shrubs and herbs are found around the site.

The saal, Deadar and sallo are found near by the site which is used as the building construction materials. (Shukla, 2015) The main economic activity of Jumla is agriculture and livelihood where more than 85% of Jumla population depends on the agriculture. Paddy, Maize, Millet, Wheat and Barley are the usual cereal crops and apple, potato, bean, oil seed and herbal products are the cash crops.

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7.7 Access: The site is connected 5ft. from the north side which is after connected the main highway (Nagma-Gamgadi). (DTMP, 2013) The site is also connected by the village through the small earthen road (3ft.) on the west side. Below the site there is on road is parallel to the Upper main highway so that the site is between the roads and connect by the secondary collector road. The site is the stop area point for the Rara visitors and also the concentric point for all the Jumlis heritage travelers or visitors or tourists.

Nagma-gamgadi highway

Way to site (existing towards paith Earthen road)

Site

Proposed Site

Figure 46 tourists route Figure 47 access

7.8 Justification: The site lies on the tourist's route as well as trade old route of Mugu and Dolpa district. The site have various beneficious like cultural centric point, historic significance value, significance of origin of Nepalese language, oldest capital kingdom of Sinja etc. As from the literature review we know that the public spaces like market, square, durbar, chowk etc. are in center of the village or town. Here I used the same concept for the site selection as the site is center for all the historic significance values. As the Kanakasundari is on the east side of the selected site so that the site have always response of the cultural values as done by Acropolis museum in Greece. The site is near the two historic Village of Khas Kingdom so that’s the cultural center can be used or managed by these locals' people of Sinja.

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7.9 Existing Infrastructure and Services: A. water supply There is a good facility of water supply from the top of the hills. The water is continuous flows from the pipe supply channeled from the high hills from the northern hill side.

B. Electricity There is a small power house of 50kw at the 1km from the east of the site. Every village have their own power house so the electricity is available at any moment. Although the main National grid system was not connected yet Electricity was given by individual power house produced by near the site.

C. Drainage system and Sewerage There is a good drainage system as the site is on the hill continuous slope and the south side of the site having the Hima rivers which drain out the all the drainage and sewerage. While the all the house made the septic tank individually.

7.10 Development trends: The east and west side of the site are developing the residential area. The Earthen road below the site have developed linear residential area and the south side of the site have agriculture land. The compact nucleated settlement village have developing the peripheral area making the concentric of the settlement. The development trends was further increases as the main road along the side by making linear settlement. The residential area has decreased as the increasing the residents of Jumlis people Bus stop Stepped hills Hard Sinja Village

Ludko Village

.

Agriculture Field Hima River

Figure 48 development trends

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7.11 Swot analysis STRENGTH     

Location: At the tourist's route. It is a transits point or stop point for all the tourists.

Historical significance around it. Rich in social and cultural values.

Easily accessible.

Maximize the heat gain Excellent view towards the south and Kanaksundari temple.

OPPURTUNITIES    

To create a lively and happening place The location of site encourages involvement of other institutions easily Community participants Services

WEAKNESS    

Views: No special views on the north side due high steeped hills Natural hazards may occur Cut and fill may require Universal access

THREAT  

Landslide and Hazards Haphazard development growth

7.12 Design inferences from site analysis      

Accessibility: should be on secondary road due to possibility of clash in traffic The secondary road should be widened for ease of access Zoning: done per Natural calamities and creation of buffer zones- green zone, false facades, etc.

Vegetation: Abundance of vegetation, could be incorporated in design Orientation: use of natural ventilation, lighting and shading is required, Possibility of maximizing use of daylighting in design

8 DESIGN CONCEPT AND DEVELOPMENT The concept of the design is to show the Khas socio-cultural attributes without diminishing the Khas settlement pattern and its ambience through planning and designing which would provide a space for celebration, learning, and promotion of the Khas culture.

Cultural center is taken as the center for the different activities, informal education and research etc. Its helps the social, educational, cultural and intellectual development of people. The center is takes as a place for entertaining place which would attract more and more people of different fields.

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The interpretation center is basically try to interpret the significance values of Khas socio-cultural attributes, history and nature in architecturally design and planning. It is design on the basis of local context of Jumla. I have tried to reflect the Khas settlement pattern, built form, their concept of space of volume, architecture detailing and their cultural elements with certain modification to meet the requirements of cultural center.

The design is mainly evolved from the contextual study and local aspect of the site.

8.1 Concept development 8.1.1 Approach 1: SYMBOLIC INSPIRATION To represent the theme ‘Connecting through Creation’ on a symbolic term, symbol of Swastika and Dharmachakra was chosen to represent the symbol for connectivity and creation respectively.

Connecting through creation

SWASTIKA: In Hinduism, this symbol represent the sun, Brahma the creator of god, prospered and good luck. The Symbol is created by geometric shape with cross arms. The clockwise cross arms represents the evolution of universe while the anticlockwise arm represents the Night or tantric of kali. The symbol is come from Sanskrit. In Sanskrit Su means well and Asti means to be.

DHARMACHAKRA: This symbol is made up of eight spoke and circle which is represents as Dharma of wheel. Its spokes represent the Noble Eight-Fold Path. It is considered one of the ashtamangala (auspicious signs). It represents the light and knowledge. It is also found in the ashoke pillar.

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8.1.2 Approach 2: A JOURNEY THROUGH THE EXPERINCE The main concept of this theme is that the visitors would have experienced the Khas history, social, cultural, daily life, belief, notions, attitudes, values, and spatial relation etc. through the journey of this cultural center. They have experienced the live activity and participated the sociocultural attributes of the khas culture.

8.1.3

Approach 3: VERNACULAR ASPECT

In Sinja, Most of the houses are made of a local material and made the local characteristic. The settlement pattern and construction of technology of houses of Jumla is quite different. Khas settlement pattern has their own socio-cultural values, beliefs, notion and as a significance characteristic.

8.1.4 Final concept The main concept or final concept is derived from the approach 1 where the symbolic inspiration is and taken the approach 2 & 3 as secondary supporting concept. The combination of swastika and Dharmachakra, beliefs that the combination of Hinduism and Buddhism as represents as the good fortune, prosperity, life, communal mutual understanding etc. This symbol is used as the connectivity and public space for public interaction to increase the better social activity.

"A journey through the experience" is also used as visitors would directly connected to the social activity such as deuda dance, Ropai jatra, etc. and also the cultural attributes such as Dhami nach etc.

"Vernacular aspect" is also taken as it have own significance values. Construction materials, technology should be used on design and giving the sense of Khas socio-cultural attributes and settlement.

8.2 Design development Connecting through creation

Placing the Wheel on the Swastika to create the public space and the arms of the swastika connects the different activity of museums.

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Connecting

2

1

Rearranging of two symbol

Administration

3

Recreational space/ learning space

Community space

Museum space

Art & craft space/

`

4

Figure 49 Showing Spatial arrangement

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Swastika and Dharmachakra are place at the centrally of the site so as to response the god place like the sanctum. After placing this, the define arm represents the stability and movement so by these theme and requirement of cultural elements such as a plce for performance, a place for exihibition, a place for learning and a place for celebration is seggregated under the swastika arm controlled with the centric dharmachakra.

Figure 50 Zoning

After the zoning is done as per the space required by the project. As gone by details the bubbble diagram is shown below.

Figure 51 bubble diagram

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Figure 52 Arrangement of built form

Built form are arranged after the zonong and the seggregated built form are arranged in a single courtyard.

Architectural expression Built form should fit to the context. Since it is a "Jumlis(khas) socio-cultural center" the built form should reflect the traditional architecture. Mass and volume also should fit to the context and rise of the building is only two storey.

Building material Stone, wood and mud are the major buildings material and simple indegenous technology has used in this design.

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8.2.1 Planning

Figure 53 master plan

The overall planning of the space is done on the basis of social and cultural aspect of intangible believe which is practiced by the Khas society at the past and also nowadays even practiced and pursuing by Jumlis people. Combination of Bhotia people and Arya people evolved new society and culture. Thus, this essence can be preserved by motifs representing the Hindus and Buddhists combination. The entry gate defines the connection of Hinduism and Buddhism and also connected to the past because it is evolved or modify from Dewel or pillar which represents the starting point of state or territory. And, also connected the Kakre Bihar temple by using surface texture of this gate which recall that this temple is also made at that time during Khas culture. After that there is segregation between the vehicle and people ways. To the right, there is private vehicle parking. At the nodal point, a fountain is found which purifies the visitors, physical soul and after that, little ahead there is a Kulo which is covered and cross the visitor's way and drain down towards the south of the site. When we move ahead and keep a foot on that Kulo that represents purify our soul as when we go to temple.

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After that we see both side statue of emperor which represents the rules of Nagraja (first rules of Khas kingdom) and then Prithvi Malla (last and after Baliraja (Jumlis first king) and then the statue of Khas culture which gives the knowledge about pre-history of Khas kingdom.

The exposed stone wall and while vertical blind represents the administration block. The entry court is surrounded by the Tourism information block, Ticket Counter, admin and locker or storage.

8.2.2 Administration and tourism information The two strong administration black can be seen from the entrance. The entry court is connected the Tourism information from where the visitors or Tourists can get rest and information about the museum as well as the lodge/ charge of stay as well as package system to travel the nearby places and facilities given by the admin in the tourists. The administration block have meeting room, DG, accountant room and Ticket counter and provide the locker and storage for the visitors.

8.2.3 Oat area or multipurpose space After the admin block we get the huge multipurpose space surrounded by the parafit on two side only. This circular space provide the entertaining space for visitors and at evening this place is converted into Deuda place i.e. Deuda, different folk song, folk music, Khas culture performance, Dharmik Jhakri have peformed by local peoples and visitors can make this place alone as well as khas culture. This place is centrally and guided the different routes such as museums block, crafts section, library, restaurants and administration block.

8.2.4 Museums After the OAT, the museums black is ecountered. First of all, there is room gives the message of history and second one is language (Devnagari Language). This black is seen 4 storey building which is merged along with the landscape. This museums is typically khas houses which the visitors experiences the khas settlement. Mud on the roof which provides the feelings of travelling on the floor of earth. The exterior view of the museums was made the typical of khas house.

There is a smart staircase for connecting the floor to floor for travel or circulation i.e. Universal access. A wheelchairs users also travels through the wheelchairs lifts. There is no obstacle between ordinary and able to differently people.

8.2.5 Craft section The craft block is connected storage below and circulation space is made for visitors to enter directly upper floor of the craft workshop. There is wooden, stone, metal, woolen or wearing workshop on this building. Visitors can see the finished products on the displays and that can be 72

seen indirectly the workshop space due to security and health concise as segregated by wall or glass.

This blocks also have first aid block for the workers as well as visitors. This building also have the same style as museums i.e. khas traditions houses.

8.2.6 Library After the visiting of craft section, library is on alongside which is connected the ramp. In the library, there is reading as well as facility of e-library. There is also academic section such as folk musical class, Devanagari language class, deuda class etc. which attracts the new generations and for the preservation of khas culture.

8.2.7 Restaurants At last there is a recreation area, souvenir shop, and cafĂŠ which the visitors can enjoy. Visitors can also take a gift of memorial of khas culture.

8.2.8 Circulation Flow of visitors are most important things and this center provided the better khas socio-cultural journey. Visitors will experienced the historic journey through this center.

Also there is segregation between the visitors, workers, students and servicer so this center would be caring for universal accessibility by use of modern technology.

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9 REFERENCES ( 2015 , MARCH 31). Retrieved from Nepali Samaj UK: http://www.nepalisamajuk.com/demo1/1675the-significant-cultural-traditions-of-the-khas-kshatriyas.html (2018, may 29). Retrieved from https://jumlanepal.blogspot.com/2018/05/chumchaur-jyulo-ropainfestival-at.html Adhikary, S. M. (1997). a trans-Himalayan empire of the middle age. Nirala Publications.

BUDDHA, D. (2018, October 27,). Retrieved from https://myrepublica.nagariknetwork.com/news/domestic-tourists-increase-in-jumla/: https://myrepublica.nagariknetwork.com/news/domestic-tourists-increase-in-jumla/ Campbell, J. G. (1978). CONSULTATIONS WITH HIMLAYAN GODS.A STUDY OF ORACULAR RELIGION AND ALTERNA7IVE VALUES IN HINDU JI,;~jLA. DTMP. ( 2013). District Transport Master Plan. District Development Committee, Jumla.

ETHNOFLORENCE. (2010). THE 12 MASTA GODS OF JUMLA AREA NEPAL and THEIR 9 SISTERS NAU DURGA BHAWANI AND THE MATERNAL UNCLES: MAHDEV. EXPLOREDOLPO. (2015, april 15). Nature, culture & history at its best in isolated west – Jumla, Rara & Sinja Valley Tre. Retrieved from Blog: https://exploredolpotrekking.com/nature-culture-historyat-its-best-in-isolated-west-jumla-rara-sinja-valley-trek/ gurung, p. (2016, November 4,). Retrieved from https://myrepublica.nagariknetwork.com/news/notesfrom-jumla-bazaar/ Jumla (town). (2018, September 04). Retrieved January 11, 2019, from Wikipedia: https://en.wikipedia.org/wiki/Jumla_(town) JUMLA, C. (n.d.). Retrieved sep 15, 2019, from https://en.climate-data.org/asia/nepal/mid-westerndevelopment-region/jumla-968667/#climate-graph Lamichhane, R. (2108, march 9). The Khas Malla State – History of Nepa. RabinXP blog.

Manoj. (2017, july 14). MANOJBOHARA. Retrieved from https://www.manojbohara.com/jumla-sinjavalley/ Mauli, C. (2018, december 7). Retrieved from https://issuu.com/chandramauli1/docs/thesis_report_on_national_museum_of?fbclid=IwAR0zP dqujQ8IzeF8_umal4pr6TJt8xK2GVtONVjarhonjCmv-KLGqwKDuSQ Republica. (2019, March 16). Master plan to develop Sinja valley in limbo. Republica, 1-5.

Samiksha. (n.d.). Culture. yourarticlelibrary, 2-5.

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Shukla, A. ( 2015). Medicinal and Aromatic Plants (MAPs) Stakeholders Directory. Jadibuti Association of Nepal (JABAN).

Singh, S. B. (n.d.). Retrieved from http://english.lokaantar.com/current_affairs/traditional-art-culturekarnali-region-verge-disappearance/ Technomedia, E. (2014, march 5). Retrieved from https://www.slideshare.net/eletsonline/ebihar-2014creating-hightech-infrastructure-for-it-industry-transportation-power-telecom-etc-shrichanchal-kumar-building-construction-department-government-of-bihar Tucci, G. (1956). Preliminary Report on Two Scientific Expeditions in Nepal. David Brown Book Company.

UNESCO World Heritage. ( Retrieved 2018, 10 23). Retrieved from http://whc.unesco.org/en/tentativelists/5263/ Wagley, N. (2015, feb 14). Nepal Ka Khas Jaati. SPOTLIGHT, 16.

World, A. D. ( 2018 , February 26 ). http://www.aboutdesignworld.com/projects/bihar-museum/.

Retrieved from http://www.aboutdesignworld.com/projects/bihar-museum/.

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10 3D VIEW

Administration view

Museum block

Top view 76

Craft block

Perspective view

Tourists stay

Library block

Craft view

main entry gate

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11 APPENDIX

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1

2

3

4

5

6

7

8

9

10

11

12

13

14

15

16

17

18

19

20

21

22

23

24

25