November - 2018

SYNOPSIS REPORT

In subject
Seminar -Thesis Topic (semester –VII)

Submitted
For the partial fulfilment of degree

Bachelor of Architecture

Submitted by

Miss. Mruga Sachin Raut

Guided by

Prof. Pranita Pranjale

Submitted to

Department of Architecture
 MARATHWADA INSTITUTE OF TECHNOLOGY,

YASHWANTRAO CHAVAN MAHARASHTRA OPEN UNIVERSITY, NASHIK (M.S.)

CERTIFICATE

This is to certify that Miss Mruga Sachin Raut has submitted the assignments for this

Project titled Synopsis Report towards the fulfilment of the requirements of subject

Seminar -Thesis Topic (semester-VII) for the graduate degree - B.Arch. in Nov -2018.

This is bonafide work of the above student of MIT (E) College, Aurangabad, who carried

out work under my supervision.

Date - Oct. 2018

Place- M. I. T. (E), Aurangabad

Prof. Pranita Pranjale Prof. Kuldeep Kaur Bhatia

Subject Teacher HOD, Dept. of Architecture
MIT (E), Aurangabad (M.S.)
 ACKNOWLEDGEMENT

I take an opportunity to thank all the people who have helped me in making this

project successful. I express my deep sense of gratitude towards my professors for

their valuable guidance, suggestions, and support. I would like to express my sincere

gratitude to Prof.(Ar.) KULDEEP KAUR BHATIA , The Head of Architecture Department for the

continuous support and motivation. I am very thankful to my family, friends and colleagues and

all those who directly or indirectly contributed in the presentation of my report work. It would

have been difficult to achieve this goal without their tremendous support. I am thankful to each

and every person associated with this project.

Prof. Pranita Pranjale Prof. Kuldeep Kaur Bhatia

Subject Teacher HOD, Dept. of Architecture
MIT (E), Aurangabad (M.S.)
CONTENTS:

1. Interpretation Centre

1.1 Preamble Page nos.

1.1.1 Introduction..................................................................................... 2

1.1.2 Need of the project………………………………………………………. 4

1.1.3 Aim………………………………………………………………………… 4

1.1.4 Objectives …………...………………………………………………….. 5

1.1.5 Scope and limitations…………………………………………………… 5

1.1.6 Methodology…………………………………………………………….. 6

1.2 Case study

1.2.1 Dakshinachitra , Tamil nadu……………………….…………………… 7

2. School of Performing Arts

2.1 Preamble

2.1.1 Introduction............................................................................................ 17

2.1.2 Need of the project…………………………………………………………. 18

2.1.3 Aim……………………………………………………………………………. 18

2.1.4 Objectives……………………………………………………………………. 19

2.1.5 Scope and Limitations……………………………………………………. 19

2.2.6Methodology……………………………………………………………….… 20
 2.2 Case study

2.2.1 C.I.H.T ,Sarnath………………………………………………… 21

3. Convention Centre

3.1 Preamble

3.1.1 Meaning............................................................................................. 27

3.1.2 Introduction....................................................................................... 27

3.1.3 Need of the project……………………………………………………… 28

3.1.4 Aim………………………………………………………………………….. 28

3.1.5 Objectives…………………………………………………………………. 29

3.1.6 Scope and Limitations……………………………………………………. 29

3.1.7 Methodology…………………………………………………………….... 30

3.2 Case study

3.2.1 Delhi Haat, Delhi……………………………………………………… 31

4. References
CHAPTER 1
TRIBAL ART AND CRAFT CENTRE-
(MUNDA TRIBE)

INTRODUCTION:-
Munda are an ethnic tribal group of people of Chota Nagpur Plateau region. They
are found across much Jharkhand state as well as adjacent part of Assam , Odisha
,West Bengal , Chattisgarh , Bihar . The munda people earn in their livelihood by
undertaking many occupations such as forestry and food gathering, shifting
cultivation, settled agriculture, and mine labour, animal husbandry, fishing,
traditional commerce of which household industry including handicrafts is of prime
importance are part of their activities but not their main occupation inherited from
their forefathers. Mundas have been producing handicrafts both utilitarian and
decorative over centuries. The basic aim to art and craft center is promoting art of
lahsua dances and dhana murti, such place help to keep alive the rich Indian
tradition, it helps as oxygen for vanishing Indian beauty.Dhana Murti or unpled rice
grain idols are distinctive to Jharkhand region . This is made using three key
elements; rice grains, bamboo silver and colored threads. The bamboo slivers are
primarily soaked in turmeric water and dried in the sun to make them more pliable.
Then the loop the rice grains intricately between two thin bamboo slivers using
colored cotton threads alone. Then the men sit to fold and coil the rice sticks into
various forms creating idols and objects.

(Source-www.wikipedia .com)
1.1.2 NEED OF THE PROJECT:-

• The mundas are a people of considerable antiquity , some scholars identify

them with the mundas mentioned in the epic Mahabharat. Mundas have
remained haunters for centuries. But now they have been converted into the
settled argriculturist . Most of them do not have land of their own. So the need
of this project is to make a provision of self- employment to the tribal people as
most of them work as agricultural laborers or in the mine and also to provide
secondary source of income.

1.1.3 AIM:-

The main aim of tribal art and craft center is to revitalize the lost art and craft of
munda tribe and help to keep alive the rich Indian tradition

1.1.4 OBJEVTIVES:-

 To revive the culture and heritage of the mundas .

 Provision of self-employment to the tribal people.

 To create a conductive working and living environment where no alienation

from their traditional habitual is felt.

 To simultaneously generate necessary exposure for the craftsman and create

awareness among people.

 To increase awareness of Mundas life and craft , specifically for the younger
generation.

 To educate the indigenous people about their rich traditional art and craft .

 To encourage entrepreneurship and livelihood opportunities for the tribe.

1.1.5 SCOPE AND LIMITATIONS:-

This project provides the scope to experiment with a variety of scape as there are
numerous activities involved. The challenge is to create a harmony involving open
spaces , semi open spaces , enclosed space , form , design etc.T he project offers
the scope of designing spaces for exhibition , art gallery ,auditorium and
documentation space for instruction in all art forms. The project attempts to bring the
entire tribe in a harmonious, interdependence and to provide a healthy learning and
performing environment .This center will provide a platform to the craftsman and
the artist to exhibit their craft and art at national and international level. This project
will help us in uplifting and establishing our art and thus the artist which will result in
upgradation of Indian economy. The center will offer the scope for the arts and also
for the progressive community to encourage cultural. Culture activities are a part of
daily life. The idea that cultural development is a key to the future of the inclusive
development of communities has also been recently recognized .This project provide
a scope of promoting this idea positively. As we know that India art craft work is
famous all over the world and among the tourist but there are no popular sources to
popularize our traditional . Thus center will help in supplying the art and craft work all
over India and world for purpose of selling and will make it easily accessible to all
.To expose the unexplored culture and art of the state. To educate the munda
people about the value of their rich culture.

1.1.6 METHODOLOGY:-

TOPIC SELECTION
(Tribal art and craft center)

AIM AND OBJECTIVES

(The main aim of tribal art and craft center is to revitalize the lost art and
craft of munda tribe and help to keep alive the rich Indian tradition)

SITE SELECTION
(Gumla district , Jharkhand)
 1.1.7 ABOUT THE CITY:-

In 1902 Gumla became Sub-division under Ranchi district. Blessed with natures
beauty , the district of Gumla is covered by dense forests, hills and rivers. It is situated
in the southwest portion of the Jharkhand State. The District was carved out of Ranchi
District on 18th May 1983. Gumla has a rich tribal culture. It also have highest
population of munda tribe.The most popular one ascribes to its word ‘Gumla’ in
Mundari language, which relates to the occupation of the local Tribes in rice processing
work (dhan-kutna). The second legend ‘Gau-mela’ relates to cattle fair. Cattle fair was
weekly held in Gumla town every Tuesday. In rural areas, Nagpuri and Sadri people
still call it ‘gomila’ .The main tourist attraction of the district is Ramrekha,
Ranida ,Hapamuni - The ancient village Mahamaya temple that is the identity of this
village. Palkot ,Nagfeni ,Tanginath.

1.2CASE STUDY:-
LITERATURE CASE STUDY:-

DAKSHINACHITRA :-

 Name: -Dakshinachitra
 Location: - Chennai, tamil nadu.
 Owner: - Madras craft foundation
 Construction time : 10 years
 Area:- 10 acres
 Architect:- Laurie baker , Benny Kuriakose

(Source- http://www.maps-india.com/Tamil nadu) (Source-www.wikipedia .com)

1.2.1 INTRODUCTION:-

Dakshinachitra is an exciting cross cultural living museum of art , architecture ,

lifestyle , craft and performing arts of south India.
One can explore 17 heritage houses , amble along recreated streetscapes ,
exploring contextual exhibition , interacting with typical village artisans and
witnessing folk performances set in authentic ambience . Dakshinachitra is
more than just a venue -it is a heritage village , a place where contemporary art
, music and dance forms of the south finds its manifestation into a journey of
discovery and self-learning .The sprawling ten acres campus is divided into four
prominent states of the south-Kerala , Tamil Nadu , Karnataka and Andra
Pradesh further emphasising on their respective culture in terms of house
architecture that is re – modelled district wise – brahmin house potters house ,
merchant house etc. textile and handicrafts found in temples , art , music ,
research and educational programs with workshops and heritage trips which
connect the neighbouring villages at the centre. Here the states are clustered
but their diversities are kept alive.
1.2.3 SITE PLAN:-
 1.2.4 CIRCULATION PLAN:-

1.2.4 SITE CONSIST OF :-

GENERAL : AMINITIES:
Reception Parking
Seminar hall Service block
Craft shop Lathe workshops
Gallery for exhibition Tea shops
Library

 TAMIL NADU SECTION

 ANDHRA PRADESH SECTION
 KERALA SECTION
 KARNATAKA SECTION

TAMIL NADU SECTION

 Mostly , tamil houses have an inner courtyard which is used for drying grains,
shelling pods and for functions.
 There will be a raised verandah or small seating are in front of the house .
 The houses from tamil
nadu region at
dakshinachitra were typical
houses found in many
village throughout tamil
region.
ANDHRA PRADESH SECTION
 This section consist of weavers houses and other village houses in Nalgonda
and Warangal district follows a style locally known as bhawanti . . The pln
used commonly is the chitra sala , with three bays or sections and a small
courtyard in the middle . The building materials include bamboo, reapers ,
palmyra beams and semi- circular roof tiles .

KERALA SECTION
 The architecture , environment and culture of Kerala stand in marked contrast
to that of Tamil nadu.
 Unlike the Tamilian , the Keralite prefer live isolated from neighbor’s in the
middle of a plot of land , with privacy and beautiful tropical vegetation.
 Kerala section in Dashinachitra is punctuated in form by the religious
architecture of its three communities – Hindus , Muslims and Christians.
 HINDU HOUSE – TRIVANDRUM
 This small, middle – class house from south Kerala , belonged to an
agricultural family of Nair’s , a matrilineal Hindu caste.
 The kitchen to this house was a separate structure next to the house .
 This house was isolated from the other houses with gardens and cow shed
was present outside.

SYRIAN CHRISTIAN HOUSE

 The distinctive feature of the Syrian christian house was its layout , with the
entrance of the house leading directly into the granary.
 Prayer area was in front of the granary , identified by the small cross above
the door and not in a separate room
OTHER SPACES
 The pavilion and kalyana mandapa is in chettinadu style with restaurant
adjacent to it .
 Gable roof are used with mugappu (Kerala style )
 Columns and doors are of traditional chettinad style.

CRAFT BAZAAR
 Craft bazaars are present for various artist coming from different parts of India
to showcase their products and earn income.
 This is a permanent structure for temporary artists.
 Stone carving workshop is found adjacent to the bazaar.

1.2.5 ANALYSIS:-

 Dakshinachitra forms an unique environment to express architecture as a

piece of our culture , history and folks art.
 This gives a prominent idea on the native south Indian architecture.
 This is best example to understand the workmanship possessed by artisan
and builders in early times .
 This serves as a learning hub for the young generation to know the past ,
conserve it and grow effectively for future.
 This complex has uplifted various artisans who were in a dreadful state due to
change in lifestyle which has economically uplifted them and also promoted
the art forms.
 The entrance plaza would have been in monumented state.
 The buildings were efficiently planned based on the climate i.e of Chennai
 The construction was with locally available material and hence maintenance
was quite easy.
 CHAPTER 2

BUDDHA DARSHAN CENTRE

2.1.1 INTRODUCTION:-

The idea of designing a Buddha Darshan Centre at Aurangabad is due to the

historical significance of the region as a major learning hub and preserver of many
manuscripts of Buddhism. With this proposal, the opportunities for perceiving higher
studies in Buddhism, not only for the monks and locals but also for other foreign
people can be generated which further leads to the development of the locals as
well as the town by exchange of ideas and methods through this center. An effort is
made to promote the importance of local architecture language within the people of
region through the use of vernacular materials in order to reflect the local values .

2.1.2 NEED OF THE PROJECT:-

Is to promote the pali language and to preserve the Buddhist tradition.
To create awareness of locally available material and local techniques .
To create a Buddhist center in Aurangabad.
Preservation of historical values of the city .

2.1.3 AIM:-

To preserve the local traditions and historic value of Aurangabad monastery and
support the existing cultural values by creating an architectural module for the town
that utilizes both the modern as well as traditional understandings.

2.1.4OBJEVTIVES:-

 Preserve the Traditional Buddhist legacy by providing opportunities to study further.

 Promote local economy through their own traditions and craft.
 Generate awareness of traditional building know how by creating a module and
aspire people to build with their traditional sense and preserve their ecology.
 2.1.5 SCOPE AND LIMITATIONS:-

Aurangabad is known for its Buddhist caves which are famous all around the world
and will encourage number of people for further studies and also create
opportunities for locals, if provided with better facilities. By setting up an example of
a built module reflecting their own traditions and culture in terms of spaces and
materials, will help people understand the socio-culture of that place.
BAUDDHA DARSHAN CENTRE
The Centre functions as a place where Higher Education in Buddhist Philosophy
(referring as Bauddh Darshan) is provided for the Buddhist Monks and also basic
understanding of Buddhism, its literature and Languages are taught to lay people for
a better understanding of the manuscripts. The project offers the hierarchy , form ,
design of different spaces. To provide traditional and modern education to the
monks and nuns of the Aurangabad.

1.2.6METHODOLOGY:-

TOPIC SELECTION
(Bauddh Darshan center)

AIM AND OBJECTIVES

(To preserve the local traditions and historic value of Aurangabad monastery and
support the existing cultural values by creating an architectural module for the town
that utilizes both the modern as well as traditional understandings.)

SITE SELECTION
(Aurangabad , Maharashtra )
1.2.7ABOUT THE CITY:-

Aurangabad city is a famous tourist destination in Maharashtra . The city houses a

number of historical monuments , palaces and tombs which hold the essence of
Aurangabad’s rich past . The cultural diversity and pleasing weather of the city make
it a popular destination on India . Aurangabad is best known for being the gateway to
UNESCO world heritage sites , Ajanta and Ellora caves . Every cave depicts the life
of Buddha and has its own importance .

2.2CASE STUDY:-

LITERATURE CASE STUDY:-

CENTRAL INSTITUTE OF HIGHER TIBETAN

STUDIES , SARNATH:-

https://www.google.co.in/search?q=central+institute+of+higher+tibetan+s
tudies+sarnath
  Name:- CIHT
 Location: - Sarnath
 Activity: - Buddhist centre

https://www.researchgate.net/figure/Political-Map-of-India-
Showing-Study-Location-State-of-Delhi_fig4_283011717

2.2.1 INTRODUCTION:-

 To arrange for traditional studies on modern lines , the government of India

established several central schools in the hill tracts and centre for higher
research and learning in Ladakh and Sikkim .Sarnath is the only institute of its
kind which combines both the teaching and the research wings.The institute
offers a nine year course study.The Central Institute of Higher Tibetan Studies is
a Deemed University founded in Sarnath, Varanasi, India, in 1967, as an
autonomous organisation under Union Ministry of Culture. The CIHTS was founded
by Pt. Jawahar Lal Nehru in consultation with Tenzin Gyatso, the Dalai of Lama,
with the aim of educating Tibetan youths in exile and Himalayan border students as
well as with the aim of retranslating into Sanskrit and translating into Hindi and other
modern Indian languages lost Indo-Buddhist Sanskrit texts that now exist only in
Tibetan. Originally it functioned as a special constituent wing of Sampurnanand
Sanskrit University, Varanasi. In the early 1970s the Government of India reviewed
the progress of the institute and decided to accord it a status of an autonomous body
under the Department of Culture, Ministry of Education, Government of India in 1977
with 100% financial support from the Indian government.The institute steadily
progressed and the Indian government declared it a Deemed University on 5 April
 1988. Formerly headed by the like of Kyabje Zong Rinpoche, Samdong Rinpoche
(former Prime Minister of the Central Tibetan Administrations), and Ngawang
Samten, also a former alumnus, the institute is headed by Lobsang Norbu
Shastri.[3] Assisted by faculty members, with the goal of achieving excellence in the
fields of Tibetology and Buddhology. The university attracts a large number of
students from many regions of the Himalayan family, with students coming from
Kinnaur, Lahaul, Spiti, Ladakh, Monpas from Arunachal. Students from Nepal consist
of students, from Sherpas, Lamas and many more from the bordering regions of
Mustang and Dolpo. Other than these, students also come from Bhutan and
Mongolia.The university also offers courses in Tibetan medicine (Sowa Rigpa),
Astrology and Fine Arts.

2.2.2 SITE PLAN:-

The site of master plan of institute consists of the following mains blocks :
• Administration block
• The library
• The hostel block
• The school building
• The guest house
• 2.2.3 DESIGN:-
The library, the school and the hostel blocks contains either partially or fully
enclosed courtyards within their building masses, which are much needed
spillout area in Sarnath’s hot and moist climate.
Most of the rooms are fairly shallow (8 to 10 ft deep ) and strong along singly
loaded corridors , which allows enough light into the room , but makes cross
ventilation difficult unless privacy is no consideration .
All the buildings and the campus as a whole create a strong Buddhist
atmosphere in the midst of the Sarnath fields. The elements and style of
Buddhist architecture have been minutely reproduced by the overall impact of
the campus.
• 2.2.4 ANALYSIS :-
At the level of site organisation, the campus of CIHTS brought forth the
following:
• There is no strong organising element that sense to link the various building
components together. Although the buildings are strongly Tibetan.
• The organisation of the site on the whole does not convey any coherent image.
• Well landscape gardens and trees have been judiciously used to enhance the
built environment.
• A courtyard type of organisation, which while it creates an intimates scheme by
turning the building upon itself, also
CHAPTER 3

CULTURAL THEME PARK

3.1.1 INTRODUCTION:-

A theme park is a destination, which combines entertainment, food and beverage and
shops, and an environment that is different from that found outside its gates. A theme
is used to provide a focus for the design, development and operation of such a park.
Thereby, a “Cultural Theme Park” is an amusement park which is themed on a
particular culture, and all its rides, attractions as well as other elements of interest are
based on ideas from that specific culture. In this case, the culture refers to the “Culture
of India”, and all the recreational elements used are meant to be associated which this
pluralistic culture. This thesis project would propose a Theme Park, which would depict
the Indian Culture, its richness and versatility on a large scale. Its arenas would be
distributed geographically, so that the people who belong to India but are eager to get
acquainted with its culture as well as the people who visit the country, both get a clear
idea of what the country has to offer and correlate it well with their own understanding.
The park would have a chargeable entry, which would include the visiting charges but
not the access to certain recreational elements, which are not compulsory or common
to all. The site also holds the Residential Areas for the staff working there,
Administrative Areas as well as a Guest House for visitors who wish to stay longer.

3.1.2 NEED OF THIS PROJECT:-

Due to lack of proper promotion and global advertisement, many parts of India,
which are culturally rich and worth giving a visit, and that depict the variety in
the Indian culture to its fullest, do not fall in the notice of tourists and visitors.
Keeping this in mind, the basic idea here is to create a cultural theme park,
depicting the culture of our country at its best, highlighting the low-promotion
zones and give an appreciable definition to “India”.
3.1.3 AIM:-

The prime objective behind the creation of this park would be to highlight the low-
promotion zones of India. In this design, it is aimed to generate ambiences portraying
the varied cultures, consisting of recreational elements for visitors having varied
interests that would incline them to visit those parts of India.

3.1.3 OBJECTIVE:-

• To promote the culture of India in new way .

• To preserve the hidden culture of India in different way .
• Creating recreational area for visitor with traditional ambiences.

3.1.6 SCOPE AND LIMITATIONS:-

The aim here is to create a cultural theme park, which would consist of six major built
structures, denoting the six major geographical zones of India – North, South, East,
West, North-East and Central. Each pavilion would have its own outdoor arena, and
both these areas would consist of elements of interest and entertainment, which would
depict a component of Indian culture of that area.

The basic components of this theme park design:

Ticketing complex

Tourist information centres

Centre for assistance to physically challenged and aged visitors Six Pavilions

Toy train station

Boating station

Shopping streets

Dining facilities Plazas

Parking Medical clinic Restrooms Staff residence

3.2CASE STUDY:-

LITERATURE CASE STUDY:-

DELHI HAAT, DELHI:-

Source- http://www.focusdelhi.com

 LOCATION - Kidwai Nagar, opposite INA market, NEW DELHI.

 DATE COMPLETION- DECEMBER, 1993
 CLIENT- DELHI TOURISM & MUNICIPAL CORPORATION OF DELHI.
 ARCHITECT- PRADEEP SACHDEVA, DESIGN ASSOCIATES, NEW DELHI.
 SITE AREA- 6 ACRES, APPROX. 100M x 3 BUILT UP AREA- 3190 SQ M
 SITE DIM.- 100 x 300 M GROUND COVERAGE - 12%

3.2.1 INTRODUCTION:-

DILLI HAAT is a project of Delhi tourism and New Delhi municipal corporation. It
provides an ambience of a traditional village market for more contemporary needs. It
provides a synthesis of craft, food , and cultural activities. DILLI HAAT is not just a
market place; it has been visualized as a showpiece of traditional Indian culture- a
forum where rural life and folk art are brought closer to an urban business.These shops
change hands every 15 days and therefore provide opportunity to the visitors with a
different set of shops periodically and therefore motivates them to keep revisiting again
and again .It provides encouragement to need artists and serves as an outlet center
for them . A small food court which brings a variety of cuisines of different states
together.

3.2.2 DESIGN:-

an entrance plaza, raised to block vehicular access and bring a new spatial identity
for pedestrian circulation and ticketing services for entry to Dilli Haat. It is followed
by a linear spine of movement flanked by stalls on both sides in cluster patterns
show casing the local and the regional crafts of India. Space syntax tools have been
used to study the interaction between the spatial configuration and public
movement in this spatial typology in an urban context.

3.2.3 CIRCULATION :-
3.2.4 ANALYSIS :-

• Green space is provided at relevant spaces.

• The spine concept is used very efficiently.
• Number of ramps to reach different level are less are at far distances.
• The placement system of stalls is convincing.
• the decorations enhance the beauty of the place.
• An entrance plaza, raised to block vehicular access and bring a new spatial
identity for pedestrian circulation is a very special feature.
• Every kitchen has its own gas and water supply.
• Every food stall has different style of seating and shade.
• Security is compromised of the place.
CHAPTER 4
REFERENCES:-

 http://jharkhandtourism.gov.in/content/explore/art

 https://www.encyclopedia.com/humanities/encycloped

ias-almanacs-transcripts-and-maps/mundas

 https://en.m.wikipedia.org/wiki/Gumla

 https://www.buddhanet.net/e-

learning/buddhistworld/education.htm

 http://kopanmonastery.com/about-kopan/monastic-

education/monastic-education-in-the-tibetan-tradition

 https://simple.wikipedia.org/wiki/Theme_park

 https://en.wikipedia.org/wiki/Amusement_park

 http://wikimapia.org/3795458/Central-University-for-

Tibetan-Studies-Sarnath