Exploring integration of nature and architecture

Exploring thE intEgration of naturE and architEcturE by designing of a TRIBAL MUSEUM

Reeyaa R.

IU543000031

Guided By: Atreya Bhattacharya, Shreya Kaul

Rancharda, Thaltej, Ahmedabad, Gujarat - 382115

approval of Successful completion of B. arch thesis

Submitted to the Institute of Design, Environment and Architecture, Indus University, Ahmedabad

In partial fulfilment of the requirement for the degree of Bachelors of Architecture.

The following Bachelor of Architecture Thesis is hereby approved as credible work on the approved subject carried out and presented in a manner sufficiently satisfactory to warrant its acceptance as a prerequisite to the Bachelor in Architecture for which it has been submitted. It is also to be understood by this approval, the undersigned does not necessarily endorse and approve any statement made, opinion expressed or conclusion drawn therein, but approves the study only for the purpose for which it has been submitted and satisfies the student to the requirement laid down by the thesis committee in July 2020.

thesis title: Exploring thE intEgration of naturE and architEcturE, by designing of a tribal Museum

Reeyaa Rakesh Shah

name and Signature of Student

name and Signature of hod

Prof. Atreya Bhattacharya Prof. Shreya Kaul

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Rancharda, Thaltej, Ahmedabad, Gujarat - 382115

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name of the Student: Reeyaa Rakesh Shah | IU1543000031

tittle of the thesis: Exploring thE intEgration of naturE and architEcturE, by designing of a tribal Museum

guided by: Prof. Atreya Bhattacharya, Prof. Shreya Kaul

head of the department:

department: Bachelor of Architecture, IDEA, Indus University, Ahmedabad

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This thesis began as an exploration of the topic that was interested in since a long time. The internship at Landscape India and working along with the people who worked on explorations of integrating the built and nature was something that drove me to the keen interest in exploring this deep down.

This thesis has been an interesting journey throughout. would like to gratefully acknowledge various people who have been a part of this amazing journey at every steps and stones.

Firstly, I would like to show an enormous debt of gratitude to my guides Prof. Ar. Atreya Bhattacharya and Prof. Ar. Shreya Kaul who have always encouraged me, allowed me to explore the peaks and guided me wherever I found myself lost. I would also like to thank Prof. Ar. Pratik Zaveri for helping me to solve the technical details of the project.

owe my thesis to my parents Rakesh Shah and Archana Shah who have been my strength and happiness in this entire journey along with the craziness of my brother Vatsal Shah who made the environment light and cheerful at home amidst this lockdown and has helped me a lot.

hereby express my sincere gratitude to Prof. Ishita Shah, Miss Rhea M. Patel, Ar. Ankit Gupta, Ar. Ashmita Jain and Ar. Prachi Patel for proofreading the document.

A special thanks to Vinay Sir who has always been extremely generous to guide me at every step of this journey. This thesis would not have been possible without the support of my friends Moksha, Sneha, Steffi, Nidhi, Mausam, Jeet, Keshvi, Mahima, Jayvil, Deep, Jugal, Shreyas and Rushil who have an immense contribution to this journey of architecture and thesis.

Introduction

Aim, Objectives and Method

1.1 The Integration of Nature and Architecture

1.2 The factors integrating Nature and Architecture

1.2.1 Integration at a macro Level - Siting and Massing

Jahaz Mahal

Sarkhej Roza

Dada Hari ni Vav

1.2.2 Integration at a micro level- Spatial Relationships Paths Edges

Thresholds

1.3 The blend of Tribals and Nature

1.4 The tribes of Gujarat

1.5 Tribes and their dwellings

1.6 Frame of Analysis to analyse tribal settlements

2.1 Tribes of Dang: Responses to Nature and Culture

2.2 Dang: Bhils

2.2.1 Introduction

2.2.2 Settlements and cluster

2.2.3 Dwelling

2.2.4 Spatial relationships

2.3 Dang: Kunbis

2.3.1 Introduction

2.3.2 Settlements and cluster

2.3.3 Dwelling

2.3.4 Spatial relationships

2.4 Inferences from tribal study

3.1 Criteria for Case Studies

3.2 Programmatic Case Studies

3.2.1 Madhya Pradesh Tribal Museum, Bhopal

3.2.2 Adivasi Museum, Ahmedabad

3.2.3 Odisha Tribal Museum, Bhubhaneshwar

3.2.4 Tribal Museum, Shilpgram, Udaipur

3.3 Inferences

4.1 Program

4.2 Functions

4.3 Displays of gallery

5.1 Context Analysis

5.2

architEcturE INTEGRATE primitive

naturE TRIBALS settlements CULTURE TRADITIONS material CONSTRUCTION MUSEUM

Nature forms a setting for architecture. The built form can relate to nature in various ways by responding to it or by using it as design elements. A perceptive analysis of man’s most successful journey in shaping his surroundings reveals that the greatest improvements have been affected not by the only attempt to conquer the landscape completely, nor by restoring the landscape as much as possible to its natural state, rather by integrating his works with landscape. Present-day urban centers are found to be nothing but indiscriminate masses of built-up environment. The grim condition of today’s urban scene is mainly due to the chaotic and unorganized process of the growth and urbanization, leading to the death of nature. This study was initiated due to a keen interest in ‘Nature’ as well as a concern for the lack of sensitivity towards it, that exists within our urban structure. This particular lack of sensitivity is reflected in our built forms. The tribals have always proved to be an ideal example of healthy communities, living their lives in integrity with nature. They have an architecture, which is to a great extent nonindividualistic, yet has personal qualities and sufficient identities of its own. They truly believe in the saying ‘Nature as God’. An initial brief study of few tribal societies led to the conviction that these societies have sustained themselves through generations on strength of harmony and balance with their landscape. This is certainly reflected in their built forms. An attempt has been made to study the link between nature and built by observing such tribal settlements through the study of Dangi Bhils and Kunbis being in the close proximity to the site. The understanding of this blend will be reflected in the design of a tribal museum through its architecture and the content as a stage to make people aware about the way tribals have been adopting nature.

“As man proceeds towards his announced goal of the conquest of nature, he is writing a depressing record of destruction- the destruction of earth he inhabits and destruction of life it shares with him.”

Rachel Carson“Silent Spring”- 1962

Society is viewed as being in nature, but not a part of it. Nature is considered by individuals as being ‘out there.’ When we are moving towards exhausting resources, trying to dominate and destroy nature, a few communities like the tribals have maintained a close relationship with nature. Rudofsky’s ‘Architecture without Architects’ gives us a preview of people around the world living with nature causing minimal or no harm to nature. It provides a fascinating lens on “primitive” architecture, exploring both its functional value and its artistic richness, with a focus on tribal structures and ancient dwellings.

The fit between natural and built environment should by common sense be a seamless one. There are numerous ways to understand built-nature relationships, but nature alone cannot be studied in vacuum to understand these relationships. Today, when the people all over the world are concerned regarding the degradation of nature and the negative consequences of this; the traditional ethics of nature conservation could be looked upon as a source of inspiration and guidance for a better future. Perhaps no other culture can provide such a profound variety of cultural practices and ecologically sound relationship with nature as the indigenous tribal communities. Even today in tribal societies, man and nature stand integrated. The tribal man has known nature in all it’s moods and has provided with the ethos of the mental, spiritual and physical facilities, vision, and occupation. Tribal people are better at looking after their environments than anyone else – their survival depends on it. Them being an integral part of landscape instinctively seek a balance in the natural order. Nature is endowed with stones, animals, trees, mountains, rivers, forests, lakes, etc. Therefore, it is interesting to understand how these indigenous societies have achieved harmony with the landscape and how their built living forms reflect the direct representation of this relationship.

To understand the ways of integrating nature and architecture and reflect those studies in the designing of a tribal museum.

- To understand through various examples; the integration of built and nature.

- To analyse the kind of responses of the tribals to nature.

- To design a museum reflecting on the understandings developed and to in-turn make the visitors aware about the depleting responses towards nature in the present world.

- Literature study for understanding the relation of nature and architecture.

- To analyse certain documentations of tribal settlements in Gujarat to understand the relation of tribal settlements and nature.

- To design a museum reflecting on the lifestyle of tribals and their responses to nature.

1.1 The Integration of Nature and Architecture

1.2 The factors integrating Nature and Architecture

1.2.1 Integration at a macro Level - Siting and Massing

Jahaz Mahal

Sarkhej Roza

Dada Hari ni Vav

1.2.2 Integration at a micro level- Spatial Relationships Paths Edges Foci

Thresholds

1.3 The blend of Tribals and Nature

1.4 The tribes of Gujarat

1.5 Tribes and their dwellings

1.6 Frame of Analysis to analyse tribal settlements

“The man-made world is an alternative nature, so to speak, created by artifice and born as a human reflection of the wonder we find in the natural world. The assumption is that there is a direct connection between the two worlds [the natural and the man-made] at both the subliminal and conscious levels.”

Norman Crowe, Nature and the Idea of a Man-Made World (Cambridge, MA: MIT Press)

“Today’smoderncitieshaveatendencytocrushnatureunderfoot,andcoveritinconcrete,tofightagainstnaturein a battle for supremacy. But it doesn’t have to be that way. Architecture can (as Mario Pei advised) ‘let nature in’. Ourhomesandourworkplaces,ourcities,canexistinharmonywithnature,canbeareflectionof naturewithinus.”

Rain

Elements in nature form spatial configurations that help in orientation of the built. In layman’s terms, landscape is generally referred as a natural scenery, more as a styled park in urban areas as a process to add value to manmade places. Unlike the popular meaning, ‘landscape’ is far beyond a static image used as a backdrop. It has multiple meanings; humans evolved; amongst plants and animals, under the sky, upon the earth, near water and all the elements termed as landscape. Any given landscape offers an inspiration to respond in the form of built. Landscape in its true sense is the physical environment around us which constitutes everything we see or sense wherever we are. The term landscape here is used in an inclusive sense, ranging from various regions and scales, from vast open areas to natural structures like that of cluster of trees to a complete region- from a singular unit to a larger setting. Presence of natural elements gives scale, directions and constraints in otherwise undefined place; clues that man decodes and acquires knowledge. These elements provide physical configuration of place and inherent meanings that convey spatial qualities of space.

The enclosure of the built becomes the focus for the context which includes diverse textures, contours, vegetation, water and sky as a whole. Part of a spatial identity is its relation with surrounding spaces. The relation of the built to its site, context, topography, climate, in between spaces or the voids that each individual space relates to. It can have various responses as per the functional or the human experience demand such as the use of the contours on a sloping land or the response to the orchard existing through visual experience or zoning to creating in between spaces and treating the voids as a response of integration of landscape and architecture. The integration of built and unbuilt should not even restrict to the threshold (boundaries). It is beyond those boundaries that relate spaces at a much smaller scale. These relationships of landscape and architecture can be observed at two varying scalesfrom macro and micro levels. The macro scale consisting of the responses of topography to the built, the ground and sky, and the contextual responses while at micro level, the paths, edges, thresholds, materials, courtyards and fenestrations lead to an overall understanding of the relationship of nature and architecture. Mandu, in the state of Madhya Pradesh, Jaipur in the state of Rajasthan and other examples from Ahmedabad, in the state of Gujarat were studied to explore these factors and analyse them.

1.2.1 intEgration at a Macro lEVEl - Siting and MaSSing

At a macro level, the architectural response to the landscape is made through certain factors made of different characteristics such as massing, response to topography, context and siting of the built in reponse to nature. A study was conducted to illustrate these factors and understand the macro scale repsonses of the built and nature (be it land or water).

For understanding the reponses, three examples were selected based on the context and their integrated responses. Jahaz Mahal in Mandu was visited to understand the built and the water responses; how the built acts as a barrier and yet at the same time connects with the water was seen. Sarkhej Roza in Ahmedabad was visited to look at how the built sits in the topography and the context in which it is located. Chilla Bawri in Jaipur was taken to understand the repsonses of the built, context and water.

Studio Architects and Designers - Jessamine Fraser

JahaZ Mahal, Mandu

The built is a transition from land to water and also as a connection between the two water bodies. The condition of the site is such that two types of relationships are developed. The relationship between : 1. Land and water

2. Two distinct bodies of water

The built is a transition from land to water and the connecting elements between them. The condition of the site is such that two types of relationships are developed. The relationship between : 1. Land and water

2. Built with context

From this case study, it is understood that the distinction between two domains of land and water can be brought together into sharp relief by a way that the building becomes a barrier separating the two. Consequently, the architecture of the place acts as a connector and an integrating agent in nature. Moreover, the surface that faces land is elaborated and layered with elements of relief and shade that renders the surface with zones of shadow, breaking up the surface and giving it depth, that invites the nature blending it with the architecture inside.

In Fig 1.3 f), the courtyard and the volume of the tree affects the volume of the overall space blending with nature and hence creating harmony. In Fig 1.3 g), the pavilion and the openings to the outside framing a definite frame to the outer water edge.

In Fig 1.3 h), the jali is made with a purpose of creating small visions to the surroundings. These elements and the response to ground plane connects the nature and the built.

From this case study, it is understood that the distinction between water and built can be dealt with, in response to the topography of the place itself. Hence, the architecture of the place acts as a connecting and an integrating agent in nature. Also, the ground plane rises hierarchically, yet appearing one from outside. The low horizontal spread of the built mass and absence of any strong form makes nature as the dominant feature of the whole setting.

Location of Jahaz Mahal with reference to Jami Masjid to understand the topographical location of the palace.

Schematic plan of Jahaz Mahal showing the response of the built form and water

Munj Lake Kaphur Lake

The relationship between two distinct water bodies

The relationship between domains of land and water

In Fig. 1.2 f), the opening with an arch generating a frame to the lake in front. In Fig. 1.2 g), the gated arch creating a sense of flow of nature integrated by the architecture.

Fig. 1.2 a)

Fig. 1.2 b)

Fig. 1.2 c)

Fig. 1.2 d)

Fig. 1.2 e)

Fig. 1.2 f) Fig. 1.2 g)

Expression of ground plane

Fig. 1.3 d)

Fig. 1.3 f) Fig. 1.3 g)

Fig. 1.3 h)

Location of Sarkhej Roza with reference to the water body and the urban fabric it is built in.

Fig. 1.3 a)

Fig. 1.3 b)

Schematic plan of Sarkhej Roza showing the response of the land and water

Fig. 1.3 c)

Expression of fenestrations to connect to the nature

Fig. 1.3 e)

chilla BaWri, Jaipur

The built is a transition from land to water. The purpose is to collect water from the ground. Hence, the built gradually moves down to the ground in response to the water level and hence develops two major relationshipsThe relationship between :

1. Land and Built

2. Built and Sky

In Fig. 1.4 d) and Fig. 1.4 e), the ground line creates a coherent relation with the topography.

In Fig. 1.4 f) and Fig. 1.4 g), the sky is shown in response to the ground and the built. It creates a certain frame for the light to enter in the stepwell.

In Fig. 1.4 h) and Fig. 1.4 i), the ground modulations are seen in response to the ground and the context.

From this case study, it is understood that the built and water can be integrated in a very subtle manner so that it intervenes with the topography while createing spaces for experience, thermal comfort, and light by going down the ground plane. It is also evident that the ground, wall, and sky planes play a significant role in creating a harmonious blend of nature and architecture. The use of natural material i.e. that stone in the built area solidifies the importance of nature.

1.2.2 intEgration at a Micro lEVEl - Spatial rElationShipS

At a micro level, the architectural response to the landscape is made through certain factors made of different characteristics such as in-between spaces and inside-outside spaces. A study was conducted to illustrate a range of factors - the holistic integration of landscape and architecture through spatial qualities like paths, edges, foci and thresholds.

The book “FORM AND SPACE IN LANDSCAPE ARCHITECTURE” by Catherine Dee talks about these factors which define spatial qualities integrating landscape and architecture.

Based on my understanding of the book, certain examples were illustrated forming the parameters of integration. Moreover, the same parameters were considered through different approaches. Finally, based on the book, illustrations, and other theories, the inferences were established for the integration of landscape and architecture to the design approach.

Location of Chilla Bawri in reference to the surrounding context of residential fabric.

Schematic plan of Chilla Bawri showing the response of the built form and water

First layer Stage 1

Stage 2 Stage 3

The well

Fig. 1.4 a)

Fig. 1.4 b)

Fig. 1.4 c)

The relationship between domains of land and water

Fig. 1.4 d)

Fig. 1.4 f)

Fig. 1.4 g)

Fig. 1.4 i)

Fig. 1.4 e)

Fig. 1.4 h)

The aroma of the lilies, the mynas chirping, the fossil wood on the barren feet, the feet that carries, carries along the queer, the queer path!

The path that connects, connects the inside out, connects the nature and the architecture!

The path that guides, guides the light and the sound.

The path that illuminates illuminates the light and the sound. The path that connects!

Here, in the book, “FORM AND SPACE IN LANDSCAPE ARCHITECTURE” by Catherine Dee, she talks about the path as a medium of integrating landscape and architecture through different sensorial experiences along with them being spaces for social and recreational activities.

The paths explore the design of linear spaces of movement. They play a crucial role in mediating or facilitating human experiences. The paths are considered to be the principal component in a space which is integrating landscape and architecture as they facilitate experience and use of these spaces. Paths and its integration with the landscape are defined through movement, sense of arrival, or corridor spaces. They can be defined as linear spaces for travel, linking forms that create circulation or linear surfaced areas. Paths are not only used for movement but they also act as social or recreational spaces. The design of the path connects landscape through it by constantly changing views, sounds, scents, warmth, coolness, brightness, and shade and thereby layering the experience of the journey. The arrival and departure of the path is considered to be of great importance as it binds the architecture and the landscape through the medium of the path. Paths may make small interventions in the natural topography or require dramatic modeling of the existing landform. The presence of trees or plants is alone enough for a path to be defined for integrating landscape, to smell plants and touch leaves, or to move from shade to sunlight.

As in Fig 1.5 b), the circulation in spaces of the Gandhi Ashram, Ahmedabad creates sensorial experiences along with elements in the space and the movement pattern within.

As per the Journal: “ARCHITECTURAL CONCEPTS: CIRCULATION” by Portico. Space, the concept of the path is to encounter a sequence of spaces, thresholds, and atmospheres through its choreography by the direction, type of use, frequency of use, and time of use.

The path is often an overlap of the architecture and the landscape. Paths become important when they are choreographed as an interruption to a circulation of space in terms of its usage. It can serve as a guiding light to define the hierarchy of spaces.

As in Fig 1.5 c), the defined paths in spaces of the City Palace, Udaipur define the hierarchy of spaces through collonades and the difference in texture of floor.

As per the Book: “FORM, SPACE AND ORDER” by Francis D.K. Ching, the concept of the path is in the way they link the spaces. Paths can be passing by the space, passing through the space or even something that terminates into the space. In each of the cases, path acts as a medium to integrate landscape and architecture where either the nature remains untouched when the path acts as a pass by space and just connects visually or the path itself acts as a landscape element and passes through the spaces, linking each space to landscape.

As in Fig 1.5 d), the corridor in entrance of Cept University that links the centre ground from the North Lawns and the entrance. It acts as a connecting agent.

Based on all the theories, path can be defined as a means to integrate landscape and architecture by the following three ways:

1. Path as a sensorial experience

2. Path in terms of its usage

3. Path as a linkage to other spaces.

Fig. 1.5 a)

Fig. 1.5 b)

Fig. 1.5 c)

Fig. 1.5 d)

Not us and them, but we; not either-or, but together; not grey, but black and white, not segregated but integrated.

The planned and the unplanned, the corners or the cores, the individual and the social, an edge can be them all.

Edge as a threshold, Edge as a boundary, Edge as a social space, Edge as a link, link of landscape and the architecture.

Here, in the book, “FORM AND SPACE IN LANDSCAPE ARCHITECTURE” by Catherine Dee, she talks about edges as interlocking forms or places of transition that enclose and separate different spaces. Edges ‘knit’ the fabric of the landscape together and connect architecture to landscape and vice versa.

Edges are also defined as social spaces and as an interface of landscape and architecture. Edges as social spaces also provide opportunities for integrating human life and architecture along with the integration of landscape and architecture. They are potentially vibrant in social environments. In public spaces (depending on the cultural context), people frequently choose to sit, wait, or occupy edges of spaces rather than positioning themselves more centrally. Therefore, an edge is a major element defining the purpose of social space.

Additionally, the author talks about the edge as a transition of landscape and architecture. The ‘hybrid linear space’ around buildings that is both landscape and architecture is an edge. In architectural language, elements like thresholds, colonnades and columns, walls, and permeable structures also act as edges. They provide opportunities to integrate, complex, rich, and subtle spatial transitions.

As in Fig. 1.6 b), the edges in cases of pols of old city of Ahmedabad create social edges due to the thresholds for social gatherings of people.

In the paper: “ARCHITECTURAL OF THE EDGE: AN EARLY MANIFESTO” by Emmet Truxes, the concept of the edge is that it affords physical passage (from external to internal), temporal passage (by changing its meaning over time), and perspectival passage (by creating a unique set of relationships for every user). By the thresholds, not necessarily a defined edge, even by the changes in the material textures simply, the edges are more predominantly defined which leads to the segregation of spaces and integrating nature into architecture.

As in Fig. 1.6 c), the edges in cases of Cept, Ahmedabad, creates thresholds and hence define spaces not through boundaries but just by the change in material textures.

As per the Journal: “EDGE CONDITIONS: ZONES WHERE INTRIGUE HAPPENS” by Andre LH Baros; Building Dialogue, the concept of the edge is the boundary zone where most of what intrigues us happens; the beaches, the sunsets, of architecture. Like waves on a shoreline, the edge conditions ebb and flow and are in constant states of change; existing as neither land nor water, they are both and neither. The edge conditions of cities wander, change, and move, attracting people to them. They exist at different scales and even at different times. They provoke discussion because, by their very nature, they are not us-and-them but we; they are not either-or but together; they are not black or white, or even grey, but black and white.

As in Fig. 1.6 d), the edges are an intigued boundary in case of integrating landscape and architecture. The nature may integrate with the architecture in a way that an edge is not a defined boundary, yet it connects the two.

Based on all the theories, edge can be defined as a means to integrate landscape and architecture by the following three ways:

1. Edge as a social space

2. Edge as a threshold (material and textures)

3. Edge as an intrigued boundary.

Fig. 1.6 a)

Fig. 1.6 b)

Fig. 1.6 c)

Fig. 1.6 d)

That is the supreme, that is the kernel, that is the dominant, that is the foci. It determines reality, it represents symbolism, it narrates landmarks, it is the focus. It attracts, it gathers, it differs, it discretes, it connects, it compounds, the people and the nature.

Here, in the book, “FORM AND SPACE IN LANDSCAPE ARCHITECTURE” by Catherine Dee, she talks about Foci as landmarks but is not limited to referring to it. Foci describe both forms and places that attract people or are visually dominant and distinctive – differentiated from their context.

Foci is a collective term that marks a spiritual, cultural, or social significance attracting people and becoming a gathering point. As travelers we use landmarks to help orient ourselves. Landmarks aid people in distinguishing their spatial location because of their ‘differentiation’ in form from their context. They, therefore, play important roles in helping people to find their way about and in the creation of mental maps of places. It also aids in providing better judgement of distance. Buildings can be sited and designed as landmarks in places. They can contrast with or accentuate topography and can also dominate high places. Thus, a building itself may act as foci in cases where it completely contrasts with the context. It marks itself as a dominating character to the fabric and therefore becomes easily noticeble by the people.

As in Fig. 1.7 b), the built in case of Gandhi Ashram, Ahmedbad (Gandhi’s House) shows the built as foci and yet responds to the nature around.

It acts as a landmark on the site context.

As per the theory: “FOCAL POINTS” by Knorr Architecture Blog, the concept of focus is of depicting symbolism. It acts as a reason for the investigation of form and space. It anchors the architectural composition. Every piece of architecture is of course symbolic in its own right, as well. Focus as symbolism not only reflects the function of buildings but also emphasizes the context and forms of cultural identity.

As in Fig. 1.7 c), the carvings of the Sidi Saiyad Jali acts as a foci along with its symboliv value. It connects nature and architecture symbolically and also the jali brings in the filtered light in the mosque

As per the Blog: “DOMINANCE: CREATING FOCAL POINTS IN DESIGN” by Steven Bradley; Web Design, the concept of focus is creating focal point by dominance through the emphasis of one or more particular elements. Dominance relies on contrast since without contrast everything would be the same. Dominance is the varying degree of emphasis. The greater the visual weight, the more an element will attract the eye and exhibit dominance; creating a focal point. The difference in size, shape, color, value, depth, texture, density, saturation, or orientation creates dominating focus points and hence can establish a link between the architecture and the landscape by addressing the importance of each through dominating elements.

As in Fig. 1.7 d), the pavillion in the Sarkhej Roza complex stands as a focus and holds a symbolic significance. Even though it stands up from ground, it merges with the context and nature through ground plane and vision.

Based on all the theories, foci can be defined as a means to integrate landscape and architecture by the following three ways:

1. Foci as landmark

2. Foci as symbolism

3. Foci as dominance

Fig. 1.7 a)

Fig. 1.7 b)

Fig. 1.7 c)

Fig. 1.7 d)

The textures altered, the senses reflected, the experiences fostered, the thresholds perceived.

The threshold perceived as, as the breathing space, the unaltered space, the in between space.

The space that transits, the inside and out, the boundary that manifests, physic or psychic.

Here, in the book, “FORM AND SPACE IN LANDSCAPE ARCHITECTURE” by Catherine Dee, she talks about thresholds as the spatial components that provide for integrated, subtle, and complex transitions through architecture and landscape. Like edges, thresholds also ‘knit’ the fabric of architecture and landscape together but unlike edges they are ‘centered’ rather than linear spaces. They are defined by spaces of approach or material textures.

Just as buildings have spaces specifically devoted to arrival and the social, cultural, and practical activities associated with this; so entrance areas are important spaces in the landscape also, affecting the transition between one environment and context and another. Thresholds are usually relatively small spaces that enable people to carry out activities associated with transition or simply give ‘breathing space’ between one experience and another. A change in paving can also mark a threshold by defining a transitional space. The difference in material textures creates thresholds integrating landscape and architecture. It marks the beginning and end of something. Differences in textures created may mark as the beginning of the landscape and end of architecture or vice versa or it might integrate based on the design approach.

As in Fig. 1.8 b), the differene in texture is created in Gandhi Ashram, Ahmedabad which acts as a threshold in integrating nature and architecture.

As per the theory: “PHYSIOLOGY AND PSYCHOLOGY”, the concept of the threshold is the starting point for a new state of experience. It is defined as the threshold of the interior and the threshold of the exterior- the point at which experiences begin and all the elements that create these experiences. The difference created due to spaces, light, texture, and many other factors may create thresholds either physic or psychic.

As in Fig. 1.8 c), the plinth of the Cept University, Ahmedabad that connects the basement and the north lawns acts as a threshold giving the user a new state of experience while moving from inside to out.

As per the Essay: “TERRITORIAL BEHAVIOUR” by Desmond Morris, the concept of the threshold is of the Tribal Territory. Essentially, the tribal territory consisted of a home base surrounded by extended hunting grounds. Any neighboring tribe intruding on our social space would be repelled and driven away. As these early tribes swelled into agricultural super-tribes, and eventually into industrial nations, their territorial defense systems became increasingly elaborate. The tiny, ancient home base of the hunting tribe become the great capital city, the primitive war-paint became the flags, emblems, uniforms, and regalia of the specialized military, and the war-chants became national anthems, marching songs, and bugle calls. Hence, it talks about the threshold at a larger scale as a territorial boundary.

As in Fig. 1.8 d), the built in the case of Sarkhej Roza acts as a territory or a boundary created around the lake. The steps and the built act as a territorial boundary or a threshold to nature.

Based on all the theories, threshold can be defined as a means to integrate landscape and architecture by the following three ways:

1. Threshold as changes in texture

2. Threshold as a new state of experience

3. Threshold as tribal territory

Fig. 1.8 a)

Fig. 1.8 b)

Fig. 1.8 c)

Fig. 1.8 d)

In the tribal societies, where life is closely integrated with rhythms of nature, the basic harmony with it still exists. The eternal cycles of creation and distribution, life and death, growth, maturity, and reproduction of plants and animals, the change in seasons as well as the movement of the earth around the sun, are all rhythmic and are integrated into their lives and existence. These cycles produce a direct relation with the built forms. The use of spaces keeps on changing as per the cycles. The built itself is not predetermined but grows organically. The built evolves a deeper sense of belonging due to the use of locally available materials and seems strongly anchored to the ground. The low lying, earth hugging built forms give a sense of their integration with the landscape. The distinction between inside out spaces is softened by extending the spaces beyond their physical boundaries. The spaces flow out to fuse with the landscape. The structural discipline is determined by the nature of the materials used. A basic sense of form and function, use of material and construction as well as the selection of suitable surroundings are deeply integrated with the landscape. The tribal communities have agriculture as the main source of their survival. They started settling around the spaces where they had rivers, forests, and agricultural lands in their proximity. The tribals are surrounded by different spirits of nature. They have animalism in which they worship all living things including trees and animals. These objects conveyed specific meaning to them and were treated similarly to God. Nature was equal to Godliness. Festivals symbolize cultural, social, and religious aspirations which, besides helping them to lead an enjoyable life, creates recreation. They are primarily agriculturalists, so their festivals are performed in their fields or open lands of the village celebrating the beginning of farming.

TRIBES-

In Sanskrit, the term for them: “adivasi” derived from “adi” means original and “Vasi” means inhabitants. They live under different environmental conditions, and are fully dependent on nature.

“Tribe is group of bands occupying a contiguous territory or territories and having a feeling of unity deriving from numerous similarities in culture, frequent contacts and a certain community of interest.”

- Ralph Linton (American anthropologist)

A tribe is a social group, which occupies a definite area. It is characterized by cultural homogeneity and a unifying social organization. The identity and culture of tribes are closely linked to the natural resources and the environment in which they inhabit and depend on.

Gujarat accounts for 8.1% of the Tribe population of the country. The tribal population of Gujarat, numbering 89.17 lakh, constitute 14.8% of the state’s population. They are concentrated in the eastern districts, from Mt. Abu on the Rajasthan border in the north to Dahanu district on the Maharashtra border in the south. Various sects of Adivasi, mainly of Bhil Tribe and Konkan origin reside in this region. The origin of the tribal people of Gujarat is based on their migration from other countries like the Siddis who are a group of tribal people who have migrated from East Africa. Similarly, the Rabaris and the Mers have migrated from the Mediterranean. There is a true belief in the tribal people of Gujarat that all the objects such as stones, places, and creatures are full of spiritual nature, so they are very religious. The occupations acquired by these tribes are agriculture, fishing, hunting, etc.

Fig. 1.9 Gujarat Tribal Belt

“Let nature be your guide through this contemplative process, and consider how nature communicates with our hearts and spirit through patterns and images that subtly appear through texture, shape, color, sound, taste, and smell.”

1.5

Gujarat is a state with maximum tribal heritage. The tribes of Gujarat are mentioned along with their dwelling types which differs according to their culture and economical status.

Based on the above studies, the integration of architecture and landscape is possible through various factors at both the macro and micro levels. These elements give a tangible experience of nature. They define the physicality of the site. However, these elements may not always exist in a natural context of the site and therefore are used as design elements. Moreover, these elements may occur naturally in context or one may artificially introduce them. These are used as tools for integrating architecture and landscape.

The respect of primitive and vernacular builders for innate qualities and characteristics of materials is worthy to study since they accept constraints and treat the influence of time and weather as allies rather than enemies.

The frame of anlaysis for the tribal houses is based on the understandings of the book Form and Space in Landscape Architecture. Based on the understandings of these factors , the frame of analysis is set to analyse the tribals to understand their repsonses of integrating nature and built. The study is done to understand the factors at both macro and micro level i.e from the tribal settlements and clusters to an individual dwelling.

Siting

Form and Massing

Macro Micro Paths Edges

Foci

Thresholds

Settlements

Cluster

Dwelling

BhilS KunBiS WarliS

gaMitS dhodiaS raBariS

Image 1.1

Image 1.2

Image 1.3

Image 1.4

Image 1.5

Image 1.6

INTRODUCTION TO REGION-

Dang district of Gujarat state is a tribal-dominated district approximately 190 km away from Garudehswar (Site) and 210 km away from Ahmedabad. Dang region is known for its tribal culture since 98% population are tribals who have been residing there for years due to its natural context consisting of two major tribal communities - Bhil, Kunbi, and Warli. The Dangi tribal is mentioned as a wretched lot with practically no clothes, constantly migrating from one place to another. They live in isolated groups, eat from whatever little they grew, and supplement food with hunting whenever they run out of grains. The forest provide everything – food and game, habitat and a place to move around freely where and when they please. They live in houses made of bamboo and discard them on the slightest doubt of an evil spirit moving around them.

TOPOGRAPHY-

The Dang district is a part of the eastern hilly region which is subdivided into two sub-micro-regions, namely, Lower Dangs and Upper Dangs based on physiographic climate, geology, soils and natural vegetation. Leaning into Maharashtra, the Dangs in the North is surrounded by Surat and Dhulia districts of Gujarat and Maharashtra respectively. The soils in the Dangs range from red to black. Red soil is found along with the upper parts of the valley and black soil in the plain of the western Dang. In some parts medium loam to sandy loam type is found.

CLIMATE-

The Dang lies at 214m above sea level. The prevailing climate in Dang is known as a local steppe climate. The average annual temperature varies from 16 c in winter and 40 c in summer. The average temperature of the region is 26 c. During the year there is little rainfall. Rainfall occurs from south-west monsoon from June to September. Occasionally it showers from November to February. The average rainfall in a year is 1706 mm.

2.1 Tribes of Dang: Responses to Nature and Culture

2.2 Dang: Bhils

2.2.1 Introduction

2.2.2 Settlements and cluster

2.2.3 Dwelling

2.2.4 Spatial relationships

2.3.1 Introduction

Fig. 2.1 Dang District

The Bhil tribe love arrow and bow and it is believed that their name emerged from dravid language word “billu” means bow and arrow. Bhil tribal community mainly live in Banaskantha, Sabarkantha, Panchmahal, Bharuch, Vadodara, Surat and Dang districts.

POPULATION-

In Gujarat the population of Bhil tribe is 34,41,945 as per Census Report 2001. Bhil Tribe are 46% of total tribal population of the state.

OCCUPATION-

agriculture is the main occupation of Bhil community. They live in their settlements where there are river and forests nearby. Bhils have also adopted various occupations related to construction.

BUILDING MATERIAL-

They use wood, stone, mud, bamboo and manglore tiles for the construction of their houses.

FESTIVALS-

The main festival of Bhils is gol gadhedo which is celebrated after Holi. This is a specific ritual where in matured boys and girls select their marriage partners. The ceremony is organized as a fun-fair being a part of the festival.

DRESS AND ORNAMENTS-

Bhil mens wear Dhoti, Kurata and Safa-head gear and ornaments like ring and Tabij in neck The women wear Ghagara, Choli and Odhani and wear rings in toes, rings in fingers of hands, Chudia in hands.

RELIGIONS AND BELIEFS-

It is believed that the deities protect their crop and cattle. The deity Khetlo or Khetarpal who look after the farm is worshipped time to time. The majority of the Dangi Bhils practice ethnic religions, and all of them are involved in ancestor worship (praying to deceased ancestors). Their lives revolve around rites, rituals and folk beliefs. Many are animists, believing that all objects have spirits. Trees, animals, demons, serpents, and spirits are worshipped through magical rituals Wagh-Dev, the tiger god, is their sacred animal god and their emblem of worship.

ART-

The villagers are skilled in creating objects out of stone, wood, and clay. Hindu artisans often help them with such crafts. tattooing has also become an art among them.

2.2.2 SEttlEMEnt and cluStEr SETTLEMENT

They have always lived close to nature, depending on it for survival ; where animals are respected and treated as equals. For this reason, they are often called the “children of nature.” The Dangs district contains many protected forests that the Dangs are allowed to use for cultivation and residence.

The Dangi Tribes accept the supremacy of nature and that its uncontrolled forces. Their lives are continuous adjustments to these forces. They live in harmony with other inhabitants of their environment, acknowledging their rights to available resources for survival. They are nature worshippers and any rock or stone resembling any animal or God is worshipped or their images are carved in stone or wood. The settlement is a group of houses scattered in the landscape.

CLUSTER

The formation of clusters depends on the family and the clan structure. The cluster reflects on the security and the sense of belongings to the tribes. The Bhils of Dang form clusters based on clans and families. The community space connects all the clusters. There is an absence of hierarchy in the formation of the clusters. It is completely based on communities. All the dwellings are usually oriented towards the community space. Open spaces are leftover spaces. The relation within the settlement is never of the house to house but of dwelling to either an overpowering element of landscape or to a central open space. They have a clearly defined identity of cluster spaces and community spaces. Normally, a cluster consists of three to four houses where in the residents either have family ties or joint agricultural land. The houses in clusters do not face the outer edge of the cluster and also never face each other, perhaps because of the fear of the neighbors invoking evil spirits. The settlements do not have long open vistas in the form of street line pattern due to the same reason.

Fig. 2.2

Bhils of Dang

Fig. 2.3 a)

Fig. 2.3 b)

Fig. 2.3 c)

Base drawings from Undergaduate Thesis on- Socio Cultural Factors: Their Manifestation in Tribal Architecture( A case study of Dang district, South Gujarat) by Minal Desai

Bhil Settlement

Bhil Cluster

Bhil Cluster Street Network

Relation of man to nature takes precedence to that of man to man in case of the dwellings of the Bhil tribes. Due to their semi-nomadic life in the past, the Bhils had developed a shelter of transient nature, the criteria for its construction being the need for minimum space, convenience and speed in erection and low incurrence of cost on abandonment. After years of semi-nomadic existence, Bhils started to adopt a settled way of life, their shelter went into basic changes in form. Instead of circular form, rectangular form is accepted by the tribes indicating the evolution it went through. The making and erection of houses are done tribals themselves in most of the cases. The building materials are drawn from forests, the agricultural field, and livestock populations. The plinth establishes intangible boundaries between nature and architecture. The shelter echoes the characteristic features, the mood, and the lifestyles as well as rhythms of the landscape. It evolves a deeper sense of belonging due to the use of locally available materials and seems strongly anchored to the ground with the base widening as it meets the ground. The low lying, earth hugging buildings give an impression of a complete static balance. The distinction between inside out is softened by extending spaces beyond physical confinements. The spaces flow out to fuse with nature for a living.

2.2.4 Spatial charactEriSticS

There are three divisions of space in the tribal dwelling. Verandah is the main transition space in the house. There are very few openings due to climatic reasons. Their cattle sheds are within the dwelling and have a common entrance. The movement in the Bhil house is from the open to the verandah to the central division that splits into the kitchen, storage and the cattle shed. The verandah is used for meeting guests and sleeping. Because of better light and ventilation through the verandah acts as a transition, activities like sifting, pounding, grinding, and drying of grains take place in the passage. The kitchen is the private domain of women and also remains to be the darkest area of the dwelling on the absence of openings. The only light it gets is through the perforated wall of bamboo mats. Smoke finds it’s perforation through the same. Partition is provided between cattle area and common passage area. This shows that they value cattle equally as important as humans. They live an outdoor-oriented life. The transition spaces are well lit for spillover activities. It acts as a buffer between the man and the forces of nature.

Spatial rElationShipS-

The distinction between inside and outside is softened by extending the spaces beyond their physical confinements. Apart from these major spatial qualities; certain other aspects also help to understand the integration of landscape and the built.

The movement in the Bhil house is common for the cattle and the humans. Thus, it creates a path for movement which makes it different from other house forms. Here, the path acts in terms of its usage.

pathS

EdgES

The plinth acts as an edge to define the boundaries of the built and the unbuilt. Also, the community spaces formed below a tree in the streets form social edges. Here the edge acts as an intrigued boundary and a social space. The overhang acts as a foci which covers the entire dwelling and is the most predominant element visible from the first sight and appears empowering the entire house. Here, the foci functions as dominance.

Only one entrance, no seperate entrance for cattle

The verandah acts as a threshold and as the main transition space acting as a buffer between man and nature. It creates a space for social interaction and other activities of the house are also performed in the verandah.

Establishing Boundaries

Shelter echoes the features of landscape

Low lying shelter echoes the features of landscape

Fig. 2.4 a)

Fig. 2.4 b)

Fig. 2.4 c)

Fig. 2.4 d)

Fig. 2.4 e)

Fig. 2.4 f)

Fig. 2.4 g)

Fig. 2.5 a)

Fig. 2.5 b)

Fig. 2.5 c)

Fig. 2.5 d)

Fig. 2.5 e)

Fig. 2.5 f)

Fig. 2.5 g)

Fig. 2.5 h)

The term ‘kun’ means people and ‘bi’ means seeds; so Kunbi means those who germinate more seeds from one seed. The community people call themselves Kunbi and others also recognize them as the same. The Kunbi are mainly distributed in Dang district. They are also distributed in the districts of Surat and Valsad.

POPULATION-

In Gujarat the population of Bhil tribe is 43,292 as per Census Report 2001. Kunbi Tribe are 21% of total tribal population of the state.

OCCUPATION-

Kunbis are usually steady agriculturist community They work in their own farmlands only.

BUILDING MATERIAL-

They use wood, stone, mud, bamboo and manglore tiles for the construction of their houses.

FESTIVALS-

They participate in the fairs and festivals of holi; diwali, pitra, nagpanchamai etc. At the time of Diwali, they worship Wagdev (tiger) whom they consider as the king of forest. At the time of Nagpanchami, milk is offered to the snakes in the forest. It is performed in the months of August and September.

DRESS AND ORNAMENTS-

The people of old generation still prefer to put on traditional dress. The children, however, have adopted Bush-shirt and half-pant, whereas youth put on shirt and pant. Girls prefer either old fashioned frock or new fashioned punjabi dress Men put on pant-shirts and women put on either punjabi dress or Saree, blouse and patty-coat/ chaniya.

RELIGIONS AND BELIEFS-

They believe in Sriram, Srikrishna, and Shankar bhagwan. Parasuram bhagwan and other Hindu gods and goddesses of wider pantheon. The goddess Kansari who is the grain giver (annodatri) is worshipped by them.

ART-

The tattooing marks are common among them; which are done at the fairs. They have their own folk-songs and folk-lore. They are very fond of dance and music performed with their traditional musical instruments.

2.3.2 SEttlEMEnt and cluStEr SETTLEMENT

Kunbis have settled at the foothills of Salher mountain ranges by religious beliefs. They are settled at a distance from the river so that they can avoid water floods during heavy rainfall. The settlement is surrounded by fields leased by the government for cultivation. There are no physical boundaries between fields separating them and the lines exist only in government plans. Due to Dang being a mixed tribe district, the settlements of different tribes have distinct identities of their own. They accept the supremacy of nature. Their lives are continuous adjustments to these forces.

They live in harmony with other inhabitants of their environment, acknowledging their rights to available resources for survival.

CLUSTER

The formation of clusters depends on the family and the clan structure. The cluster reflects on the security and the sense of belongings to the tribes. The Kunbis of Dang form clusters based on clans and families. The houses are formed along the street following the natural contours, leading from the road to the dwellings of the poor to that of the affluent Kunbis. They do not have community spaces due to lack of interaction within the tribe owing to the socio-economic variations. They have only one well-defined cluster whose all the dwellings are oriented towards the Salher mountains.

They have comparatively well defined individual property or property of the group and the open spaces are often leftover spaces. Open space in front of dwelling determines form. All dwellings orient toward it. This is because of the acceptance of the superior status of owners of dwelling prevailing over religious beliefs concerning orientation and the beginning of the practice of dwelling within the farm itself.

Fig. 2.6

Kunbis of Dang

Fig. 2.7 a)

Fig. 2.7 b)

Fig. 2.7 c)

Kunbi Settlement

Kunbi Cluster

Kunbi Cluster Orientation

Their houses are oriented towards Salhar mountain ranges or Salhar fort. Their cattle shed are away from their houses. This is because of the evolution of the tribes and their change concerning the animals affected by the change in their economic status. The loft is over the entire area- a planned extension which is a result of vertical expansion due to economic development. The open space connects the verandah to the central division and the backyard in which the central division connects the kitchen and storage spaces while the backyard connects the cattle shed. The volume of the house if more than double the average human height. This has evolved because of the change concerning nature- from being subservient to the attitude of being at least equal to it. The dwelling is at a higher level than the ground level. They live an outdoor-oriented life. The transition spaces are well lit for spillover activities. It acts as a buffer between the man and the forces of nature.

Establishing

Boundaries Shelter echoes the features of landscape

Fig. 2.9 a)

Spatial rElationShipS-

The distinction between inside and outside is softened by extending the spaces beyond their physical confinements. Apart from the major spatial qualities; certain other aspects also support the idea of integration of landscape and the built.

The movement in the Kunbi house is different for the cattle and the humans. Thus, it creates a path for movement which makes it different from other house forms. Here, the path acts in terms of its usage.

pathS

The boundaries of their land establishes a territory around the house marking the ownership of the land. Here, the edge acts as an intrigued boundary.

EdgES

The in between passage becomes the foci in the house where it connects the inside and the outside and also becomes a point of contact to both the spaces. It acts as a central domain. Here, the foci functions as dominance.

The verandah acts as a threshold and is the main transition space between the nature and the built. It not only defines a gesture of entrance but also occupies many activities during the day time due to the character of the space. Verandah Passage Kitchen Sleeping/storage Cattleshed

thrESholdS

Fig. 2.8 a)

Fig. 2.8 b)

Fig. 2.8 c)

Fig. 2.8 d)

Fig. 2.8 e)

Fig. 2.8 f)

Base drawings from Undergaduate Thesis on- In Harmony with Ecology: A study of Dang shelterforms by Anuradha Mukherjee

2.3.4 Spatial charactEriSticS

Fig. 2.9 c)

Fig. 2.9 d)

Fig. 2.9 e)

Fig. 2.9 f)

Fig. 2.9 g)

Base drawings from Undergaduate Thesis on- Socio Cultural Factors: Their Manifestation in Tribal Architecture( A case study of Dang district, South Gujarat) by Minal Desai Plan Section Spatial

Approach

In Dang, the physical elements are built into contours of the land and not forced onto them. The architecture is an uncontrived and indigenous response to specifics of the site and is harmoniously integrated with context, both natural and manmade. The settlements mostly situated in the valley or hill slopes, are protected from strong winds of southeast that carry rains during monsoon. The natural slope and the roof helps in the water flow. The openings are responsive to climate. The use of locally available materials proves to be economical and most suitable to the climate.

The idea of living with nature is seen in shelters. The distinction between the interior and exterior is softened by extending spaces beyond edges and they flow out to fuse with nature. A sense of form and functions, use of materials and construction skills, as well as a selection of surroundings are deeply integrated. The larger rhythms of nature are directly linked with conditions of basic human existence. The shelter forms being an organic outgrowth of its natural surroundings, they make no permanent mark on the landscape.

The inferences are also developed based on the factors studied for integrating nature and architecture.

FAMILY STRUCTURE

Joint families, couples after marriage builts new house nearby.

FAIRS AND FESTIVALS DRESSING BELIEFS AND RITUALS

Governed by Nature (Harvesting Seasons)

Traditional clothings and ornaments depicting nature.

CULTURAL WORSHIP NATURE BUILD WITH NATURE ANIMALS GOTRA(FAMILY NAME)

Nature as God and ornamentation as a reflection of the same.

ECOLOGY

Trees are worshipped having medicinal values. Built respecting topography and the use of natural materials. They are integral part of family.

Associated with nature like Dangia (jungle), Salkia (Tree)

SETTLEMENT PATTERN

CLIMATE

DWELLING

Response to topography with community space as centre. Less openings due to extreme temperature conditions. Minimum requirements fulfilled and multiple usage of space.

Locally available natural materials like bamboo, mud, wood ARCHITECTURE

ECONOMY

MATERIALS

CONSTRUCTION AESTHETICS

Mud plaster, Wodden trusses, wooden doors, bamboo mats

Paintings with relation with nature on walls, mandana floors

LIVELIHOOD

Forest produced collector and agro-based

RESOURCE CONTROL

Judicial use of materials

WASTE CONTROL

Recycling of materials

The tribal settlements respond to the topography. They live close to nature yet a bit away from water body to avoid floods. Tribes practising farming and fishing and with lower economy live close to nature while the tribes that depend on industries for occupation as labors, live away from the rivers at an higher altitude.

Massing

In one tribal community settlement, nodes are formed and acts as a centre foci to connect the individual houses creating spaces for public interactions while in the other tribal community, the streets directly connect the houses in absence of communal spaces or courtyards and that leads to less public interaction.

The verandah becomes the transition space. It acts as a threshold connecting nature and architecture. The low volume of the verandah creates a cosy space for most of the functions of the tribals to take place.

The nodes are formed in between the houses. They are intrigued boundaries and form social edges. They also act as a threshold onnecting inside out, through boundaries and material differences

The natural materials used in construction emphasizes the importance of nature in the lives of tribals. The mud flooring shows the essence of ground plane being carried in. The bamboo walls stay grounded and echoes the features of the landscape. The roof provides cover from climate.

Built forms are a response to the topography. It follows contour lines. This low-lying earth hugging built forms features and echoes the nature in the built

The movement is defined by the central corridor. The verandah acts as a buffer and the corridor connects the inside out and divides the interiors in two spaces as per the use.

The overhang acts as a foci which covers the entire dwelling and is the most predominant element visible from the first sight and appears empowering the entire house. It also protects house from rain.

Fig. 2.10 a) Fig. 2.10 b)

Fig. 2.10 c) Fig. 2.10 d)

Fig. 2.10 e) Fig. 2.10 f)

Fig. 2.10 g) Fig. 2.10 h)

3.1 Criteria for Case Studies

3.2 Programmatic Case Studies

3.2.1 Madhya Pradesh Tribal Museum, Bhopal

3.2.2 Adivasi Museum, Ahmedabad

3.2.3 Odisha Tribal Museum, Bhubhaneshwar

3.2.4 Tribal Museum, Shilpgram, Udaipur

3.3 Inferences

crieria for selection of case studies

The criteria for selection of case studies was majorly the programmatic aspect of the study; all of them being the tribal museums to understand the display content of the museums.

i) Madhya Pradesh Tribal Museum, Bhopal

This museum was visited to look at the spatial layout of the museum and the displays of the galleries along with the play of volumes and the light quality inherited by different galleries.

ii) Adivasi Museum, Ahmedabad

This museum was visited to look at a complete different character of the displays (all being indoors) and the type of displays inside which created a journey within.

iii) Odisha State Museum, Bhubhaneshwar

This museum was looked at to understand the overall forming of the campus and the program that led to the development of the same.

iv) Tribal Museum, Shilpgram, Udaipur

This museum was looked at to understand the outdoor displays and the overall spatial configurations.

criteria for analysis of case studies

The case studies were analysed based on the spatial configurations, integration of spaces with nature through courtyards, thresholds and in between spaces along with the understandings of the displays.

3.1 critEria for caSE StudiES

3.2.1

The idea of this tribal museum resonates with the large section of society- the audienc, as the meaningfulness of the museum depends on their joining and maintaining dialogues. The museum is set up for the living aspects of tribal life, indigenous knowledge systems, and aesthetics.

The spaces in the museum are as listed:

Galleries

Photography Gallery

Terracotta Workshop

Wood Workshop

Auditorium

Amphitheatre

DISPLAY CONTENT-

GALLERY ONE

Cultural Diversity-

Geographical Locations

Reserve Collection

Dormitories

Souvenir Shop Admin Office

Pantry Library

State Government

Banyan Tree (State tree and emblem)

Banners and scrolls of maps

Granary made of clay, bamboo and cow dung

50 People working

GALLERY TWO

Tribal Life-

Open courtyard with dwellings of tribes

Gond Architecture through display of remains

Museum: 12 PM to 8 PM

Staff: 10.30 AM to 5:30 PM

Photo Gallery DisplayChanged every month

Sunday- 6:30 to 9 PM (Capacity of 500 people)

Approximate built up area8000 sq. mts.

MadhYa pradESh

triBal MuSEuM, Bhopal

Wedding Pillar

GALLERY THREE

Tribal Aesthetics-

Bamboo myths and products

Awakening of Earth (tree showing instruments presented to lord

Mahadev for bringing sounds on Earth)

Story of Ancestors (installations of myths and canvas)

Wedding Pavilion

Origin of Tools

GALLERY FOUR

Tribal Spiritual World

Worship places, statues and myths explained of the tribal Gods and Goddesses

GALLERY FIVE

Tribal Games

Served In Between Serving

A very significant activity of this Institute is the organization of a tribal museum where the collection of the various artifacts provides a vivid visual picture of the different facts of tribal life, culture, and art. The Institute’s museum has occupied a significant place in the state for the promotion of tribal art.

With the opening of the Adivasi Research and Training Centre at Vidyapith in 1962, a museum was opened in 1965 to display things related to their lives. Details about Adivasi lifestyle, clothes, and other aspects of their life are displayed in a lively manner in the museum. The spaces in the museum are as listed:

Galleries

Centrality and the defined importance of the amphitheatre. All the spaces open towards it, making it the core.

Organisation of the galleries itself guides movement within them connecting all the aspects of tribal life.

The openings of each gallery open up to the courtyards connecting the architecture to nature. The overlooking spaces created the blend of nature to the built.

State Government

3 People working Museum: 11 PM to 5.30 PM Staff: 10.30 AM to 6 PM

Permanent DisplaySupported by visual displays Approximate built up area1000 sq. mts.

DISPLAY CONTENT:

GALLERY ONE

Geography locations of tribal societies of state

Tribal Artifacts displaying life, culture and art

Showcases of tribal attires and ornaments of state

Tribal weapons and instruments kept in boxes

GALLERY TWO (INDOOR)

Tribal houses replicas

Photography Gallery Admin Office Library 3.2.2

adiVaSi MuSEuM, ahMEdaBad

Information on each type of tribal house of state

Also displays their culture and daily way of living.

Display screens with visuals narrating the same.

GALLERY THREE (OUTDOOR)

Transformation in tribal lifestyles

Showcasing the present day lifestyles of tribals and their settlements in a gist through replicas of their houses.

The indoor museum is set in a way that it gives the reflections of tribal area. The flooring is done with mud and the materials used are exact replicas of the tribal houses.

outdoor museum is set in a way that it exactly responds to the tribal settlements in terms of common spaces and verandahs.

Image 1.7

Fig. 3.1 a)

Fig. 3.1 b)

Fig. 3.1 c)

Fig. 3.1 d)

Image 1.8

The

Image 1.9

Image 1.10

Fig. 3.2 a)

Fig. 3.2 b)

State Government

The Tribal Museum located at the CRP Square in Bhubaneswar, was established in 1953. On display are immaculate replicas of tribal huts of various tribal communities and artefacts collected from different tribal groups in Odisha. Odisha has over 60 tribal communities adds significance to this unique museum which is the reason and it is also known as “Museum of Man”. The functions included are:

Gallery

Photo Gallery

Anthropology

Library

Souvenier Shop

Food Kiosks

DISPLAY CONTENT:

GALLERY ONE (INDOOR)

Perosnal Adorment. It displays human sense of aesthetics as expressed through attires and ornaments.

GALLERY TWO (INDOOR)

40 People working

Textile, Personal belongings, art and craft. It displays skill and craftsmanship through paintings and textiles.

GALLERY THREE (INDOOR)Weapons of Offense and Defence

Skills of hunting and fishing are demonstrated along with the weapons and tools used.

Museum: 10 PM to 5 PM

Staff: 9 AM to 6 PM

GALLERY FOUR (INDOOR)

Household Objects and Agricultural Implements

It displays simple life of home and hearth of tribals.

Permanent Display-

Supported by visual displays

GALLERY FIVE (INDOOR)

Dance and Musical Instruments

It houses a collection of tribal instruments and dance forms of tribals.

Approximate built up area10,000 sq. mts.

GALLERY SIX (OUTDOOR)

Tribal Shrines

In the courtyard of the museum, shrines are placed.

SPECIAL GALLERY (PVTG WORLD)

Through combimation of diorama and interactive kiosks, it shows introduction to life and culture of tribes.

Situated 3 kms west of Udaipur near the Havala village is the Centre’s Shilpgram - the Rural Arts and Crafts Complex. Spread over an undulating terrain of 130 bighas (70 Acres) of land and surrounded by the Aravallies, the Rural Arts and Crafts Complex is conceived as a living enthnographic museum to depict the lifestyles of the folk and tribal people of the West Zone. Within this complex, huts of the member states are constructed incorporating traditional architectural features of different geographical and ethnic groups residing within the West Zone of India comprising of five Federal States. The functions it includes are:

Gallery displays

Crafts Complex

Workshops/Seminars

Guest House

DISPLAY CONTENT:

GALLERY ONE (INDOOR)

Tribal Aesthetics

State Government

10 People working Museum: 11 AM to 7 PM

Staff: 9 AM to 8 PM

Household articles of everyday use, agricultural or craftsmen’s tools, etc. are featured with appropriate signages and explanatory details.

GALLERY TWO (OUTDOOR)

The huts are constructed around an interlocking occupational theme. It also as displays an affirmation of how geography and needs have given rise to such a variety in this most basic of occupations.

GALLERY THREE (INDOOR)

The hut from Sam (Marwar) is planned as the Activity and Documentation Section where workshops, seminars etc.can be organised.

Permanent DisplaySupported by visual displays Approximate built up area20,000 sq. mts.

3.2.4

triBal MuSEuM,

Source- http://www.udaipurtourism.com/museums/shilpgram-museum.html

3.2.3

odiSha StatE MuSEuM, BhuBhanEShWar

Image 1.11

ShilpgraM, udaipur

Image 1.13

Image 1.14

Massing

in between Spaces

The galleries are segergated based on the type of displays and yet connected by the passages. Also, emphasis is formed on the central area.

The courtyards form the in between spaces in the museum that acts as a buffer and also connects nature and the built through physical and visual experiences.

Corridors or passages also used as display that also makes the movement of the museum a display. The semi open character connecting natureand built.

The spaces are connected to nature through fenestrations or edges or social spaces and courts created in between the built.

thresholds

The displays in the outdoor spaces are mainly concentrated on the house typologies of the region and the setting it creates around.

The indoor displays are more of the display of traditional artecrafts and their rituals in daily lifestyle, focused through artificial lighting primarily.

Pause points created through built element or natural element. The foci created which catches the eye and attracts the visitors to move to that direction.

The spaces are connected to nature through fenestrations or edges or social spaces and courts created in between the built.

Fig. 3.3 a)

Fig. 3.3 b)

Fig. 3.3 c)

Fig. 3.3 d)

Fig. 3.3 f)

Fig. 3.3 e)

Fig. 3.3 g)

Fig. 3.3 h)

SaatVa (a triBal ESSEncE)

Saatva is a platform for the crafts, heritage and ecology of the tribal region of Gujarat. It works to strengthen and promote the rich artisanal traditions of the tribals. It serves as a platform for the promotion of the processes involved in their creation, their way of living, their associations to nature; to make the visitors aware about the integration with nature from the tribals and the preservation of culture, community and local handicrafts.

Three themes have emerged as cross-cutting for Saatva for its direction and works –

i) How people are empowered to shape their own habitats in integration with nature;

ii) How local artisanal knowledge and skills can deliver high quality products and earn income;

iii) How can the visitors gain knowledge from the life of tribals and hence learn to live merrily along with nature.

As a part of it, the Government of Gujarat has proposed a common platform for a range of stakeholders to exchange ideas and collaborate with the tribals on the developing path of Statue of Unity. The program includes tribal museum displaying lifestyle of tribals and their connections to nature; a Handloom Studio and a Puppetry and Painting Studio to foster the handloom of tribals and also providing a platform to exchange information among the other experts of the country.

The site has been selected on the close proximity to many tribal villages nearby and the developing tourism path for encouraging tribal culture and lifestyle.

for the thesis,

the design will be restricted to just the designing of phase i which is the tribal museum.

The quest to capture tribal life in a modern building, in itself is paradoxical. To recognize it’s connection to nature, to live amongst them is the ultimate solution. But, a museum can lay the ground for mutual dialogue between the tribal and the urban societies.

The main objective of the museum’s inception will be to highlight the aspect of the integration of tribals with the nature it connects to which differs from the other tribal museums. The idea resonates within the objective to connect itself with a larger section of the society; to make the visitors aware of the importance of nature and its responses to the built through the tribal societies.

The tribal societies of Gujarat and majorly Bhils, Kunbis, Warlis, and Gamits are shaped by the landscape around them which has evolved over time. The museum will be a reflection of tribals of Gujarat and their association to nature along with their socio-cultural and religious factors. The museum will also include the architecture of the tribal houses, courtyards, open spaces and aesthetics in the form of display.

naturE architEcturE

integrates in the lives of triBalS

Fig. 4.1

GALLERY

Approximate built up area- 2000 sq. mts.

WAY OF LIVING

INTEGRATION WITH NATURE

Culture, Social and Economical factors displayed with mannequins

House forms and settlements in the form of displays showing thier blend with nature

gallErY onE gEographical

diVErSitY

Staff of 10 people to maintain the gallery and guide the tourists

Gallery: 10 AM to 6 PM Staff: 9 AM to 7 PM

Tribes of Gujarat

Glimpse of the tribal belt of Gujarat

Settlements evolved through topographythe forests and the river nearby

Informative kiosks for each tribe according to the area on the topography

Circulation around the topography map

Informative Kioks describing eacch tribe in detail in repsonse to its settlements and their growth.

LIFE OF TRIBALS Photographs

Murals

PHOTO GALLERY

Approximate built up area- 800 sq. mts.

Social Life Culture Traditions Houses

Paintings

Staff of 3 people to maintain the gallery and guide the tourists

Photo Gallery: 10 AM to 6 PM

Staff: 9 AM to 7 PM

Artifical lightning for the display. Skylight taken for eliminating the circulation path.

WORKSHOP

Approximate built up area- 250 sq. mts.

TRIBAL ART AND CRAFTS

Sculpture Pottery

Embroidery Paintings

WORKING FOR CRAFTS AS A GALLERY DISPLAY

Temporary workshops for making the artefacts installed in the museum. They are hired for work for a short period of time.

Working Hours of Artisans: Depends on the artists.

1 person to explain the displays and as a guide to the gallery. The state of aboriginals, the land of supreme nature, Gujarat, the state of diversity, the state of culture.

AMPHITHEATRE

Approximate built up area- 1500 sq. mts.

PLAYS OF LIFE EVENTS INFORMAL GATHERING SPACES

Life and Death

Marriage Festivals

functionS along with secondary functions like parking, reception, admin, cafe, storage and souvenir shops

Shifting performers Timing of Performances: WEEKENDS: 6 PM to 8 PM

approximate total built up area- 7500 sq. mts.

The tribals grew, grew along the mountains and the forests. The settlements grew, along the topography, respecting nature. The gallery shows, the topography, the settlements and their relation to NATURE.

approxiMatE arEa- 300 SQ. MtS.

Reference image to show the topographical model on a high plinth highlighting tribal settlements and their context which forms the basis for their settlements.

4.3

diSplaYS of gallErY

Image 1.15

Fig. 4.2

Reference images showing the house forms dispalyed in the museum using natural materials and creating a surrounding

triBal lifE

It displays tribal dwellings using the actual materials of construction and creating a neighbourhood that represents the tribal settlements. The plinth and the verandah are also created in a way that they represent the influence of nature on architecture.

Circulation around the dwellings creating a sense of neighbourhood.

Informative Kioks describing each tribe in detail in repsonse to its settlements and their growth.

Artifical lightning for the dwellings inside and outside. Openings as a connection to the nature outside.

2 persons to explain the displays and as a guide to the gallery. The tribal build houses, in response to Nature, from the natural materials, considering Nature as GOD.

The intrigued boundary brings in, nature in the built. The plinth echoes, the features of the landscape. The verandah connects, the inside and the outside. The bamboo and the mud, timber and stone, available from nature, built by nature.

gallErY thrEE

triBal aESthEticS

It displays tribal artecrafts, traditions, tools, handicrafts, pottery and all other art work they perform or make. It is also an integrates space with the workshop to display the tribal art and the creativity of the artisans as a part of gallery to promote them.

The sturctural grid creating circulation in the display gallery

Informative Kioks describing each display in detail in repsonse to its making and materials used for making it. Artifical lightning for the displays on the platforms.

2 persons to explain the displays and as a guide to the gallery. The tribals mould, from the natural materials, the paintings or the pots, the tools or the instruments!

They add on to the value, their cultural value, the artecrafts, and the artisans!

The gallery displays them both, the art and the artisans, to promote the lost art, lost amongst the urban tribals!

approxiMatE arEa- 500 SQ. MtS.

approxiMatE arEa- 600 SQ. MtS.

Image 1.16

Fig. 4.3

Reference images for the display of aesthetics in the gallery through maniquines.

Image 1.17

Fig. 4.4

triBal traditionS

The deities of tribals dwell where they wish to and are not confined to temples. The divine presence of Gods and Godesses has been represented by stones, mounds, flags, sticks, tridents, terracota offerings, raised platforms seen on the side of roads,amidst jungles or on the banks of small pond and sometimes on invisible boundary of village. The concrete form of God is absent. It displays tribal Gods and Goddesses, their myths and rituals, and their response towards NATURE as GOD.

The nature is the centre of the display. Nature which is considered as God is highlighted in the gallery

Informative Kioks describing each section in detail how is nature worshipped as God and in which form. Skylight for the displays on the platforms and the rest remains dark to show the spiritual beliefs.

1 person to explain the displays and as a guide to the gallery.

The trees, the rivers, the stones, the mounds, the animals nd plants, all are worshipped, as Gods and Goddesses!

The divine presence, absent in concrete form, existing in nature, Nature as GOD!

approxiMatE arEa- 300 SQ. MtS.

The traditional dresses, ornaments, festivals, tools and instruments are displayed showing their tribal traditions. The traditional method of construction of their houses are also displayed along with the labor work and the materials used.

The construction process of the tribal houses are the central display. Natural materials used and their building processes are effeciently described by the actual processes described stagewise along with human maniquines making it.

Informative kiosks describing each section in detail how is construction done and what are other traditions of tribals like the dress, ornaments, tools and instruments.

3 persons to explain the displays and as a guide to the gallery.

The dresses and the festivals, the ornaments and the tools, the musical instruments, displaying an overall tradition, tradition of the roots.

They select trees for wood, construct plinths, echoes landscapes, structures houses and covers the tops, all through natural materials!!

approxiMatE arEa- 500 SQ. MtS.

Reference images of natural stones and Dieties under trees workshipped by the tribals

Image 1.18

Fig. 4.5

Reference images for the display of tribal traditional items in the gallery.

Image 1.19

Fig. 4.6

The Site is located on the tourism path developing near Statue of Unity, Gujarat. It is also in a close proximity to the tribal areas of the district and the major tribal relegious landmarks.

1. SITE

Image 1.20

Image 1.21

1.

5.

2.

3.

4.

4. KEVADIYA PARK 6.2 KMS.

Image 1.24

5. STATUE OF UNITY 9 KMS.

Image 1.25

2. GARUDESHWAR DUTT TEMPLE 1 KM.

Image 1.22

3. SHOOLPANESHWAR TEMPLE 7 KMS.

Image 1.23

B

1. Gabhana

2. Garudeshwar

3. Kothi

4. Bhutiyadara

5. Akteshwar (Uplu Faliyu)

6. Akteshwar (Nichlu Faliyu)

7. Dhavadi

8. Bhadarwa

Image 1.26

The program will cater to the tribals living nearby and hence creating a platform for their overall development from education to income.

Image 1.27 : National Design Competition; Government of Gujarat Image 1.28 : Site Contractor (Image taken before excavation)

Image 1.29 : View of Site from the National Highway Image 1.30 : View of the opposite side from the Site

Image 1.31 : Taluka Panchayat Office, Garudeshwar Image 1.32 : Hotel Galaxy (Tourist Bus Pause Point) SitE iMagES

TOTAL SITE AREA25 acrES (1,01,200 SQ. MtS.)

Lowest Avg. Temperature21.7 c (January)

Highest Avg. Temperature33.5 c (May)

Average Temperature27.5 c

Avg. Rainfall1092 mm(43 inch) per year

Wind DirectionSouth West

COMMON NAME: KadaMB trEE

SCIENTIFIC NAME: Mitragyna Parvifolia

FLOWER: Anthocephalus cadamba

Season: June-August Golden in color

DIA: UPTO 1-1.6 M.

HEIGHT: UPTO 45 M.

USE: The flowers are used to produce attar. The tree is grown in tribal areas specifically along roadsides for shade.

COMMON NAME: Mahudo trEE

SCIENTIFIC NAME: Madhuca Indica

FLOWER: Mahua Flower

Season: February-April

DIA: UPTO 5-6 M.

HEIGHT: UPTO 20 M.

USE: The flowers are fermented to produce the alcoholic drink mahua. The tribes conserve this tree as a boon.

The need of the tribal museum is to set awareness about the way of living of the tribes and their associatin with nature and that the urban societies gain learnings from them. Such thing is possible only if it is developed as a part of tourism in the urban fabric.

The major tourism development currently in the state is around the Statue of Unity which is visited by a lot of people. Hence, the site is selected adjoining the Narmada National Highway 953; 9 kms. away from the Statue of Unity; and also sharing the boundary with Hotel Galaxy, which is currently a pause point for the tourism buses of the state. The site also has a topography to address to naturally infuse the tribal way of living in the museum.

5.4.2 analYSiS at Micro lEVEl

COMMON NAME: Saal trEE

SCIENTIFIC NAME: Terminalia Crenulata

FLOWER: Shorea Robusta

Season: April-May

White in color

DIA: UPTO 2-2.5 M.

HEIGHT: UPTO 30-35 M.

USE: It is used as an astringent in Ayurvedic medicine, burned as incense in Hindu ceremonies.

COMMON NAME: taMarind trEE

SCIENTIFIC NAME:Lysiloma Latisiliquumc

FLOWER:Tamarindus indica

Season: February-May

Yellow in color

DIA: UPTO 9-12 M.

HEIGHT: UPTO 80 M.

USE: Used as traditional medicine. The wood is used in furniture and carvings.

adiantuM iMulatuM 40 cm. tall

Evergreen fern plant Ornamental and Wild plant Used for treatment of cough and fever

SElaginElla Spp 20 cm. tall

Evergreen Perennial Plant Wild Plant Selaginella species are used as food, medicinally and for handicrafts.

Clayey loam, light brown to grayish black in colors and form excellent forest soils being deep and rich.

Base

phasing

The inferences are taken to establish phasing for the site

Site topography and Vegetation

(The highest point acting as foci and pockets created in repsonse to the vegetation on site)

The Government of Gujarat has planned the site to be a part of the Statue of Unity Tourism Planning. The site land is approached in three phases.

phaSE i-

phase Selection

(Considering the nature as supreme, selecting the part of the land for the tribal museum.)

Museum, hands on Space, amphitheatre, pantry, Souvenir Shop and accommodation or home Stays, research institute, library, Staff quarters, director house common amenities like the security cabin and parking approximate Built up area30,000 sq. m Max.

PHASE IITribal handloom workshops and display, Puppetry and Paintings workshop and display, Shops, a common ground to share information with the tribals and other experts of the state.

5.4.3

SitE infErEncES and phaSing

approach and nodes

(Considering the context and inferences)

Approximate Built up area60,000 sq. m Max.

for the thesis, the design will be restricted to just the designing of phase i.

The location of Phase is decided based on the site inferences.

Phase Phase II

Fig 5.2 a)

Fig 5.2 b)

Fig 5.2 c)

Fig 5.2 d)

MUSEUM ACTING AS a ViBrant conVErSation

PROGRAMMATIC CONVERSATION

ARCHITECTURAL CONVERSATION

The museum is a display of the tribal communities that integrate with the landscape. The life of tribals and their relation to nature through the built form, culture, festivals and seasons are the main objectives of the museum. So, the programmatic intent is to integrate the functions with each other. For instance, the workshop integrates with the exhibition space and itself becomes a display for the audience. The integrating of the functions to provide more meaningful information would also be a primary objective of the museum.

Conversation generated between the displays of the museum and the viewers

To make the URBAN TRIBALS aware about the integration of TRIBALS with NATURE

“HOW CAN ARCHITECTURE AND LANDSCAPE OF THE MUSEUM INTEGRATE SO THAT IT COMMUNICATES THE IMPORTANCE OF THE BLEND OF NATURE AND ARCHITECTURE TO THE VISITORS THROUGH THE LIFE OF TRIBALS”

Through Tribal Culture and through Tribal Analysis of the settlements and house forms

Through theories of integrating NATURE and ARCHITECTURE

horiZontal conVErSation

VErtical conVErSation

Paths

Edges

Thresholds

In Between

Topography Connections Vegetations

House forms Traditions Culture Art

Hence, the design intent aims at creating conversation between nature and built and also between the displays and the viewers. It aims at creating a language which can communicate the idea of connections between tribals and urban tribals through enhancing the value of nature.

Massing

Pockets of Built and Nature

Movement

Integrating Built and Nature

Corridors connecting different galleries

Movement in conversation with nature

Fig 5.3 a) Fig 5.3 d)

Fig 5.3 b) Fig 5.3 e)

Fig 5.3 c) Fig 5.3 f)

Fig. 5.4 Schematic Diagram for Intent

5.7

photo MontagE

naturE and Built

Image 1.40

This photo montage is a brief idea of the connections of nature and built which can be catered to in the design along with the material pallate and the roof.

ExhiBitS

Image 1.41

This photo montage is a brief idea of the type of displays within the museum and also the light quality it requires .

The site as per the Forest Government of Gujarat is located in thetype 5a tropical dry deciduous forests

These forests are found in the central part of the state in the districts of Bharuch, Vadodara, Panchmahals, Sabarkantha and parts of Saurashtra in the districts of Amreli, Junagadh and Jamnagar.

These forests thrive in the regions having the rainfall between 600 mm to 1200 mm. Bases on the document “TREES OF GUJARAT” by Gujarat Forest Department, some of the plant and tree species and identified based on the type of forest of the site area. This is used as a pallete for the landscape design in the design process.

Source- Trees of Gujarat by Gujarat Forest Department

Image 1.42 Image 1.43 Image 1.44 Image 1.45

The main concern of this process was to highlight the highest point of topography and the cluster of trees and create circulation around it.

Fig 6.1 a)

This was the iteration of the above process and it also mainly focused on massing around the focal point of nature on site i.e the highest point and the cluster of trees.

In this process, the segeregation of built masses was considered keeping the cluster of trees and the highest point on site as it is and not disturbing them and dividing the mass to create in between spaces.

Fig 6.2 b) Master Plan

Fig

In this process, a buffer between the National Highway and the museum was created through a semi open corridor also linking nature and the built through paths. The building was oriented towwards the cluster of trees considering the tribal settlements which are built facing towards one important natural element.

process 5

In this process, the massing is further divided into fragments creating in betweens spaces and forming circulation connecting built and nature. The semi open spaces, thresholds were also developed along with paths to integrate nature and built.

Section CC’ Section BB’

Section CC’ Section DD’

Fig 6.5 a) Part Details at A’

Fig 6.5 b) Master Plan

In this process, the approach to the museum and massing were revised as per the previous stage and connections of spaces through passages through vertical interactions were worked on.

process 7

After the previous evolution, the edges merging built and nature where developed along with the defining the nature and textures in space through details.

Fig 6.6 a)

Part Details at A’

Section CC’ Section DD’ Section BB’

Fig 6.6 b) Master Plan

Fig 6.7 Master Plan

The details worked showing the details merging nature and architecture through thresholds, edges and focal points. The thresholds have been explored through difference in texture and hence creating experiences as a journey in the museum.

part dEtailS

Orientation towards the cluster of trees from the tribal inferences (Tribals consider Nature as supreme and hence their settlements are orientated towards any natural element. For e.g, Kunbi settlement of Dang is oriented towards the Sahaydri Mountain ranges

dESign conSidErationS

Thresholds creating experiences through difference in textures

Social edges developed by integrating nature and built and also, the edges dividing nature and built are blurred

A buffer from the National Highway

Staggering of masses to create in between spaces

Paths as connectors between the built and the nature

Nature as the main focus of the entire museum

In between spaces connecting inside out

Based on the design process, considering all the approaches from the design process, the design was developed reflecting on the inferences from the research study and the case studies.

The major focus lies in exploring the ways of integrating nature and architecture at macro and micro levels. Responses have been made from an overall level by siting, form and massing to a micro level through paths, thresholds, foci and edges.

The intent of the design is to give a sense of tribal lifestyle and their connections to nature thorough displays and the built itself, so that the visitors can understand the essence of tribal livelihood, their traditional culture etc. and connect with them.

The exhibits will be in a form of 3D sculptures showing tribal occupation, ornaments, dress, beliefs, festivals, utensils, art forms and their construction processes of building houses with natural materials. In the open and semi-open areas also these sculptures would be exhibited to give the essence of the tribal settlement. A 1:1 scale diorama of tribal houses are planned in the centre of the museum in open. Each house will represent each tribe and together they give a sense of a settlement along with the developed paths and thresholds.

The galleries are a transition from open to semi open to closed spaces by integarting nature physically and visually in the journey. The roof echoes the nature within and provides volume to the spaces.

1. Entrance 2. Information Desk 3. 4D Theatre

5. Administration Department

6. Gallery One- Geographical Diversity

7. Tribal Homes Display 8. Cafe

9. Gallery Two- Tribal Traditions

10. Gallery Three- Tribal Spiritual World

12. Workshop

13. Gallery Four- Tribal Aesthetics

plan at 67.50 M.

1. Entrance

2. Information Desk

3. 4D Theatre

4. Storage Room

5. Administration Department

6. Gallery One- Geographical Diversity

7. Tribal Homes Display

8. Cafe

9. Gallery Two- Tribal Traditions

10. Gallery Three- Tribal Spiritual World

11. Souvenier Shops

12. Workshop

13. Gallery Four- Tribal Aesthetics

14. Photo Gallery

15. Amphitheatre

plan at 71.00 M.

plan at 73.50 M.

plan at 78.00 M.

420X220 MM MANGROVE TILES

140X65X1.4MM THK. C STEEL PURLINS

1200X2400MM GYPSUM BOARD

150X100X6.5MM THK. STEEL SECTION

150MM THK. RCC BAND

355MM THK. RAMMED EARTH WALL

100MM THK. RCC BAND

100MM THK. RCC BAND

KAMINI SHRUB

GOOD SOIL FOR PLANTING

SEction aa

SEction BB’

SEction cc’

BRICK PAVERS

PAVIT TILES

INSTALLATION

STEEL COLUMN

100MM O.D 12MM THK.

BAMBOO WALL

KANCHNER TREE

COMPACTED EARTH

CONCRETE FLOORING WITH EPOXY COATING

355MM THK.

RAMMED EARTH WALL

CONCRETE FLOORING WITH EPOXY COATING

355MM THK.

RAMMED EARTH WALL

LIBI- LIBI TREE

THIKARI PLANTS

WOODEN FLOORING

CONCRETE FLOORING WITH EPOXY COATING

355MM THK.

RAMMED EARTH WALL

600MM HIGH

PLINTH FOR DISPLAYS

ARITHA TREE

FLAGSTONE FLOORING

STONE TOP FOR SITTING

KAMINI PLANTS

PEBBLE FLOORING

STONE TOP FOR SITTING

COMPACTED EARTH

STONE EDGE

ASOTRI PLANTS KHAD DHAMNI PLANTS

FLAGSTONE FLOORING

After working on the aspects of integrating nature and built in the previous process, certain important points were considered such as:

The edge conditions and it’s response to the integration of built and nature

The language of the openings

Nature as a focus point

Fenestrations

To work with this aspects, a part model was made of the previous design to understand these condtions.

Surfaces and the nature of spaces were defined highlighting the parallel walls and the walls in the perpendicular direction guided the axis towards the orchard.

After the grid and the mass and void were explored, the spaces were detailed out such that it showed the integration of nature and architecture through edges, thresholds, fenestrations and foci.

Part model of the selected area

Part model

A grid was choosen to work with the spatial layout creating in between spaces and staggering of masses was explored creating in between spaces.

Based on the previous design processes and working on part models, there was an effort to blur the edges between the nature and the built and to curate a journey that creates a conversation between the built and nature and also the displays and the visitors. The roof, fenestrations and modules were altered from the previous stages and the edges, thresholds, paths and foci were mainly concentrated. The built is arranged considering the orchard of trees as the ccentre and the alignment is based on it. The journey reveils the orchard gradually to the visitors visually and creates pause points to experience the beauty of nature. The transition of spaces and the blurred edges between the nature and the built are explored. The roof also allows the nature to come in and the gesture of verendah from the tribal inferences is recreated in a manner that defines entrance and hence creates thresholds. The in between spaces and the character of spaces are explored throughout.

part dEtailS

R.C.C. PLINTH

500MM HIGH STONE SEATING

COMPACTED EARTH

BILI TREE

355MM RCC COLUMN

NATURAL STONE MOSAIC

355 MM THK. RAMMED EARTH WALL CONCRETE FLOORING WITH EPOXY COATING

600 MM THK. RAMMED EARTH WALL

FLAGSTONE FLOORING

KHAD DHAMNI PLANTS

600 MM THK. RAMMED EARTH WALL CONCRETE FLOORING WITH EPOXY COATING

EXISITING MAHUDO TREE

GREEN MOUND 100X100MM PAVIT TILES MOUND SKIRTING

SAND PIT COMPACTED EARTH

EXISITING MAHUDO TREE STONE SKIRTING

600MM THK. RAMMED EARTH WALL

NATURAL STONE MOSAIC

KANCHNER TREES

EXISTING MAHUDO TREE

GREEN MOUND COMPACTED EARTH

420X220 MM MANGLORE TILES

75X40X1.4MM THK. C STEEL PURLINS

150X100X6.5MM THK. STEEL I SECTION

1200X2400MM GYPSUM BOARD

GALVANISED METAL STRAP

INFILL CONCRETE

R.C.C BEAM

420X220 MM MANGLORE TILES

75X40X1.4MM THK. C STEEL PURLINS

150X100X6.5MM THK. STEEL SECTION

1200X2400MM GYPSUM BOARD

4MM THK. TRANSLUCENT GLASS WINDOW

100MM THK. CONCRETE BAND

355MM. THK. RAMMED EARTH WALL

GALVANISED METAL STRAP

G.I FLASHING

R.C.C TROUGH

CHEMICAL PROOFING LAYER

DRIP MOULD

100MM THK. CONCRETE BANDFOR SEATING

ASOTRI PLANTS

CONCRETE FLOORING WITH EPOXY COATING

25MM THK. STONE TOP

COMPACTED SAND

CRUSHED GRAVEL

FLAGSTONE FLOORING

GOOD SOIL FOR PLANTING

SOIL

CONCRETE FLOORING WITH EPOXY COATING

COMPACTED SAND

CRUSHED GRAVEL

SOIL

With the increasing advent of modernisation and the depleting responses to nature, it has become utmost necessary to provoke the importance of nature in integration with the built.

The research held for this topic created a set of factors to be considered that integrates nature and the architecture. These factors worked at both the scales; macro and micro scale. Massing, siting and response to topography can be explored at a macro level. Paths, edges, foci and theshold at micro level can be developed so as to blur the edges between the built and the nature.

The tribal socities since a long time have been respecting nature which is also reflected in their way of living and their built forms. The studied factors for the integration have been strongly depicted in the tribal life. These factors had laid a base for the designing of the spaces at both macro and micro levels.

As a result, the design is an outcome of the in between spaces, edges, thresholds and paths to define the relation between the built and the unbuilt.

The museum will hence create a blend of nature and built creating the conversations with the visitors. It will also highlight the forgotten values of tribal societies and also provide a stage for the upliftment of the tribes of the state.

Image 1.1- House form of Bhils

Source- https://trti.gujarat.gov.in/assets/images/bhil_slider_img1_big.jpg

Image 1.2- House form of Kunbis

Source- https://trti.gujarat.gov.in/assets/images/kunbi_slider_img1_big.jpg

Image 1.3- House form of Warlis

Source- https://s3-ap-southeast-1.amazonaws.com/assets1.craftsvilla.com/ blog/wp-content/uploads/2016/09/26115454/warli.jpg

Image 1.4- House form of Gamits

Source- https://trti.gujarat.gov.in/assets/images/gamit_slider_img1_big.jpg

Image 1.5- House form of Dhodias

Source- https://trti.gujarat.gov.in/assets/images/dhodia_slider_img1_big.jpg

Image 1.6- House form of Rabaris

Source- https://i2.wp.com/www.traveldiaryparnashree.com/wp-content/uploads/2017/01/IMG_3030-2.jpg?w=799&ssl=1

Image 1.11- Odisha State Museum, Bhubaneshwar

Source- https://www.tourmyindia.com/states/odisha/images/tribal-museum1-1.jpg

Image 1.12- Odisha State Museum, Bhubaneshwar

Source- https://www.tripadvisor.in/Attraction_Review-g297661-d3239363-Reviews-Museum_of_Tribal_Arts_Artifacts-Bhubaneswar_Khurda_District_Odisha.html#photos;aggregationId=101&albumid=101&filter=7&ff=329499895

Image 1.13- Tribal Museum, Shilpgram, Udaipur

Source- https://new-img.patrika.com/upload/2018/06/26/ud2634.jpg

Image 1.14- Tribal Museum, Shilpgram, Udaipur

Source- https://udaipurtourism.co.in/images/places-to-visit/headers/shilpgram-udaipur-indian-tourism-entry-fee-timings-holidays-reviews-header.jpg

Image 1.15- Topography Model Display Reference

Source- https://images.squarespace-cdn.com/

Image 1.17- Tribal Human Mannequins Display Reference

Source- https://media-cdn.tripadvisor.com/media/photo-s/18/18/e2/58/ imag0260-largejpg.jpg

Image 1.20- Map

Source- Google Images

Image 1.22- Garudeshwar Dutt temple

Source- sreedattavaibhavam.org/wp-content/uploads/2016/06/g-2.jpg

Image 1.23- Shoolpaneshwar Temple

Source-https://images.jdmagicbox.com/comp/narmada/ v9/9999p2640.2640.141218164320.g6v9/catalogue/shoolpaneshwar-mahadev-temple-kevadia-colony-narmada-temples-w09drt.jpg

Image 1.24- Kevadiya Park

Source- https://miro.medium.com/max/2560/1*WwgoB65B_E6Qbn_Vn-TAaw.jpeg

Image 1.25- Statue of Unity

Source- https://cdn.archpaper.com/wp-content/uploads/2018/11/Dqz_

A0TWkAAn08v.jpg

Image 1.26- Map

Source- Google Maps

Image 1.27- Site

Source- National Design Competition; Government of Gujarat

Image 1.28- Site

Source- Site contractor as per current situation

Image 1.29- Site

Source- Site contractor

Image 1.33- Kadamb tree

Source- https://upload.wikimedia.org/wikipedia/commons/d/dc/Neolamarckia_cadamba_6226.jpg

Image 1.34- Mahudo tree

Source- https://live.staticflickr.com/3241/3559124628_aa389a026a_b.jpg

Image 1.35- Saal tree

Source- http://www.ecoindia.com/gifs/sal-tree1.jpg

Image 1.36- Tamarind tree

Source- http://jogindernursery.com/image/cache/data/fruit%20plant/Tamarindus%20 indica3-560x437.jpg

Image 1.37- Adiantum Imulatum Plant

Source- https://www.fernsofafrica.com/images/10/101010-1.jpg

Image 1.38- Selaginella spp Plant

Source- https://images.candideapp.com/cx33,cy0,cw957,ch768,648x520,fit,q70,jpeg/r0_2a5ca384e98b03421518593d200c55922afb24fb09bca8890ee08e1b3b448ef5.jpeg

Image 1.42- Umbh

Source- https://www.flowersofindia.net/catalog/slides/Hoom.jpg

Image 1.43- Pendula

Source- https://live.staticflickr.com/5479/14048993505_0599d2ec42_b.jpg

Image 1.44- Ganeri

Source- https://www.flowersofindia.net/catalog/slides/Buttercup%20Tree.jpg

Image 1.45- Warang

Source- http://tropical.theferns.info/plantimages/sized/a/3/a3d69404243883aea470299110789904534cc4fe_480px.jpg

Image 1.46- Vayvarno

Source- http://www.flowersofindia.net/catalog/slides/Garlic%20Pear%20Tree.jpg

Image 1.47-Kesri

Source- https://www.monaconatureencyclopedia.com/wp-content/uploads/2009/02/1-238.jpg

Image 1.48- Bili

Source- https://3.bp.blogspot.com/-43PeaAJdDjE/T5zk-BipVUI/AAAAAAAADLc/-hI5pRGNr9M/s1600/Aegle-marmelos-Bilvam.jpg

Image 1.49- Aritha

Source- https://www.flowersofindia.net/catalog/slides/South%20India%20Soapnut.jpg

Image 1.50- Kanchner

Source- https://www.flowersofindia.net/catalog/slides/Purple%20Orchid%20Tree.jpg

Image 1.51- Libi Libi

Source- https://www.flowersofindia.net/catalog/slides/Divi%20Divi.jpg

Image 1.52- Ramphal

Source- http://tropical.theferns.info/plantimages/sized/1/7/17b546222d99994cf7575747cb0042f01eb47397_464px.jpg

Image 1.53- Thikari

Source- https://www.flowersofindia.net/catalog/slides/Tree%20Caper.jpg

Image 1.54- Khad Dhamni

Source- https://www.flowersofindia.net/catalog/slides/Mallow-Leaved%20Crossberry. jpg

Image 1.55- Kamini

Source- http://tropical.theferns.info/plantimages/sized/3/e/3efe6480100cd93bd4c6c77f8c5354832d5061ea_480px.jpg

Image 1.56- Safed Khakharo

Source- https://www.planetayurveda.com/pa-wp-images/butea-monosperma.jpg

Image 1.57- Asotri

Source- https://www.flowersofindia.net/catalog/slides/Bidi%20Leaf%20Tree.jpg

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