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4.1 BACKGROUND
To design in a traditional city like Jaipur, one has to understand the existing architecture of the place so that the project can be made best suited to
the place. Before designing the markets of art and craft of the place, one requires the detail study of the types of art & crafts. The research also
aims at understanding the relation ship between the architecture and the tourism.
4.2 CORE ISSUES
The design of the project is basically affected by three important components namely- the built form, the executed material and the language of
architecture used. The following are thus, the various research issues involved:
1. Primary: In a context like Jaipur, it is essential to understand the basic architectural spaces and techniques which have been used since times.
2. Secondary: Building typology evolved for bringing out cultural arts and crafts.
3. Tertiary : Since it is tourism based project, it is essential to know what are the tourism facilities needed and qualities of the spaces which
please a tourist.
4.2.1 UNDERSTANDING THE ARCHITECTURE OF JAIPUR
The local inhabitants had worked upon the features of the buildings over the decades to evolve such an architecture which makes the city habitable
in such a harsh climate. The artisans have over the years acquired skills, which have been distilled from generation to generation. This had, in the
past led to the architecture of Jaipur, which had
spaces which were socially relevant and climatically comfortable
material, which were local, and whose capabilities and limitation were well known and understood
process which consumed low energy and required no large infrastructure
Above all, it led to a very understandable and rooted aesthetics which gave the city its identity.
THE RESEARCH 1
Building Material- Stone
Stone is available in abundance in the outskirts of Jaipur city and is the most economical and traditional material for building construction in
the walled city. Thus the transportation cost was saved. Intricately carved stone columns and brackets with captivating visual quality have been
used to adorn the built forms. Lintel and door frames have been extensively treated. Stone jaalis with minute carving used not only to lend
Climate Responsive Features
Courtyards
Courtyard is the main feature of a Jaipur traditional house. Courtyard sizes are not too large therefore during the day time no direct sunlight
could enter the inner parts of the house. It is basically used for day lighting and ventilation purposes.
Jaali
Jaali is used in ventilation and it also stops the direct sun rays coming into the house. Jaali is also used to deflect the air
movement towards the courtyard or rooms. It is designed in such a way so that, when air passes through this, its velocity
increases. It is used in window, wall, parapet wall, etc.
Jaali Pattern
Source: authorJharokha
Jharokha is a series of windows having wooden shutters or stone jaali on low height cill, which
afforded woman to view the street and the entrance while preserving their privacy. Jharokha
projects out over the entrance door of the house. The advantage of jharokha is to light and ventilate
the upper part of the building form.
Jharokha
Source: authorSection through Jharokha
Source: author
110THE RESEARCH
architectural character to the building but also to satisfy specific functional aspect such as privacy and climate
control.
Carved Facades
The carvings in the façade produce a texture in the facades. Highly textured walls have a portion of their
surfaces in the shade. The radiation absorbing area of such a textured surface is less than its radiation emitting
area and therefore it is cooler than a flat surface.Carved facade
Source: author
THE RESEARCH3
The Chowks
The „chowk‟ is the dramatic release of space and is the focus of all
community activities. One of the most interesting and fascinating things
about the walled city is the treatment of open spaces. Being in such a hot and
dry climate, large open spaces are well integrated with the built form. These
open spaces do not disturb the pattern setup by the narrow winding streets of
the settlement but in fact they compliment it and the sheltered environment
which is as much as psychological as physical need. Chowk concept
Source: author
One of the Chowks- Jaipur
Source: author
The Streets
The closely spaced buildings and the network of narrow streets in the
walled city effectively shelter the people in Jaipur from the worst of the
elements, the sun and the hot dust laden winds even when the
temperature rises to inhospitable heights. The streets are much narrow
and winding with the buildings on either side which are much higher
than the width of the street. The street itself being in shade most of the
The Bazaars/ Markets
The particular design of the shops is based on a type hat had been well known in
Rajasthan for a long time (there survive remnants of a prototype in fifteenth century
Chitor), but it includes an interesting innovation. In front of each row of shops runs a
continuous open verandah, enabling shoppers to pass along in a sheltered space.
day allows comfortable conditions for movement through the town. Further breakdown of street into smaller visual units helps to enclose and
retain the cool air.
Section through a street
Source: author
Section through a bazaar
Source: author
THE RESEARCH4
4.2.2 BUILDING TYPOLOGY BY UNDERSTANDING THE CULTURAL CONTEXT
Places with heritage are places with stories. These stories have something to say about the past and about people‟s identity – whether locally,
regionally, or at a wider scale. The most obvious use of heritage for regional development practitioners is to attract people in to a region –
particularly in the sense of heritage tourism.
Culture is the invisible medium that we fail to notice, but which can teach us a great deal about how development initiatives work or fail to work.
Any serious attempt at sustainable regional development must therefore take into account the cultural context underpinning the areas that the
initiative is targeting. If the goal of an initiative is to create jobs, for instance, it is important to understand local work culture, the kinds of jobs
that are in demand and the local constraints on getting and keeping jobs.
A multitude of Markets
Art is a special type of commodity that has economic value and is sold in markets. An artist earns a living by producing and distributing art,
thereby earning a reputation so that the works are seen and appreciated. Artists, like consumers and collectors, do not work in social vacuums;
they are players in "art worlds," which consist of the artists themselves and individuals who assist with the art. For society, art does not exist until
it is made public and shared.
Market- Types
Fine Art: Fine art is collected. The fine art market is situated in galleries and auction houses in urban
areas. Scholars and museums legitimize and provide reputations and thereby raise prices further by
demonstrating the worth of a piece. Museums help display quality pieces and have retrospective shows.
The galleries, museum displays, and shows are important distribution points for they show a range of
similarly marked art types, from gift/home decorations to the most innovative modem or traditional
works. Galleries and museums amass. They educate the buying public and validate authenticity. They
produce messages. They say "this is 'traditional'"; "this is 'nontraditional and innovative but definitely
Miniature painting- Jaipur arts
Source: www.rajasthantourism.com
THE RESEARCH 5
Indian"'; "this is 'handmade'"; "this is 'quality.'" Some museums even sponsor special
markets; for example the Museum of Northern Arizona's Hopi, Navajo, and Zuni
shows.
Craft: In many ways this is the largest market because it has the widest appeal to
potential buyers, has the greatest potential use, and is affordable for most middle-class
patrons. The craft market, like the fine art market, has a significant resale market,
where individuals hunt for bargains. The original artist has little investment or
influence in this game of consumers.
Crafts - Jaipur
Source: www.craftsbridgeindia.com
The western market or Haat:
In a town like Brisbane in Australia, a haat opens up in a plaza beneath vast skyscrapers on Sundays. Woodcutters, leather workers, potters
and embroiderers spread out their wares on tables or on the ground. A lively fair like atmosphere prevails, with lemonade, bands, puppet
shows and guitar players, while artisans briskly sell their artistic items of decoration and utility.
The market Convent Garden in London was a well known marketplace for flowers and vegetables at the turn of the century. Today, it has
become a knick knack haat with an attempt to create an old worldly look amidst London‟s slck and modern stores.
The Quincy market in Boston, USA is modeled on the same lines, with eating places and magic shows interspersed between movable stalls
full of handmade bric-a-brac.
THE RESEARCH6
The Indian Scenario for a Crafts Bazaar:
The concept of a haat or a bazaar has always existed in India since times unknown.
City haats serve two very important purposes
Firstly, they are the centralized market centers for a large number of rural producers who need to reach where the purchasing power lies, with
minimum overheads and flexible stocks.
Secondly, they function as an informal wholesale market for self employed vendors with very little capital, who buy a small quantity from the
haat and sell it elsewhere, off the pavement or on push carts. Since the goods are at low cost due to the absence of much infrastructural cost,
and the
retailer has hardly any overheads. Thus haat creates and provides for a further extension of a decentralized system of marketing which supports the
needs of the small amongst the producer, vendor and customer.
Hence the Building Typology
Building is the material culture of construction. As a craft, it is concerned with the construction or domestic structures, of workshops, of
warehouses, of engineering works; it is generally concerned with the erection of the urban fabric, of building blocks which form the streets of the
city. Building culture is basically concerned with the repetition of a few building types and the adaptation to local conditions of use, materials and
climate. Various projects related to the promotion of the arts and crafts of a region reflect the vernacular architecture associated and are examples
of conventional additions in contemporary urban fabric. Dealt by different architects in different contextual challenges, they have one thing in
common, and that s the dummy conventional environment created in the inside. Most of them have a very informal set of spaces as that of a village
from where the original concept originated.
THE RESEARCH7
4.2.3 TOURISM & ARCHITECTURE
Concerning the tourism product development, one has to identify trends and elaborate their profitability.
In the long term, the objective is to bring about sustainable tourism development through contemporary architecture and design. Historical
buildings are still important signatures as well as highly valued objects; however, contemporary architecture has the ability to extend the cultural
offers of Jaipur continuously.
Tourism Facilities which can be incorporated:
Restaurants: Eating joints are one of the high ranking activities. The project provides an ideal setting for location of restaurants.
Traditional Sector: Rajasthan is known for various traditional craft, practices and technologies. A traditional art and craft sector will provide
an overview of the traditional practices associated with market products and events for tourist consumption. This activity will be a major
attraction for tourists and citizens of Jaipur. Craft fairs with changing themes for sale of art and craft products are recommended for this sector.
Cottages & Guest Houses: In order to ensure a resident component within the project area, cottages and guest houses have been proposed.
Providing accommodation in the lake side settings is a well known international trends for tourism development.
Park: This will be one of the project activity to introduce leisure components in the project area. It will act as a lung space for the whole city.
Recreation Centre: This will include multiplex, auditorium and open air theatre. These will be the recreation facilities for the nearby residents
and the tourists. Open air theatre will be an informal performance space for the traditional dances and dramas.
THE RESEARCH 8
Convention Centre: This will provide as formal congregation facilities for the business officials thus a major revenue source for the Jaipur
government.
Through which factors does architecture attract visitors?
High quality architecture stands for function and well-being
Orientation, functionality and quality of space are hygienic factors and due to this reason are indispensable for guest satisfaction. Short
distances, good accessibility of all facilities and prevention of crossing points between front and backstage avoid conflicts and increase guest
satisfaction.
High quality architecture stands for corporate identity
The very first impression of guest and potential customers is mostly enmeshed in architecture. Sensual perception and impressive shapes, as
well as their illustration create memories. Special design can easily be remembered and therefore positively influences the decision making
process.
High quality architecture stands for life-style and zeitgeist
Superior atmosphere attracts customers who value quality during leisure time and holidays highly. An attractively designed environment
represents life style and zeitgeist, which augments the attractiveness incentive offers.
High quality architecture stands for sustainability
Well planned architecture can easily be adapted to changing demands over time, and is therefore cost efficient. In order to keep its value over
time, high quality architecture assures the highest levels of planning as far as quality of space, location, and the orientation of building
openings are concerned – factors that cannot be changed once the construction process has been finalized. Interior space, on the other hand, can
be easily adapted to trends and demands.
THE RESEARCH 9
INFERENCES FROM THE CORE ISSUES
Now, that a no. of similar cases have been looked upon, there are points to be followed:
The climatic features of the traditional architecture of Jaipur should be incorporated but in an understanding way.
The traditional site planning features like Chowks can make the planning of the site interesting.
The climatic features of the site planning like colonnades can be incorporated to provide shade in the circulation areas.
The structure to be made for arts and crafts, must not overpower the crafts that are to be executed.
Give the built form of craft sector, a traditional feel of a contemporary bazaar with main emphasis on a strong pedestrian axis.
The various tourism facilities provided should be based on the demand of the site and surroundings.
THE RESEARCH 10
4.3 CASE STUDIES
The case studies taken up are directly or indirectly related to the project. This relation could be functional one or a visual one and may be partially
responding to the project.
The following have been chosen as the case studies for the indicated reasons:
1. Crafts Museum, Delhi : The selection of the study is based on the programme similarity i.e. Art & Craft Sector.
2. Sanskriti Kendra, Delhi : This study has been selected in order to understand the relationship of the built and open areas in a craft centre.
3. Visitor’s Reception Centre, Auroville : The study was selected in order to understand the primary functions of any tourist place, i.e.,
Information centre, Administration & library.
4. Choki Dhani Resort, Jaipur : The study has been selected due to programme as well as the site similarity.
5. Proposal for Metropolis Downtown, Illinois: This study has been dome through world wide web. The selection of this study is based on the
site and the project similarity of being at the front and serving the tourists.
THE RESEARCH 11
4.3.1 CASE STUDY -1 - CRAFTS MUSEUM, DELHI (1975-90)
Architect : Charles Correa
Total site area : 8 acres = 32,375 sq.mts.
Total ground coverage : 5452 sq. mts. = 17%
Total built up : 6925 sq.mt.
Location
The Crafts Museum is situated at the south of Pragati Maidan complex. On one side of the Crafts Complex is the Purana Qila, an old historic
monument. It was planned in two phases. The first phase was completed in 1975-77 (village court and administrative offices) and the second
phase in 1991 (the temple and the darbar courts).
Objective: It was primarily addressed to the craftsmen who have now been brought into the close and integral relationship with the museum.
The Collection:
The museum comprises of bronze images, ritual accessories, utensils and other items of everyday use, wood, and stone carving, paper mache,
dolls, toys, puppets and masks, jewellery, decorative metal work including bidri work, paintings, textiles, home furniture etc. from different
regions of India.
Zoning:
The museum comprises of small interconnected units which are punctuated with small open to sky courts. On the basis of natureof exhibits, the
typology of the display areas is as follows:
1. Crafts demonstration area
2. Village Complex
12THE RESEARCH
3. Tribal & folk crafts
4. Ritual crafts
5. Country crafts
6. Textile & other handicrafts
Programme requirements
a) Public areas
• Entrance Hall
• Museum
• Library
• Canteen
• Village Complex
• Crafts Demonstration Area
• Creativity Workshop
• O.A.T
b) Non Public Areas:
• Offices/ Administration
• Store/ reserve
• Conservation Laboratory
• Research & Documentation Rooms
Ground Floor First Floor
THE RESEARCH 13
Administration
This area includes the senior director office, the programme wing, the public relation department, administrative office and the account section.
Educational & cultural Component
The museum has a specialized reference library of more than 10,000 books and periodicals pertaining to traditional Indian tribal and rural arts &
cultures. It is open to the public for reference to promote research and study of the crafts. The seminar room and the amphitheatre cater to the
lectures, workshops, audio visual programmes and other cultural activities organized by the museum.
Canteen
The canteen, which functions from a hut, is situated between the museum building and the village complex, at the entrance court. The canteen does
not have any indoor seating area.
The Village Complex
The museum‟s village complex is a remnant of a temporary exhibition on the theme of rural India, set up in 1972. spread over an area of about
4acres, the village complex comprises of 15 structures representing village dwellings, courtyard and shrines from various states and union
territories of India. All the structures are built in facsimile with regional construction materials and by the respective village masons, artisans and
carpenters.
14THE RESEARCH
THE RESEARCH
The shops
Source: authorCourtyard around which the shops are located
Source: author
Craft Demonstration Area
It is at the entrance from Pragati Maidan. Here, artists demonstrate and sell their handicrafts. The demonstration area has semi open areas and
platform all around. Moreover, this area allows the craftsmen to interact amongst themselves and with the public in general.
Demonstration areas
Source: author
Research & Documentation
A special section devoted to research and demonstration studies the museum‟s, the craft person and their crafts. It also undertakes field research
through outside scholars.
Circulation
Internal circulation is free flowing and well planned. There is however no set pattern of movement in the complex and hence every visit is a new
experience. The circulation system is such that the viewer is directed to each display in an uninterrupted flow. The courtyard is interlinked and
give relief spaces and open display spaces.
15
Use of thatch roof
Source: author
THE RESEARCH
Services
The toilet is tucked away along one of the courtyards at the end of the site and is well
connected. He lighting is a mixture of natural and artificial. The displays are
artificially lit using tube lights and spot lights. The air conditioning has been left
exposed in most places and has been colored in the same color as the walls as the
walls and ceilings to make them less conspicuous. In some places, suspension of the
textile panels from the ceiling has been innovatively done as false ceiling. During the
first phase of construction, electrical wiring was exposed outside but in the second
phase, it has been concealed.
Architectural Expression
While designing, the architect took enough care to reproduce the authentic village like atmosphere of rural India in terms of design of spaces and
treatment of these spaces. The structure was deliberately made low lying in order to give a more humble audience to the place.
The whole complex has been mud plastered and the external flooring is of simple brick paving. At many places, original building elements have
been stuck on to the structures to give a feel of the architecture of the region. The courtyards have been made interesting by means of having
Champa trees, Tulsi shrines and a monumental temple.
The complex does not have an elaborate entrance and therefore the visitors find it difficult to locate the entrance.
16
S.No. Spaces Built up Area (Sq. mts.)
1. Display & Sales Area 580
2. Workshops 180
3. Museum 3160
4. Library 246
5. Administration 350
6. Food court 100
7. Stores 1475
Total built up 6925
THE RESEARCH17
4.3.2 CASE STUDY -2 - SANSKRITI KENDRA
Architect : Uppal Ghosh
Total site area : 7.4 acres = 30,000 sq.mts.
Total built up : 2200 sq.mts.
Location
The Ssnskriti Kendra, set up by the Sanskriti Pratishthan, was inaugurated in January 1993.
Sanskriti Kendra is located on the Mehrauli Gurgaon highway in Ghitorni Village on the outskirts of
Delhi.
Objective
The Kendra has been conceived as a space where creative minds can study, interact and reflect. Such interaction rooted in the correlation of the arts
would enhance our Indian culture. The Kendra hopes to provide a pleasant working space for individuals who are provided studios, workshops,
library facilities, besides basic residential comforts.
Programme requirements
a) Public areas
• Reception
• Museum
• Library
• Dining room
• Conference room
• Crafts Demonstration Area
• O.A.T
18THE RESEARCH
19THE RESEARCH
b) Non Public Areas:
• Studio
The Entrance
The Complex has an elaborate entrance. There is a play of open and closed spaces on the principle of courtyards.
The Baithak
The facilities provided are dining room, library, kitchen, museum, conference room and an office. This building is a two storeyed structure. It is
built on the highest level and overlooks the entire complex.
The entrance
Source: author
Baithak
Source: author
20THE RESEARCH
The Exhibition Areas
These are on series of modular units which have
been placed around landscaped courts. They allow
for clarity of movement. The flat roof above the
museum of everyday art is effectively as exhibition
terrace. The roofs of other spaces are sloping.
Open air theatre, museums and other display areas
have been set up for the diverse range of activities
which can be carried out here.
Balcony- Studos
Source: author
Studios
Source: author
Interior of a studio
Source: author
Terrace for open exhibition
Source: author
Exhibition spaces
Source: author
THE RESEARCH
The Studio
There are 8 studios provided for urban artists. The units are small, simple and compact. The living and dining space is on the lower level with the
sleeping area above.
21
Circulation
Internal circulation is free flowing. There is however, no set pattern of movement in the complex.
Services
Since Sanskriti Kendra is not just one building, it is scattered on the site, a number of toilets have
been provided at various places.
Architectural Expression
Reinforced concrete, brick, stone, thatch etc. have been used. Finishes and textures have been
given great attention. Walls are finished with a mixture of mud and plaster. Where cement plaster
is used, it too has been textured with a steel comb.
The buildings have been made interesting with varied levels, heights and spaces. To go with the
ambience of the earthiness all roofs are slanting. The building blocks are such that they merge
with the landscape. The well thought out mix of formality and informality both in plant and hard
landscape characterizes the Kendra. Geometric forms, pavements, paths and hedges intersperse
the lawns, nahar and meandering paths.
Although, well proportioned windows are provided for the better sunlight, but the orientation of
all the buildings has been planned so as to have minimal dependence on cooling systems. If, in
case of the studios, correct orientation, cross ventilation and shade from fast growing silver oaks
prove insufficient to ward off the ferocity of the summer sun, there is a plan to reduce room
temperatures by trickling water down the sloping roofs from a system of perforated copper
piping.
Courtyard in front of the museums
Source: author
Amphitheatre
Source: author
THE RESEARCH 22
S.No. Spaces Built up Area (Sq. mts.)
1. Museum of Indian Terracotta 400
2. Museum of Everyday art 350
3. Creativity Workshop 200
4. Studio 600
5. Village complex/ Gaon 250
6. Havelli 125
7. Pantry 90
8. Store/reserve 30
9. Baithak 100
Total built up 2200
The Landscape
The landscaping was recognized as a focal to the design. Eventually the trees predominate the site.
THE RESEARCH23
4.3.3 CASE STUDY- 3- Visitor’s Reception- Information Centre, Auroville
Architect - Suhasini Ayer
Ground Coverage – 35%
F.A.R. – 100
Total Built up - 1200 sq.mts.
As the building has not been connected to the Tamil Nadu Electricity Board but taps only renewable sources for its energy needs, special emphasis
has been laid on natural lighting and ventilation.
Climate
The climate in the area being hot and humid, natural ventilation is must for comfort, but during the hottest part of the year, there is almost no
breeze. Use of passive solar ventilation techniques using solar chimneys which by heating up caused wind drafts in the rooms has been attempted.
Landscape
The entrance area around the pedestrian walkways is well planned and landscaped. The landscaping integrates the existing trees and the line of
palmyra trees that have been on the land before the project of Auroville started. The landscaping is a mixed use of vegetable gardens with fruit
trees and ornamental shrubs/ trees. The waste/ sewage water is treated and reused in the gardens.
THE RESEARCH24
THE RESEARCH25
Entrance
The entrance area is well planned with proper access to the main entry point
to the building. The landscaping makes the walkway an interesting
experience in itself.
Programme Requirements
Indoor Areas
• Information Office
• Exhibition Spaces
• Video Rooms
• Shops for Handicrafts
• Cafeteria
• Conference Facilities
Outdoor Areas
• Temporary Exhibition Spaces
• O.A.T.
• Parking
• Service Areas- Warehouses
THE RESEARCH
Entrance
Source: www.auroville.org
26
Architectural Expression
There is an extensive use of arches, vaults and domes as to minimize the use of steel and
concrete. The building follows the same principles as a beam and column structure, except
that the beams are arches and the columns are brick pillars. This way, there could be
flexibility in the floor plan, large openings and maximum usable floor space.
Structure
The AVBC ( Auroville Building Centre) wanted to limit the use of concrete and steel.
Prefabricated Ferro cement elements were used for all doors and overhangs. A 4m grid using
load bearing pillars and arched or corbelled openings was made with stabilized compressed
earth blocks to reduce costs. Stabilized soil blocks for domes and prefabricated Ferro cement
channels were considered as the best roofing solution.
A composite type of foundation in stabilized mud mortar was used because of its advantages. The material used had to be essentially have a
greater load bearing capacity than the stabilized blocks. Thus, the use of fire kilned bricks were eliminated and locally mined rough granite blocks
were used instead. The foundation was cheaper and less time consuming than the conventional fired brick foundation, and most of it could be
done using local labor. The excavations for pillar foundations were always made up to the clay and gravel strata, which is between 75cm and 120
cm below ground level.
View of the centre
Source: author
THE RESEARCH27
4.3.4 CASE STUDY - 4 - Choki Dhani Resort, Jaipur
Programme of Requirements
• Reception Hall
• 65 cottages
• 8 Haveli Suites
• 2 Conference Halls
• Banquet Hall – 100 persons
• Chaupal
• Bar
• Multi Cuisine Restaurant
• Kund – Swimming Pool
• Health Club
• Museum
• Hut and kitchen
Zoning
• Resort( Tourists stay)
• Day today visitors
Location of Choki Dhani Resort- Jaipur
Source: www.wikimapia.org
THE RESEARCH
Architect -Chinmay Mehta
Site Area -18 acres – 72,846 sq.mts.
Location
It is located on Jaipur Tonk highway, 6 km from Airport and 18 km from city centre, 18kms from railway station and 18 km from bus stand.
28
Site Plan- Choki Dhani
Source: www.chokidhani.com
Conceptual sketch – Entrance Block
Source: Architecture+ Design
Plan – Entrance Block
Source: Architecture + Design
THE RESEARCH 29
Conceptual sketch – administration Block
Source: Architecture + Design
Conceptual sketch – Conference Hall
Source: Architecture + Design
Swimming Pool
Source: www.flickr.com
Administration Block
Source: www.chokidhani.com
THE RESEARCH 30
Kotri- Choki Dhani lobby - It has mud plasterd wall and bamboo net ceiling.
Bar - The floor is laid with green marble.
The museum – A gallery to show the artistic craftsmanship of ancestors.
Conference Hall – It seats up to 125 persons, theatre style.
Haveli – The plan of the Haveli is around the courtyard in the square form.
Architectural Expression
In the resorts, the hut roofs are sloping with cement concrete RCC work covered with terracotta tiles or thatch. The hut structures are provided
with windows and doors at times aaliyas covered with built in spaces for deepaks in different shapes. The walls are decorated with thick cement
plaster with clay colors- geru ( indian red), Pilli mitti( ochre) and saphed mitti (white clay). Bamboos have been used extensively to integrate one
structure with another thus creating harmony.
Structure & Services
The foundations have been generally filled with stones and the walls are built with stones or bricks. The straight lines of the walls have been
broken and rounded before a thin plaster of cement is put and then treated with a combination of mud, cow dung and husk by the village women
from neighboring areas. The roofs, where ever air conditioning was not been planned, have been erected with iron pipes and purlins which are
covered with bamboo net and terracotta tiles.
Plan – Bar
Source: Architecture + Design
THE RESEARCH31
4.3.5 CASE STUDY - Tourism development strategy and community planning recommendations for metropolis, Illinois
The site planning concept and development program for the Metropolis Downtown Redevelopment District responds to the City‟s desire to create
a unique town center environment attractive to families and visitors in a beautiful riverfront setting. The essential form of the site plan concept is
influenced by four important factors:
1. Project Strategy and Objectives
2. Tourism Industry Overview
3. Market Analysis and Demographics
Strategic Planning Objectives
The project team recommends the following strategic planning objectives for the Metropolis Downtown Redevelopment District
1. Utilize development opportunities immediately below elevation 338‟.
2. Establish a “Village” or “Town Center” theme in Metropolis when practical.
3. Maximize public access to the Riverfront grounds assuming that necessary site improvements, public safety and operational issues can be
addressed appropriately.
4. Establish a pedestrian friendly environment that connects Metropolis‟ riverfront “Town Center” with the City‟s Uptown neighborhood.
5. Establish a network of existing and modified roadway alignments that improve vehicular circulation and provide a more attractive arrival
experience for visitors and residents.
The urban village theme is conducive to creating a pedestrian oriented setting that improves access in and around Metropolis. Public access
improvements at the Marina, Riverfront Park, Town Plaza, Ferry Street Promenade, and Uptown can reinforce the connection between the
proposed project elements. In addition, a reconfiguration and redesign of City streets including traffic flow and function can create an enhanced
pedestrian environment while also improving vehicular traffic and parking.
THE RESEARCH32
Metropolis Downtown Redevelopment District (MDRD)
The proposed Metropolis Downtown Redevelopment District is comprised of five planning areas as noted below:
1. Uptown District (UD)
2. Ferry Street Promenade District (FSPD)
3. Village Housing (VH)
4. Waterfront District (WD)
5. Parking District (PD)
Project Data Area (acres) F.A.R.
Uptown district 22 1.5
Ferry Street Promenade District 24 3.0
Village Housing 7 3.0
Waterfront District
• Casino
• Marina
• Town centre
• Resort hotel
• Marina housing
• Resort
• Riverfront park
• Community park
• Part-3 Golf course
108
5
14
6
7
4
11
18
10
7
NA
Parking District NA NA
THE RESEARCH 33
Metropolis Downtown Redevelopment District
THE RESEARCH 34
Preliminary Master Plan
THE RESEARCH 35
Town Centre, Fountain Plaza
Marina
THE RESEARCH 36
Ferry street Promenade & Complex
THE RESEARCH 37
INFERENCES FROM THE CASE STUDIES
From Craft Museum, & Sanskriti Kendra
Interlinked courtyards in order to
• Break the monotonous circulation
• Providing relieving spaces in built
• Serve as open demonstration areas at some places.
Built & unbuilt goes together
Vernacular architecture gives the message of indigenous products.
Structure of the built should not overpower the crafts that are to be executed.
The residential zone lies away from the exhibition zone
From Visitors’ Centre , Auroville
Appropriate to the locally available materials : Available fired bricks are of
very poor quality, but the soil of the area is suitable for making stabilized
compressed earth blocks which were used to build pillars and arches.
The planning is quite self explanatory with all the exhibition, information
spaces towards the right side of the entrance gallery flowing into one another,
while the cafeteria is on the other side of the entrance gallery.
THE RESEARCH 38
R I V E R F R O N T
The zoning has been according to the following:
• Zone - 1 : Low rise structures & Parks: As maximum of
the time in the day, the facilities are enjoyed, therefore
they have been kept at the waterfront.
• Zone -2 : High rise than the structures in zone 1 in order
to give river view. These facilities require a view, therefore
they have been kept in this zone.
From Choki Dhani Resort, Jaipur
A visit to areas like these in the hustle bustle of the city give a calm environment to the
residents.
The tourist places planned in this fashion give a tradition glimpse to the tourists.
The oranic planning gives the much needed informal environment required to the place.
From the Metropolis downtown, Illinois
THE RESEARCH
5.1 CONSTRAINTS / CHALLENGES / OPPORTUNITIES
Now, having been through all the components that make up the design along with the basic information required, there are a few observations
made, before actually moving on to the design of the project:
Design constraints and hence the challenges:
a) Since the F.A.R. and ground coverage are less, the site planning has to be done very strategically so as to blend the built and the unbuilt.
b) Since the site is located on a national highway which is a major tourist corridor, the project has an opportunity to become one of the icons of
the city which may also serve as inspiration to the similar projects.
c) Jaipur has a great tourist influx, and so the real challenge of the project is to provide a mix of activities in such a manner as to gain an all year
round attention by the tourists.
d) Last but not the least, the real challenge lies in creating an informal environment in a planned area. Since the form is quite rigid, the
informality can be achieved in the landscape, which is to be carefully dealt with.
5.2 DESIGN DIRECTION
The following components will form the part of the design moves:
1. The „chowk’ character of the planning of Jaipur city will be used in the master plan where there will be a change in zone.
2. The courtyard typology will be incorporated in the buildings so as to follow climate responsive passive technique.
3. The zones will be placed according to the type of tourist entering from both sides.
4. The colonnade character of Jaipur Bazaars is to be incorporated in the market area of the site.
SUMMING UP 40
1) BOOKS & ARTICLES
1. Jain Kulbhushan, Thematic Spaces in Indian Architecture, New Delhi, India Research Press, 2002
2. Sachdev Vibhuti & Tillotson, Giles, Building Jaipur- The Making of Indian City, New Delhi, Oxford University Press, 2002
3. Sharma, Anupama, Climatic Responsive Energy Efficient Passive Techniques in Buildings, Vol. 84, (April 2003)
2) UNPUBLISHED THESIS & DISSERTATION
1. Chaurasiya Deepti, Pratibha Crafts Bazaar at Theerthraaj Pushkar, Rajasthan, Unpublished Dissertation, 2007
2. Mathew Anupama Anna, Revitalization of the Dutch Palace Waterfron, Mattancherry,Kochi, Unpublished Dissertation, 2003
3. Roongta Pragya, Revitalization of Kanyakumari waterfront, Unpublished Dissertation B.Arch., 2004
3) WEBSITES
1. www.rajasthantourism.com
2. www.rajasthanart.com
3. www.wikimapia.com
4. www.wikipedia.com
5. www.auroville.org
6. www.chokidhani.com
BIBLIOGRAPHY 41
