Design Hub - Revamping Khadi

DESIGN HUB - REVAMPING KHADI PARV PATEL

153541050078 LJSA

Design Hub – Revamping Khadi, Ahmedabad

A Design Thesis submitted to the Gujarat Technological University

By

Parv Patel

In partial fulfillment of the requirements for the award of degree of Bachelor of Architecture (B. Arch.)

June, 2020

L.J SCHOOL OF ARCHITECTURE L.J CAMPUS, SARKHEJ ROAD, AHMEDABAD

CERTIFICATE This is to certify that the Design Thesis entitled “Design Hub – Revamping Khadi”, has been submitted by Mr. Parv Patel, Enrollment No: 153541050078 under our guidance during the year 2019-2020. This thesis is submitted towards partial fulfillment of the requirements for the award of Bachelor of Architecture and satisfies the requirements laid down by Gujarat Technological University, Ahmedabad.

It is to be understood that by this approval, the undersigned does not necessarily endorse or approve any statement made, opinions expressed or conclusion drawn therein, but approves the study only for the purpose for which it has been submitted.

Prof. Himanshu Thakker

Ar. Vasav Bhatt

Director

Thesis Guide

L. J. School of Architecture.

L.J SCHOOL OF ARCHITECTURE L.J CAMPUS, SARKHEJ ROAD, AHMEDABAD

ACKNOWLEDGEMENT I would like to take this opportunity to thank my thesis guide Ar. VASAV BHATT for all his support and generous insights which have helped me accomplish my thesis.

He has been a source of inspiration during my research and working under his guidance has been a great learning experience. He consistently allowed this design thesis to be my own work but steered me in right direction whenever he felt I needed it and pushing me till my best.

I would also like to extend my gratitude to various experts who gave me their time and insights on my thesis subject.

Thanks to Pearl academy of fashion in Jaipur, for letting me visit the campus and giving all relatable information and understanding required.

Finally, I must express my very profound gratitude to my sister Khushbu Patel, my mother Mrs. Varsha Patel, my father Mr. Chetan Patel and batch mates Kunal Shah and Dharmik Patel for providing me with unfailing support and continuous encouragement throughout my 5 years of study. This accomplishment would not have been possible without them.

Thank you.

L.J. School of Architecture Gujarat Technological University

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ABSTRACT Khadi is handcrafted textile of India. It was livery of freedom and pride for independent India. Once khadi was considered as symbol of self-reliance by the Gandhian ideology, is now battling with globalization and new age notions. The main reasons for decline of the industry area the lack of infrastructure, organizations, upgradations and low wages. There are many organizations trying to save this sinking ship through multiple policies and programs. One such organization is KVIC, Khadi and Village Industries Commission.

Also, the absence of a common platform for the stakeholders of this industry such as weavers, designers, marketing agents, retailers, and students have resulted in the fragmentation of these activities. So, it can be inferred that the khadi industry can be greatly benefited from the intervention of the stakeholders.

This thesis is the brief of the same.

Thus, a new campus can bring all them together with a purpose of uplifting of khadi. The Design Hub is conceived as a dedicated area for marketing support to the Indian fashion designers who use khadi as a material and who want to revive the ideal essence of it. The different spaces necessary for creating an integrated program are – production unit including space for weavers, an institute of design, an administration building for marketing, an amphitheatre, designer studios and exhibition space.

L.J. School of Architecture Gujarat Technological University

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TABLE OF CONTENT Certificate........................................................................1-3 Acknowledgement..............................................................4 Abstract...............................................................................5 Chapter 1 : Introduction....................................................9 1.1 Project brief..................................................................................10 1.1.1 What is Design hub.............................................................11 1.2 Aim.............................................................................................12 1.3 Objective.....................................................................................12 1.4 Scope and need...........................................................................12 1.5 Limitations..................................................................................13 1.6 Methodology...............................................................................13

Chapter 2 : Background study.........................................15 2.1 2.2 2.3 2.4 2.5 2.6 2.7 2.8

Khadi - cloth and beyond.............................................................16 Historical background.................................................................16 Khadi and Gandhi........................................................................17 Socio - cultural importance of khadi............................................18 Khadi - freedom to fashion fabric................................................18 Why khadi ?................................................................................19 From cotton to khadi....................................................................20 Process flow chart.......................................................................22

Chapter 3 : Casestudy.......................................................23 3.1 Pearl academy of fashion, Jaipur.................................................24 3.2 Aimer fashion factory, Beijing....................................................33 3.3 Imam khadi kendra, Ahmedabad.................................................38 3.4 Inferences from casestudies.........................................................40

Chapter 4 : Program formulation....................................41 4.1 Area calculation...........................................................................42 4.2 Area table.....................................................................................44 L.J. School of Architecture Gujarat Technological University

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Chapter 5 : Site study.......................................................45 5.1 Site information...........................................................................46 5.2 Climatic aspects...........................................................................47 5.3 Site analysis.................................................................................48 5.4 SWOT analysis............................................................................50

Chapter 6 : Concept and Design development...............51 6.1 Concept.......................................................................................52 6.2 Design development...................................................................54

Chapter 7 : Final Drawings............................................58 List of figures....................................................................74 List of figure references...................................................77 Bibliography.....................................................................79

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“If we have the KHADI spirit in us, then we would surround ourselves with simplicity in every walk of life.�

- Mahatma Gandhi

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CHAPTER 1

Introduction 1.1 1.2 1.3 1.4 1.5 1.6 L.J. School of Architecture Gujarat Technological University

Project brief Aim Objective Scope and need Limitations Methodology

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Clothing is one of the basic amenities required by the 1.2 billion strong, and growing, population of India. The Indian textile industry, which caters to this need, has an estimated market size of $108 billion. There are two broad segments within the industry, namely the traditional hand-woven and hand-spun textile segment, and the modernised mill one.

Khadi is considered a symbol of self-reliance by the Gandhian ideology. Khadi is defined as any cloth woven on handlooms and handspun from cotton, woollen or silk yarns in India. The Khadi industry encompasses stakeholder from the cotton growers and the weavers to the designers. The rich handwoven materials are preferred worldwide. But the state of its primary stakeholder – the weavers are at risk. The industry is suffering from the globalization and lack of upgradation. In order to formulate an architectural solution, it is important to understand the trend of occupation and issues that the industry faces.

1.1 PROJECT BRIEF The hand spun cotton, Khadi is of special significance to Indians.

Gandhiji elevated the fragile thread of cotton to a symbol of strength and self-sufficiency. With time this tradition seems to be vanishing from the city. This, despite the fact that there are many people from the older generations, who know weaving and do it often as part of their daily routine and are keen to transfer this tradition to the younger generations. Yet, they have been unable to do so perhaps, for the lack of a definite medium for knowledge transfer. In those days, weaving khadi was like meditation. This suggests the program, of a Design Hub. 1.1 Insight of designers searching for new trends 1.2 New face of fashion and clothing world in an exhibition

L.J. School of Architecture Gujarat Technological University

1.1

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1.2

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This hub will not just be a place to learn and teach spinning and weaving khadi, but also one that produces saleable fabric with the opportunity of marketing. The design proposes addition of studios to learn spinning, weaving, sewing, designing, a space to sell, and additional informal spaces to exhibit, a space for research and development for the designers and artisans to learn and research on new trends and techniques.

1.1.1 What is DESIGN HUB? Hub can be considered as a space or network used for connecting group of people for some desired activities. It can be a link which combines many aspects such as social, economical and political.

The intent is on reviving the Khadi as not just a material but also as a movement. A Hub which provides facilities for promoting Khadi.

Facilities which boosts up the aim of revamping khadi as a material by acknowledging people.

A Hub comprises of such spaces which attracts people for different means. And can be described as a futuristic form of any Institute of design. The Design Hub can be conceived as a dedicated area for marketing support to the Indian fashion designers which still admires rich handwoven material. It will be a permanent Gallery that will project the image of contemporary India displaying the modern look of India on one hand along with showcasing the rich Indian heritage and its process in craftsmanship that is passed on from one generation to the other.

The Design Hub

1.3 Diagram explaining the relationship between different factors affecting idea of a design hub

L.J. School of Architecture Gujarat Technological University

1.3

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1.2 AIM: The aim is to design a space that will be a culmination of activities for khadi industry to be used as a creative hub for teaching, production, marketing, and public space.

1.3 OBJECTIVE: • To study the history, socio-cultural impact, different processes and present condition of the khadi industry.

• To design a hub for weavers, artisans and government offices to practice, produce, teach and market the product.

• To design a space that will be the pride for the society and acts as a sorted destination for world class designers as well as textile enthusiasts.

• To incorporate spaces that will nurture and help the upcoming designer and to give them marketing support.

• To create a distinctive icon for the city to revive the Gandhian ideology.

1.4 SCOPE AND NEED: Design Hub is an initiative to drive creativity and innovation to advance design-oriented business in an intensively competitive globalized environment. It can act as an essential integrating platform to develop and revive khadi as a material. Uplift creativity, capability and enhance industry standards to create branding for khadi by bringing industry to classroom thereby new designers can get exposure. Therefore, the design hub will play a pivotal role in the years to come and enhance the current developments in the khadi industry.

1.4 Khadi becoming new trend for top fashion designers 1.5 Students orienting themselves towards learning

L.J. School of Architecture Gujarat Technological University

1.4

1.5

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1.5 LIMITATIONS: • Institute does not focus on quantitative production of the fabric.

• Not including process of dyeing within the campus.

• Resembling courses more towards weaving rather than fashion.

1.6 METHODOLOGY: Firstly formulating aims and objective for proposal along with studying the background of khadi as well as major aspects regarding the same. Case studies with emphasis on the design and planning consideration will be from personal observations, critical analysis and study of drawings, existing literature such as articles, journals, thesis reports, etc. Then developing final drawings along with 3D renders on basis of above-mentioned data collection.

Formulating aims and objective Background study Casestudy

Data collection

Preparation of area statement Site identification and site analysis Conceptual and development phase Preparation of detailed design drawings Final renders

1.6

Conclusions

1.6 Diagram showing steps of methodology

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“I believe that where there is pure and active love for the poor there is God also. I see God in every thread that I draw on the spinning wheel.�

- Mahatma Gandhi

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CHAPTER 2

Background study 2.1 2.2 2.3 2.4 2.5 2.6 2.7 2.8 L.J. School of Architecture Gujarat Technological University

Khadi - cloth and beyond Historical background Khadi and Gandhi Socio - cultural importance of khadi Khadi - freedom to fashion fabric Why khadi ?

From cotton to khadi Process flow chart

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2.1 KHADI - CLOTH AND BEYOND Khadi or Khaddar is a term for hand spun and hand-woven fabric from India. The material is woven from cotton and may likewise incorporate silk, or wool, which are all spun into yarn on a spinning wheel called a “charkha”. The difference among khadi and hand loom is apparent in the texture. The diminutive weaving inaccuracy give rise to the particular khadi charm. It blends with other fibres to make raw Silk khadi, Tussar Silk, Matka khadi, Poly khadi, and many more. Khadi has the remarkable property of keeping the wearer warm in winter and cool in summer. Woven to develop exquisite fabrics, textures and designs in cotton, silk and wool, the hand spun threads of the hand spinning wheel provides employment to millions of men and women of today’s rural India. It represents independence and for returning back to the basics.

2.1

2.2

2.2 HISTORICAL BACKGROUND

2.1 Weaving of Khadi using Handloom 2.2 Khadi fabric and its texture

From the earliest times the spinning wheel or Charkha had been plied in all Indian homes, the excavation at Harappa and Mohan-jo-daro reveal that charkha was a part of the Indian household. The Charkha was also used by Vedic Aryan. Khadi was introduced in 1920 with an essential goal and intention to boycott the foreign goods in general, particularly foreign cloths and come up with an opportunity to every man, women and child for self-discipline and self-sacrifice as a part of the non-cooperation movement.

2.3 A store selling pure khadi before independence 2.4 Local community using Charkha to weave the fabric

L.J. School of Architecture Gujarat Technological University

2.3

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2.4

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An All India Khadi Board in 1923 under the supervision of the Indian National Congress, with branches in all States, was established to constitute an organization for the coordinated development of the khadi program. The Khadi movement when he first started in 1918, Gandhiji had envisioned the handwoven fabric as a means of income for people suffering from poverty however around 1934-35, he began advocating the utilization of khadi for oneself as a part of his ‘Swadeshi’ and ‘Swaraj’ movements. The spinning wheel which used to be a symbol of poverty and backwardness rose to symbolize self-sustenance and peacefulness and proceeded to play a special role in the freedom movement of India.

2.3 KHADI AND GANDHI Be it satyagraha or non-cooperation, passive resistance or non-violence, salt or spinning-wheel, for Mahatma Gandhi, they were not just the means of a political struggle, they were ideas. Ideas, which Gandhiji knew, had the potential to revolutionize entirety of Indian masses towards one of its kind, independence movement. Khadi, too, was not just a home spun cloth but a revolutionary idea. Khadi, for him, was symbolic of Indian self-respect and self-reliance.

2.5

2.5 Historic photo of the Gandhiji using Charkha 2.6 Image of Charkha

L.J. School of Architecture Gujarat Technological University

2.6

Many a time, Gandhiji emphasized that khadi ought not be used simply as a cloth / fabric and it has to be worn with the values which can be inseparable to it. Khadi was symbol of long Indian tradition on the one hand and a critique of modern western Civilization on the other hand. According to him, The message of the spinning-wheel is much wider than its circumference. Its message is of simplicity, service of mankind, living so as not to hurt others, creating a bond between the rich and the poor.

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Gandhiji, being the incredible visionary, he was, predicted the repercussions of large-scale industrialization and market economy benefited from commercialization. The cause of Khadi, was part of our long tradition and also the need of the poor. For the Gandhi, khadi was the means to economic liberation. He had observed that “political liberty must include economic liberty of the starving millions”. Since capital was scarce, low capital and skill intensive, full employment-oriented industry was needed. He saw the employment opportunities created by the khadi movement as the solution.

2.4 SOCIO – CULTURAL IMPORTANCE OF KHADI Khadi is being promoted in India by Khadi and Village Industries Commission, Ministry of MSME Government of India. Khadi is not merely a fabric in India, it is an entire movement started by Mahatma Gandhi. The Khadi movement promoted a socio-cultural aesthetic, a thought that Indians could act self-reliant on cotton and be liberated from foreign cloth and clothing.

The khadi movement by Gandhi aimed at boycotting foreign goods inclusion of cotton and promoting Indian goods, thereby these improving India’s economy. Mahatma Gandhi started promoting the spinning of khadi for rural self-employment and self-reliance. In this manner, making khadi an integral part and an essential symbol icon of the movements against the Britishers.

2.5 KHADI - FREEDOM TO FASHION FABRIC Khadi is made of natural fiber like cotton. It is porous, is suitable and appropriate for the climate of India, and is vastly eco-friendly. The ones who spin and weave perceive how patient one has to be to toil at these trades. Khadi additionally represents our will to sustain nurture handicrafts of India, and associated industries. Our dependency on imported items decreases.

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Khadi is not a poor humans cloth any longer. With some makeover from the designers, it has become a style articulation. New weaving methods, strategies, techniques and innovative Khadi blends are being utilized to give a contemporary touch. Utilizing and availing of Khadi fabric isn’t confined to making garments. Furthermore observed that the designers are launching Khadi collections successfully at some of the greatest fashion shows of India. Its elegance and simplicity have made it elite and exclusively classic. With deep Gandhian aesthetics, many admire it even for its moderate and minimalist looks.

2.7

2.8

2.6 WHY KHADI ?

Khadi was introduced in 1920 with a primary intention to make the boycott of foreign goods in general, particularly foreign cloths and provide an opportunity to every human for self discipline and self sacrifice as a part of the non-cooperation movement.

INDIA INDIA

2.7 Fashion walk showcasing khadi with modern vibe CHARKHA - KHADI CHARKHA - KHADI

2.8 Appreciating local artisans who were part of the design team 2.9 Diagram showing the connection of India, Gandhiji and Khadi

L.J. School of Architecture Gujarat Technological University

2.9

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GUJARAT GUJARAT

MAHATMA GANDHI MAHATMA GANDHI

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2.7 FROM COTTON TO KHADI 1. Cotton

2. Yarn

2.10

2.12

2.14

2.10 - 2.11 Illustration and image showing cotton buds 2.12 - 2.14 Illustration and image showing conversion of cotton to yarn

2.11

2.13

Cotton balls are hand picked from the fields and then cleaned.

Yarn is a long continuous length of interlocked fibres of cotton.

3. Dyeing

4. Spinning

2.15

2.17

2.19

2.15 - 2.16 Illustration and image showing dyeing of yarn 2.17 - 2.20 Illustration and image showing women spinning on charkha

L.J. School of Architecture Gujarat Technological University

2.16

2.18

Textiles can be dyed in the yarn form or weaved fabric form.

Yarn is spun into thin threads on bobbin and prin.

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2.20

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2.21 - 2.22 Illustration and image showing process of warping on beam

5. Warping

6. Sizing

2.21

2.23

2.22

2.24

Warping is the process of creating base yarn that runs along the length of fabric.

Warps are stretched out onto two beams and natural adhesives are applied to add strength.

7. Looming

8. Weaving

2.25 2.27

2.23 - 2.44 Illustration and image showing workers stretching out the warps 2.25 - 2.26 Illustration and image shows dressing of warp 2.27 - 2.28 Illustration and image showing women spinning on charkha

L.J. School of Architecture Gujarat Technological University

2.26

Dressing the warp is done before the warp is loaded onto the loom.

Individual warp threads are drawn through heddles taken through a set of reeds and tied onto beams.

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2.28

The process of weaving on handloom is interlacing of two sets of yarn – warp and wept.

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2.8 PROCESS FLOW CHART

YARN

Other Raw materials

Local Market

Government Organisations

SOCIETY Owner Purchases Raw Yarn

Bleaching, Dying Process Processed Yarn

Processed Yarn

Preparing for weaving, Beaming, Winding Ready to Weave

Processed Yarn

Weaving of the products Finished Product

Finished product

Drying, Packing and Quality Checking Packed Product

Sold in the Wholesale market 2.29

2.29 Flowchart showing the process of making of khadi L.J. School of Architecture Gujarat Technological University

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CHAPTER 3

Casestudy 3.1 3.2 3.3 3.4 L.J. School of Architecture Gujarat Technological University

Pearl academy of fashion, Jaipur Aimer fashion factory, Beijing Imam khadi kendra, Ahmedabad Inferences from casestudies

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3.1 PEARL ACADEMY OF FASHION, JAIPUR Introduction Architect: Location: Type: Project area: Project year:

Morphogenesis Jaipur, India.

Design Centre 11,745 sqm 2008

3.1

• The architecture of the academy is a mixture of modern building with traditional Indo-Islamic architectural elements.

• The building is made using the passive cooling strategies in the hot-dry desert climate of Rajasthan such as courtyards, water body, a step well, and jaalis.

• The institute is in a typical hot-dry climate on the outskirts of Jaipur in Kukas industrial area, about 20 km from the famous walled city.

• The idea was to create a low-cost, environmental sensitive unique campus.

3.1 Map showing site location 3.2 Ariel view of the building 3.3 Isometric view of campus showing the central courtyards

3.2

3.3

Pearl Academy of Fashion, Jaipur is a campus which is designed by creating an environmentally responsive passive habitat within such hot and dry climate. The institute creates interactive spaces for highly creative students to work in multifunctional zones which blends the indoor with the outdoor spaces.

3.4 Diagram showing section which is designed in a way to let air in from all four sides 3.5 Side view of building showing connectivity through steps

L.J. School of Architecture Gujarat Technological University

3.4

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3.5

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Floor plans

3.6

Lower ground floor

3.7

Ground floor

3.6 Lower ground floor plan showing basic zoning 3.7 Ground floor plan showing basic zoning 3.8 First floor plan showing basic zoning

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First floor

3.8

Waterbody

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Courtyard

Passage

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Classification Clearly defined access corridor having formal spaces on one side and view of informal spaces on the other side.

ACCESS CORRIDOR

3.9

3.10

Short vertical mass in comparison to horizontal mass with inward looking arrangement. Functions are stacked at different levels of the building vertically.

3.11

There are public, semi public and private spaces within the institute building zoned according to the functions.

3.9 Diagram showing basic zoning and movement area 3.10 Diagram showing access from all four sides 3.11 Sectional diagram which shows vertical zoning 3.12 Diagram showing activity distribution

L.J. School of Architecture Gujarat Technological University

3.12

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Lower ground floor

Ground floor

First floor

3.13

Classification of areas

3.13 Diagram showing activities and Classification of the areas

L.J. School of Architecture Gujarat Technological University

FORMAL STUDENT AREA Lectures Studio work Workshops Presentation Material labs Discussions Advanced tools

INFORMAL STUDENT AREA Individual Studio work Workshops Model making Canteen Discussions Display gallery Exploring Material labs

CLASSROOMS Individual batch classrooms

ADMINISTRATION Principle office Reception area Accounts HR offices

FACULTY AREA Faculty entry Faculty working Meeting space Faculty offices

INSTITUTE AREA Library Convention centre Exhibition area

AREA Management Offices Head office Staff offices

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Studio work Correction Storage

Resources Design cells Auditorium

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Elements Jaali : • The building is protected from the environment by a double layered element as derived from a traditional building element called “The Jaali” which is element of Rajasthan architecture.

• The double layered element act as a thermal buffer between the building and the surroundings.

3.14

3.15

• The outer layer sits 4 feet away from the building and reduces the direct heat gain through jaali, yet allowing for diffused and soft daylight.

• The jaali thus, serves the function of 3 filters - air, light, and privacy.

3.14 Jaali - which is an element of Rajasthan Architecture 3.15 Perspective view showing exterior facade 3.16 Sectional diagram which shows diffusion of sunlight because of jaali 3.17 Photo showing buffer space between screen and windows for access 3.18 Sectional diagram showing Arrangement of jaalis in a way that a person see outside from eye level

L.J. School of Architecture Gujarat Technological University

3.16

There is greater gap between two course of jallis which serves two purpose of diffusing the light as well as having outer view.

3.17

3.18

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Waterbody: The scooped out shaded underbelly from the building mass forms a natural thermal sink by way of water body called a stepwell. This waterbody along with steps which is thermally banked on all sides serves as a large student recreation and exhibition space.

3.19

Waterbody is located on the south west side so as the air flows and passes through, the temperature of the air decreases.

3.20

3.19 Steps near courtyard which acts as informal space for students 3.20 Diagram showing location of water body and green patch in the plan

Courtyards: The traditional courtyards take on the curvilinear shapes within the regulated form of the cloister like periphery. This curvilinear geometry is generated through shadow analysis tracked through the movement of the sun through the day and across the season.

3.21

3.21 Sectional diagram showing movement of air 3.22 Diagram showing relation between mass and void

3.22

The inner courtyards provide daylight to the classrooms, studios reducing the need of artificial lights. Open glass walled walkways surround the blocks which allows daylight to enter within the space.

3.23 View of courtyard from corridor 3.24 Sectional diagram showing courtyard which provide sunlight and let breeze reach other spaces

L.J. School of Architecture Gujarat Technological University

3.23

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3.24

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Passive cooling method • The architect was able to develop two passive cooling control method to keep the work spaces and courtyards cool at 27 degree Celsius even when it is 47 degree Celsius outside.

• First the entire building is elevated off the ground sucking the air in around the edges of the building which is eventually released up through the open air courtyards.

• A large step well in the center of the building also lays important role in lowering the temperature of the air as it enters the belly of the building.

• Having a recycled water from the on site sewage treatment plant, the well that creates a cooler climate through evaporation.

3.25

Connecting spaces The spaces are designed in such a way that public, semi - public and private spaces blends in a way that they get their own importance even if they are next to each other. The free floor plan at lower ground level is the best example of public and semi - public spaces together.

3.25 Sectional perspective which shows cooling cycle of air through courtyard 3.26 Free floor plan at lower ground level to decrease density of mass 3.27 Sectional diagram which shows connection of public to semipublic to private spaces

L.J. School of Architecture Gujarat Technological University

Public Space (Water body and Steps) Semi-Public Space (Corridors)

3.26

3.27

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Private Space (Classrooms)

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3.29

3.28

Machinery workshop space at ground level for getting more open space.

Niche for displaying students work and to make the corridors more interesting.

3.30

3.31 Multi functional space used by students.

Studio space at center for fetching the natural light.

3.32

3.33 Handlooms in sewing and weaving lab.

3.34

Auditorium used for lectures or functions.

3.35 Dyeing lab.

3.28 to 3.37 Photographs showing interior skin of different spaces

L.J. School of Architecture Gujarat Technological University

3.36

Sewing machines in sewing lab.

3.37 Large openings in canteen space to have connectivity with outside informal space.

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Passage area used for students work display.

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3.38

3.39

Outside seating for canteen to enjoy the water body.

Gym area and indoor activities for students.

Programmatic courses

3.38 and 3.39 Photographs showing interior skin of different areas

• • • •

Fashion design User experience and interaction design Fashion styling and creative direction Animation and VFX

• • • • • • • • • • • • • • • • • • •

Textile design Game design Accessory design Jewellery design Fashion communication Global luxury brand management Graphics and communication design Fashion and life style business management Interior design Digital and social media marketing Product design Digital business and data analytics Fashion business Journalism Advertising and marketing Media and entertainment management Retail and experience design Fashion styling and image design Costume design for film TV and theatre

Highlighted text shows the courses which are adaptable

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3.2 AIMER FASHION FACTORY, BEIJING Introduction Architect: Crossboundaries Location: Beijing, China Type: Factory, Offices Project area: 53000 sqm Project year: 2014

3.40

• The Stakeholders of Aimer firstly approached the Architects in 2004, with a minimal requirement of 14000 sqm gross floor area of factory compound that could house conventional storage with manufacturing, and a capacity of 300 people dormitory.

• However, Aimer grew rapidly in Beijing and across China, the stakeholders quickly foresaw the importance to upgrade factory operation shifting from a production focused business to major and genuine fashion brand.

• Research and Development office, was added in order to reinforce its brand image and adapt to a maturing economy, they also added a 23000sqm distribution center as well as spaces to showcase their products as a fashion brand.

3.41

3.42 3.40 Exterior facade of building 3.41 Exterior facade of building 3.42 External corridor between two different buildings 3.43 Courtyard within the corridor

L.J. School of Architecture Gujarat Technological University

3.43

• They realized facility of 53000 sqm in the year 2014 represents a successful collaboration between Aimer and the designers for rethinking the future of the chinese brand that unify production, brand building with the well being of employees.

• All functions were designed under one roof which resulted in a rectangular stand alone building that presents strength, boldness and authority to the public.

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Factory area Landscape corridor Offices

Ground Floor Plan

3.44

• Cuboidal volume gets divided into two unequal parts by green movement path, which becomes buffer zone between various activities and an interaction space for users.

• Having no specific character else strength, the built form accommodates multiple functions and variety of activities on each floor.

• Internal spatial divisions follows strict structural grid providing rigidity, whereas the movement path breaks monotony and brings flow in the space.

First Floor Plan

Second Floor Plan

3.44 Ground floor plan which shows how a cuboidal space divides into two different functional spaces 3.45 All floor plans showing area distribution

L.J. School of Architecture Gujarat Technological University

3.45

Third Floor Plan

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Fourth Floor Plan

35

3.46

Spatial divisions The spaces divides itself in to work area and movement area following provided structural grid. The division respect existing architecture bringing a fresh touch to internal spaces by breaking the grid.

3.47

Breaking monotony Every floor plan follows the same philosophy as overall built form; following the structural grid and breaking at some points by adding contrasting flowing movement band. This is an interesting volumetric approach towards form based buildings. Diagram above shows similar approach for internal space division.

The Grid : This diagram shows my understanding towards how built grid and free flow movement grid is responding to each other to bring functionality, different activities and spatial interaction between spaces.

3.46 Diagrams which shows development of movement path in between work spaces 3.47 Diagrams which shows development of movement path in between work spaces 3.48 Breaking the mass with voids which acts as buffer space

L.J. School of Architecture Gujarat Technological University

3.48

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Built form 2 6

1

3 7

4 8

5 3.49

1. Storage

2. Inner street

5. Landscape

6. Office

3. Office 7. Conference

4. Public space 8. Entrance

Movement void

Building block

3.50

Building following strong grid

3.49 Perspective diagram showing different spaces 3.50 The fluid form of landscape breaks the monotony of the solid mass of the building 3.51 Diagram showing how movement path breaks monotony

L.J. School of Architecture Gujarat Technological University

Green block

Movement path breaking the monotony

3.51

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Factory community The complex serve conventional factory needs in a modern way, as well as it also creates a factory community. The sense of community for workers is enhancing as the 600 people dormitory separates from the facility with recreational areas in between, generating a distinction between work and living.

3.52

3.53

Dormitory

Recreational area

Factory

3.54

Movement diagram Office

R&D

Distribution 3.52 Plan of site showing relation between built and landscape

Canteen

Workers

3.53 Exterior facade of dormitory

Shop

3.54 Overall view of entire site 3.55 Bubble diagram which explains flow of movement of activities

L.J. School of Architecture Gujarat Technological University

Distribution to stores

Lobby

Production

storage

Movement of material

Visitors to shop

3.55

B.Arch, Design Hub - Revamping Khadi, Ahmedabad Parv Patel - 153541050078

Raw material

Movement of people Workers

Movement of ideas

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3.3 IMAM MANZIL KHADI KENDRA Introduction Location:

Old Vadaj, Â Ahmedabad Type: Workshop Area: 360 sqm Started by: Ramjibhai Badiya

3.56

It is located on the opposite side of Gandhi Ashram. This khadi kendra is run by trust and was under Rambhai Badhiya who tought Mahatma Gandhi how to use charkha in the first place. Gandhiji has initiated the weaving of khadi at Ashram in 1918 with Ramajibhai. Now this place is run by his 3rd generation where they got 3 handlooms out of which only one is in use by his own family member due to lack of skilled labours and a display counter with storage rack.

3.57

3.58

1

3.56 Google image showing the location

3

3.57 Entrance of the khadi kendra

2

4

3.58 Selling counter and display of products 3.59 Schematic plan of the place showing basic layout

L.J. School of Architecture Gujarat Technological University

3.59

1. Product display

2. Hand loom 3. Storage rack 4. Framework

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3.60

3.61

Photos showing the traditional handloom, its structure and an artisan weaving khadi. A very small semi open setup surrounded by trees and few furniture elements. The entire setup is an interesting example of temporary place making, where handloom is in focus.

3.62

3.63

Back side area is filled with unused parts of other handloom along with raw material like thread rolls and tools. The entire layout is a reflection of unused spaces and very casual approach. The cotton rolls are stored on the rack according to the usage.

3.60 and 3.61 Artisan working on handloom 3.62 and 3.63 Storage rack for the material 3.64 and 3.65 Framework used for beaming the cotton

L.J. School of Architecture Gujarat Technological University

3.64

3.65

The framework is used to make thread rolls which are used for base structure of fabric. As images shows, this isn’t really a healthy work space; temporary shelter with metal roof and columns, unplanned layout, no climatic comfort, unnecessary furniture blocks etc. The aim of hand made fabric is above every problems here.

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3.4 INFERENCES FROM CASESTUDIES Pearl academy of fashion, Jaipur: • The design of the building was made based on the climatic conditions, financial and market forces, local availability of materials, use of traditional element and technologies.

• Use of natural resources and use of green energy in the building.

• The building have achieved comfort conditions with less wastage of resources.

• Elements like courtyard, waterbody, jaalis were used to make design more adaptive.

Aimer fashion factory, Beijing : • The different functions were housed under a single facade, so as for the complex to appear as a whole.

• Use of rational volumes to maximize efficiency as a factory is meant to be productive; and the architectural design should be defined according to the suitable volumes for each different function.

• Creating an inner landscape to improve the quality of the factory.

• An amalgamation of spaces which caters production, distribution, R&D, offices and recreational activities.

Imam khadi kendra, Ahmedabad : • An example of semi open space with bare minimum infrastructure where an initiative by 3rd generation of the family of continuing the Gandhian ideology with spinning and weaving is taking place.

L.J. School of Architecture Gujarat Technological University

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CHAPTER 4

Program formulation 4.1 Area calculation 4.2 Area table L.J. School of Architecture Gujarat Technological University

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4.1 AREA CALCULATIONS According to the annual production the scale of the industry or the workshop can be decided.

Small scale = Medium scale = Large scale =

1,00,000 M per year 10,00,000 M per year 50,00,000 M per year

Considering the program, small scale industry is more suitable. There are two types of looms which can be used for small scale industry.

Option 1 - handloom with fly shuttle Option 2 - handloom treadle operated

4.1

The area calculation is based on the standards given by ILO publications ( International Labor Organization ) - Small Scale Weaving which gives details on the different types of looms that can be used and its efficiency.

Khadi is generally weaved on treadle operated looms and fly shuttle looms. As pit looms are not used anymore and the hourly production of treadle operated loom is 1.44m and fly shuttle is 0.48m, the treadle operated looms are considered.

4.1 Table showing hourly loom production

L.J. School of Architecture Gujarat Technological University

The total number of annual working hours are 3000 and annual production necessary is 1,00,000m. Area required for treadle operated loom is 8.4 sq.m.

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Number of looms =

Required Annual Production Annual Working Hours x Hourly production per loom

Number of looms =

100000

= 24

3000 x 1.44

4.2

4.3

The treadle operated handloom has dimensions of 2.5M x 2M along with circulation of 1.5M between each handloom.

4.2 Table showing floor area requirements 4.3 Figure showing area required for handloom and circulation

L.J. School of Architecture Gujarat Technological University

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4.2 AREA TABLE

4.4 Table showing area table of different spaces

L.J. School of Architecture Gujarat Technological University

Space

NO.

AREA SQ. M.

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 26 27

RECEPTION/WAITING DIRECTOR WITH P.A ROOM PRINCIPAL WITH P.A ROOM CONFERENCE ROOM ADMIN OFFICE ACCOUNTS COURSE COUNCELOR MARKETING FACULTY ROOM PANTRY CLASSROOM COMPUTER LAB CAD LAB CANTEEN / KITCHEN LIBRARY STUDIO SEWING LAB WEAVING LAB PATTERN MAKING LAB PRINTING AND DYING LAB TEXTILE TESTING LAB LEISURE ROOM AUDITORIUM STUDENT AREA STORE ROOM SHOP TOILETS

1 1 1 1 1 1 1 1 1 1 4 2 2 1 1 3 1 1 1 1 1 1 1 1 4 1 7

180 55 55 100 35 40 40 40 90 25 60 60 75 200 220 300 110 220 85 85 25 220 350 450 30 25 40

28 29 30 31 32 33 34

RECEPTION/WAITING CHAIRMAN OFFICE WITH P.A OFFICE DIRECTOR OFFICE WITH P.A OFFICE STAFF OFFICE CONFERENCE ROOM EXIBITION HALL TOILETS

1 1 1 2 1 1 3

35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52

RECEPTION DISPLAY AREA MANAGERS OFFICE HANDLOOM AREA SPINNING AREA WARPING AREA SIZING AREA LOOMING AREA SEWING LAB RESEARCH AND DEVELOPMENT PATTERN MAKING LAB DESIGN STUDIO QUALITY CHECK MATERIAL STORAGE ROOM STOREROOM CANTEEN / KITCHEN TERRACE FOR WORKERS TOILETS

1 1 1 3 1 3 3 3 1 1 1 1 2 3 4 1 2 4

20 150 20 500 45 60 70 50 500 100 100 100 45 70 10 200 30 45

53 54 55 56 57 58 59

COMMON PLAZA KHADI SHOP SECURITY CABIN ELECTRICAL ROOM GENERATOR AREA PUMP ROOM LIFTS

1 1 2 1 1 1 1

2300 60 10 40 70 30

60

DUCTS

5

61

CAR PARKING

150

62

2 WHEELER PARKING

220

63

CYCLE PARKING

60

LIGHT NATURAL INSTITUTE 6 5 5 3 6 6 6 6 6 6 8 4 4 8 8 8 6 6 6 6 6 8 0 8 6 4 6

ARTIFICIAL

CIRCULATION

SPACE PUBLIC

PRIVATE

HEIGHT

5 8 8 8 7 6 6 6 7 4 5 6 6 4 6 6 6 6 6 6 6 6 10 5 4 6 4

10 5 5 4 5 4 6 4 6 6 7 6 6 8 6 6 5 5 6 6 5 8 2 8 4 4 4

8 2 2 0 5 2 8 4 2 2 2 2 2 8 8 4 0 0 0 0 0 0 8 8 0 10 4

2 8 8 10 5 8 2 6 8 8 8 8 8 2 2 6 10 10 10 10 10 10 4 0 10 0 6

DOUBLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE DOUBLE DOUBLE DOUBLE SINGLE SINGLE SINGLE

OFFICE AND EXIBITION HALL 60 6 5 80 5 8 80 5 8 600 6 8 90 5 8 300 8 10 30 6 4

10 5 5 6 4 8 4

8 2 2 4 5 10 4

2 8 8 6 10 0 6

DOUBLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE

8 6 8 8 6 6 6 6 8 8 8 8 6 6 6 4 2 6

4 8 5 6 4 4 4 4 6 4 4 6 6 4 2 6 8 4

6 8 2 4 4 4 4 4 4 0 4 0 0 2 0 2 0 0

2 2 8 6 6 6 6 6 6 10 6 10 10 8 10 8 10 10

SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE SINGLE

8 8 6 8 8 8

8 6 4 2 2 2

10 10 0 0 0 0

0 2 10 10 10 10

SINGLE SINGLE SINGLE SINGLE SINGLE

WORKSHOP 4 6 2 8 6 4 6 6 8 2 2 2 4 4 2 6 10 4 10 6 4 6 6 4

4.4

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CHAPTER 5

Site study 5.1 5.2 5.3 5.4 L.J. School of Architecture Gujarat Technological University

Site information Climatic aspects Site analysis SWOT analysis

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5.1 SITE INFORMATION

5.1

5.2

India

Gujarat

Ahmedabad

Site

5.3

5.4

Old Vadaj

Vadaj cross road

Site location

• The site is located in the state of Gujarat in Old Vadaj region of Ahmedabad.

• The site is located near the Gandhi ashram and the Sabarmati railway station.

• The site belongs to Gujarat Rajya Khadi Gramodhyog Board.

• Nearby public transport is old vadaj BRTS, AMTS and Sabarmati railway station.

• Approach to site is from Ashram road which is one the major road.

5.1 Location of Gujarat in India 5.2 Location of Ahmedabad city in Gujarat 5.3 Site location 5.4 Site area and context

L.J. School of Architecture Gujarat Technological University

• The area surrounding the site have residential, commercial and slums.

• Ramapir no tekro which is considered one of the major slums of Ahmedabad is located above the site.

• Road Connectivity: 12 km from thr National Highway (NH8).

• Nearest Airport: 8.5 km from the Ahmedabad International Airport ,Ahmedabad.

• SITE AREA: 11,000 SQ.MT. B.Arch, Design Hub - Revamping Khadi, Ahmedabad Parv Patel - 153541050078

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4

3 5

1

6

2

5.5 1. Site 2. Vadaj cross road

3. Ramapir no tekro 4. R.T.O

5. Gandhi ashram 6. Riverfront park

TP Map Site under – Gujarat Rajya Khadi Gramodhyog Board Plot no – 564

5.6

5.2 CLIMATIC ASPECTS

5.5 Google map showing site location and important buildings within the context 5.6 TP map of selected site 5.7 Graph showing climatic aspects of locality

L.J. School of Architecture Gujarat Technological University

Ahmedabad has a tropical hot and dry climate. There are three main seasons which are summer, monsoon and winter.

5.7

• Climate is generally dry and hot outside of the monsoon season.

• The weather is hot to severely hot from March to June.

• It is pleasant in the winter days and quite chilling in the night during December to February, and the climate is extremely dry.

• Monsoon brings a humid climate from mid-June to September.

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5.8

• Wind direction is from southwest to northeast.

• January- wind direction is from northeast having dry-cold wind. velocity- 8.1km/hr.

• May- wind direction is from southwest to north east. velocity- 10.7km/hr.

• August- wind direction is form southwest to northeast direction. velocity- 9.2km/hr.

5.3 SITE ANALYSIS

5.9

5.8 Graph showing wind behavior during year 5.9 Site analysis plan which shows primary road and bus stops

L.J. School of Architecture Gujarat Technological University

• The area has a good connectivity of public transport like AMTS, BRTS & Metro. Subhash bridge and Rishi Dadhichi Bridge connects the area to the eastern part of Ahmedabad.

• Above map shows the major nodes of the site. The major activities are found on, the major activities on this road are due to road side vendors & due to major connection of public transport like on RTO & Vadaj cross road.

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5.10

5.11

5.10 Plan showing sun path and wind direction 5.11 Plan showing built vs open around the site 5.12 Plan showing slums around the site

L.J. School of Architecture Gujarat Technological University

5.12

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Site surrounding

5.14 Site

5.13

5.16

5.15

5.17

5.18

5.4 SWOT ANALYSIS Strength: • Site with road access from major commercial artery Ashram road.

• Required facilities available nearby.

• Easily approached from the Riverfront road.

Weakness: • Climatic temperature of the region is high with less humidity.

• Surrounded by slums that creates noise pollution.

• Near to Dandi kuch circle which creates traffic problems.

Opportunity: • Economic opportunity to the state promoting khadi.

• Increase in trade and currency.

• Getting facilities leading to fashion at one place.

• Making the icon for khadi as a material.

5.10 Google map of context highlighting the site 5.15 to 5.18 Site surrounding and context

L.J. School of Architecture Gujarat Technological University

Threat: • Approach of site from single side.

• Encroachment of slums from 2 sides.

• Existing competitors in the textile industry.

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CHAPTER 6

Concept and Design development

6.1 Concept 6.2 Design development L.J. School of Architecture Gujarat Technological University

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6.1 CONCEPT

6.1 6.1 Illustration showing form and flow of fabric

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FROM MAKING TO FLOW OF FABRIC B.Arch, Design Hub - Revamping Khadi, Ahmedabad Parv Patel - 153541050078

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Overlapping linear and curved geometry to design interesting pockets and spaces along with play of levels.

6.2

INTERACTIVE SPACES

6.3

The institute should become a common platform for Design students and handloom weavers to interact and invent future of KHADI.

Segregating two buildings on basis of program

Introducing plaza in the center 6.2 Showing interactive spaces and pockets within the plan 6.3 How creativity and workmanship can interrelate due to common plaza 6.4 How fluidity was introduced within the facade

L.J. School of Architecture Gujarat Technological University

Incorporating the fluidity within facade in form of curves 6.4 B.Arch, Design Hub - Revamping Khadi, Ahmedabad Parv Patel - 153541050078

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TITUTE

6.2 DESIGN DEVELOPMENT Zoning

6.5

INSTITUTE

OFFICES

6.5 - 6.8 Diagrams showing the zoning of different spaces

L.J. School of Architecture Gujarat Technological University

INSTITUTE

6.6

INSTITUTE

6.7

OFFICES

6.5

PLAZA

O

OFFICES

PLA

WORKSH

PLAZA

WORKSHOP

6.8

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Evolution of Form

6.9

Initially institute building had individual plaza for students were as a main plaza was created which binds all the three zones.

6.10

Entire campus was divided into three major zones - Institute, Office and workshop following angular grid with the main road.

6.11 6.9 - 6.11 Diagrams showing stages of development of plan

L.J. School of Architecture Gujarat Technological University

Angular grid was superimposed by curves to bring fluidity in design and to response to the form of fabric.

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6.12

The long water channel became edge between open plaza and built form to segregate public and semi-public spaces.

6.13

The institute zone was reoriented with the idea of merging both plaza together; promoting interaction between student and artians.

6.14 6.11 - 6.14 Diagrams showing stages of development of plan

L.J. School of Architecture Gujarat Technological University

Curved geometry was sensitively explored in terms of levels to bring playfulness and identity to each places B.Arch, Design Hub - Revamping Khadi, Ahmedabad Parv Patel - 153541050078

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CHAPTER 7

Final Drawings L.J. School of Architecture Gujarat Technological University

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xit

Entry / E

xit

Entry / E

59

AUD

IT O R

IU M

60

61

SEW

IN G

LAB

62

Movement diagram showing steps of process of Khadi

Exploded Axonometric view

63

Plaza during day and night

It becomes common platform for students and craftmen to interact their ideas and exchange their vision towards KHADI, it will be full of outdoor workshops, exhibition, discussion and many group activities during day time.

The place changes to open public area for citizen to enjoy food and social gathering based activities during night time.

Since the city has less public spaces, i thought of opening this promiseable space not only for students and workers but also for citizens.

Rendered Views

64

Section showing free floor plan and steps for multiple activities, informal space allowing different set of interactions

Part section showing the idea of how passive cooling is taking place in workshop area, providing natural comfort and sky light 65

Dynamic open plaza providing backdrop for multiple social activities and gatherings, It changes from interaction space in the day time to food park during night

Multiple levels are becoming identity of the plaza providing interesting pockets for different activities, surrounded by bold curved facade 66

Aerial View of campus

67

Views within the institute

68

Parking and driveway

69

North light and diffused light within spaces

70

Views showing design parameters

71

Elements

Providing Jalli on the southern facade for defused light.

Waterbody helps in passive cooling and reduces temperature.

Sitting area within cycle parking for Artisans.

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Introducing levels to have individual identity with spaces.

Steps serving students for extra activities and even workshops.

Indulging sittings along with plantations in plaza.

L.J. School of Architecture Gujarat Technological University

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LIST OF FIGURES Fig : 1.1...................................................................................................................10 Fig : 1.2...................................................................................................................10 Fig : 1.3...................................................................................................................11 Fig : 1.4...................................................................................................................12 Fig : 1.5...................................................................................................................12 Fig : 1.6...................................................................................................................13 Fig : 2.1...................................................................................................................16 Fig : 2.2...................................................................................................................16 Fig : 2.3...................................................................................................................16 Fig : 2.4...................................................................................................................16 Fig : 2.5...................................................................................................................17 Fig : 2.6...................................................................................................................17 Fig : 2.7...................................................................................................................19 Fig : 2.8...................................................................................................................19 Fig : 2.9...................................................................................................................19 Fig : 2.10.................................................................................................................21 Fig : 2.11.................................................................................................................21 Fig : 2.12.................................................................................................................21 Fig : 2.13.................................................................................................................21 Fig : 2.14.................................................................................................................21 Fig : 2.15.................................................................................................................21 Fig : 2.16.................................................................................................................21 Fig : 2.17.................................................................................................................21 Fig : 2.18.................................................................................................................21 Fig : 2.19.................................................................................................................21 Fig : 2.20.................................................................................................................21 Fig : 2.21.................................................................................................................21 Fig : 2.22.................................................................................................................21 Fig : 2.23.................................................................................................................21 Fig : 2.24.................................................................................................................21 Fig : 2.25.................................................................................................................21 Fig : 2.26.................................................................................................................21 Fig : 2.27.................................................................................................................21 Fig : 2.28.................................................................................................................21 Fig : 2.29.................................................................................................................22 Fig : 3.1...................................................................................................................24 Fig : 3.2...................................................................................................................24 Fig : 3.3...................................................................................................................24 Fig : 3.4...................................................................................................................24 Fig : 3.5...................................................................................................................24 Fig : 3.6...................................................................................................................25 Fig : 3.7...................................................................................................................25 Fig : 3.8...................................................................................................................25 Fig : 3.9...................................................................................................................26 Fig : 3.10.................................................................................................................26 Fig : 3.11.................................................................................................................26 Fig : 3.12.................................................................................................................26 Fig : 3.13.................................................................................................................27 Fig : 3.14.................................................................................................................28 Fig : 3.15.................................................................................................................28 Fig : 3.16.................................................................................................................28 Fig : 3.17.................................................................................................................28 Fig : 3.18.................................................................................................................28 L.J. School of Architecture Gujarat Technological University

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Fig : 3.19.................................................................................................................29 Fig : 3.20.................................................................................................................29 Fig : 3.21.................................................................................................................29 Fig : 3.22.................................................................................................................29 Fig : 3.23.................................................................................................................29 Fig : 3.24.................................................................................................................29 Fig : 3.25.................................................................................................................30 Fig : 3.26.................................................................................................................30 Fig : 3.27.................................................................................................................30 Fig : 3.28.................................................................................................................31 Fig : 3.29.................................................................................................................31 Fig : 3.30.................................................................................................................31 Fig : 3.31.................................................................................................................31 Fig : 3.32.................................................................................................................31 Fig : 3.33.................................................................................................................31 Fig : 3.34.................................................................................................................31 Fig : 3.35.................................................................................................................31 Fig : 3.36.................................................................................................................31 Fig : 3.37.................................................................................................................31 Fig : 3.38.................................................................................................................32 Fig : 3.39.................................................................................................................32 Fig : 3.40.................................................................................................................33 Fig : 3.41.................................................................................................................33 Fig : 3.42.................................................................................................................33 Fig : 3.43.................................................................................................................33 Fig : 3.44.................................................................................................................34 Fig : 3.45.................................................................................................................34 Fig : 3.46.................................................................................................................35 Fig : 3.47.................................................................................................................35 Fig : 3.48.................................................................................................................35 Fig : 3.49.................................................................................................................36 Fig : 3.50.................................................................................................................36 Fig : 3.51.................................................................................................................36 Fig : 3.52.................................................................................................................37 Fig : 3.53.................................................................................................................37 Fig : 3.54.................................................................................................................37 Fig : 3.55.................................................................................................................37 Fig : 3.56.................................................................................................................38 Fig : 3.57.................................................................................................................38 Fig : 3.58.................................................................................................................38 Fig : 3.59.................................................................................................................38 Fig : 3.60.................................................................................................................39 Fig : 3.61.................................................................................................................39 Fig : 3.62.................................................................................................................39 Fig : 3.63.................................................................................................................39 Fig : 3.64.................................................................................................................39 Fig : 3.65.................................................................................................................39 Fig : 4.1...................................................................................................................42 Fig : 4.2...................................................................................................................43 Fig : 4.3...................................................................................................................43 Fig : 4.4...................................................................................................................44 Fig : 5.1...................................................................................................................46 Fig : 5.2...................................................................................................................46 Fig : 5.3...................................................................................................................46 Fig : 5.4...................................................................................................................46 L.J. 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Fig : 5.5...................................................................................................................47 Fig : 5.6...................................................................................................................47 Fig : 5.7...................................................................................................................47 Fig : 5.8...................................................................................................................48 Fig : 5.9...................................................................................................................48 Fig : 5.10.................................................................................................................49 Fig : 5.11.................................................................................................................49 Fig : 5.12.................................................................................................................49 Fig : 5.13.................................................................................................................50 Fig : 5.14.................................................................................................................50 Fig : 5.15.................................................................................................................50 Fig : 5.16.................................................................................................................50 Fig : 5.17.................................................................................................................50 Fig : 5.18.................................................................................................................50 Fig : 6.1...................................................................................................................52 Fig : 6.2...................................................................................................................53 Fig : 6.3...................................................................................................................53 Fig : 6.4...................................................................................................................53 Fig : 6.5...................................................................................................................54 Fig : 6.6...................................................................................................................54 Fig : 6.7...................................................................................................................54 Fig : 6.8...................................................................................................................54 Fig : 6.9...................................................................................................................55 Fig : 6.10.................................................................................................................55 Fig : 6.11.................................................................................................................55 Fig : 6.12.................................................................................................................56 Fig : 6.13.................................................................................................................56 Fig : 6.14.................................................................................................................56

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LIST OF FIGURE REFERENCE Fig : 1.1 https://www.telegraph.co.uk/finance/newsbysector/retailandconsumer/11172562/ How-Inditex-became-the-worlds-biggest-fashion-retailer.html Fig : 1.2 https://www.dezeen.com/2018/10/11/local-projects-fashion-for-good-museum-amsterdam-news/ Fig : 1.3 https://www.essentra.com/en/capabilities/design-hub Fig : 1.4 https://www.textiletoday.com.bd/khadi-can-uphold-countrys-traditional-industry-world/ Fig : 1.5 http://www.hamstech.com/blog/wp-content/uploads/2017/07/Hams tech%E2%80%99s-fashion-designing-course.jpg Fig : 2.1 https://www.indiafilings.com/learn/khadi-and-village-industries-commission-kvic/ Fig : 2.2 https://www.exportersindia.com/zabreca/khadi-cotton-fabric-4661184.htm Fig : 2.3 https://i.pinimg.com/originals/79/5f/12/795f12ef83a3446fb8e3f7ec216edeef.jpg Fig : 2.4 https://www.forbesindia.com/article/recliner/khadi-the-fabric-of-our-nation/27772/1 Fig : 2.5 https://theculturetrip.com/asia/india/articles/the-story-of-khadi-indias-fabric/ Fig : 2.6 https://upload.wikimedia.org/wikipedia/commons/1/13/Charkha_kept_at_Gandhi_ Ashram.jpg Fig : 2.7 https://thevoiceoffashion.com/fabric-of-india/crafts-and-textiles/the-state-of-khadi-988 Fig : 2.8 http://whatshouldiworetoday.blogspot.com/2015/03/ Fig : 2.10 - 2.28 https://www.dacottonhandlooms.in/short-story/ Fig : 3.1 - 3.3 https://www.archdaily.com/40716/pearl-academy-of-fashion-morphogenesis?ad_ source=search&ad_medium=search_result_projects

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Fig : 3.40 - 3.47, 3.49, 3.52 - 3.54 https://www.archdaily.com/615891/aimer-fashion-factory-crossboundaries-architects?ad_source=search&ad_medium=search_result_projects Fig : 4.1 - 4.2 http://www.nzdl.org/gsdlmod?e=d-00000-00---off-0cdl--00-0----0-10-0---0---0direct-10---4-------0-1l--11-en-50---20-about---00-0-1-00-0--4----0-0-11-10-0utfZz8-00&a=d&c=cdl&cl=CL1.222&d=HASH37dd460103a744e03230e3.7.3 Fig : 5.6 https://tpvd.openprp.in/ctpvd/index.html?geo_extent=35BOX(8103039.35288177%202413709.24568881,8105483.08556823%20 2415297.69978306)# Fig : 5.7 - 5.8 https://www.meteoblue.com/en/weather/historyclimate/climatemodelled/ahmedabad_india_1279233 Fig : 6.1

https://portfolio.cept.ac.in/archive/khadi-weavers-place/

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BIBLIOGRAPHY

L.J. School of Architecture Gujarat Technological University

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Small-Scale Weaving (ILO - WEP, 1983, 144 p.) - http://www.nzdl.org/gsdlmod?e=d-00000-00---off-0cdl--00-0----0-10-0---0---0direct-10---4------0-1l--11-en-50---20-about---00-0-1-00-0--4----0-0-11-10-0utfZz-8-00&a=d&c=cdl&cl=CL1.222&d=HASH37dd460103a744e03230e3

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Aimer fashion factory - https://www.archdaily.com/615891/aimer-fashion-factory-crossboundaries-architects?ad_source=search&ad_medium=search_result_projects

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Pearl academy of fashion - https://www.archdaily.com/40716/pearl-academy-of-fashion-morphogenesis?ad_source=search&ad_medium=search_result_projects

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Khadi weavers place - https://portfolio.cept.ac.in/archive/khadi-weavers-place/#prettyPhot1[rel-1022622426]/1/

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Integrated handloom center - https://issuu.com/nehanowshath/docs/n.neha_-thesis_report

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Khadi making process - https://www.dacottonhandlooms.in/short-story/

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Khadi making process - http://www.dsource.in/resource/khadi-weaving-sandur-karnataka/making-process

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Khadi : A Cloth and Beyond - https://www.mkgandhi.org/articles/khadi-acloth-and-beyond.html

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Khadi : freedom to fashion fabric - http://employmentnews.gov.in/NewEmp/ MoreContentNew.aspx?n=Editorial&k=72

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MGM khadi - https://mgmifd.org/mgm-khadi/

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Climate dor_3585481

https://www.meteoblue.com/en/weather/week/india_el-salva-

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