Pokhara University

Report on

Design Consideration for Cultural Performing Space

By

Roshan Bohara (180725)

PU Regd.No: 2018-3-01-0071
`

Department of Architecture

Cosmos college of Management and Technology

Tutepani, Lalitpur, Nepal

Table of Contents
1 INTRODUCTION .............................................................................................................
1.1 “CULTURAL CENTER”: (CULTURE + CENTER) ...............................................
1.2 Culture in context of Nepal ........................................................................................
1.3 Origins of Tharu .........................................................................................................
1.4 Project Background ....................................................................................................
1.4.1 Tharu wall painting ............................................................................................
1.5 Importance of Project ...............................................................................................
1.6 Justification ..............................................................................................................
1.7 Statement of Problem ...............................................................................................
1.8 Objectives ................................................................................................................
1.9 Scope and Limitation ...............................................................................................
2 LITERATURE REVIEW ................................................................................................
2.1 Tharu House .............................................................................................................
2.2 Museum and Exhibition ...............................................................................................
2.3 Auditorium ...................................................................................................................
2.4 Meeting / Conference Hall ...........................................................................................
2.5 Plaza space / Public Space ...........................................................................................
3 CASE STUDIES ..................................................................................................................
3.1 proposed case studies ...................................................................................................
3.1.1 General information .............................................................................................
4 Bibliography ....................................................................................................................
CHAPTER 1: INTRODUCTION
 CULTURAL PERFORMING SPACE

1 INTRODUCTION

1.1 “CULTURAL CENTER”: (CULTURE + CENTER)

CILTURE: according to word web dictionary

(Archeology) a particular society at a particular time and place

 the beliefs, values, behavior and material objects that constitute a people's way
of life
 the attitudes and behavior that are characteristic of a particular social group or
organization
 the tastes in art and manners that are favored by a social group
 all the knowledge and values shared by a society

CENTER: according to word web dictionary

 the piece of ground in the outfield directly ahead of the catcher

 an area that is approximately central within some larger region
 a building dedicated to a particular activity
 a place where some particular activity is concentrated
 the object upon which interest and attention focuses

From the above points we can confirm that “a cultural center is an organization,
building or complex that promotes culture and art of some particular place, social
group or a community.

The topic of my thesis is “Tharu cultural center”. A cultural center is an organization,

building or complex that promotes culture and arts. One of the meanings refers to the
place where people meet for a given purpose. A cultural center is so space to participate
in cultural activities. These center’s aim to promote culture among the people of a
community and building materials, form of buildings. As a member of society and
student of architecture, this thesis will provide me an opportunity to learn more about
people, tharu culture, religious, life style and relation with architecture.

My thesis is concerned with how the cultural center is often a meeting point in small
communities where people come together to preserve traditions and develop cultural
activities that include the participation of the whole family. The property of cultural

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center is usually State or cooperative, because it generally non-profit institutions. The

project also encouraging close relationship between people, encourage involvement in
cultural work, flourish of Tharu architecture, etc.

Culture was defined earlier as the symbols, language, beliefs, values, and artifacts that
are part of any society. As this definition suggests, there are two basic components of
culture: ideas and symbols on the one hand and artifacts (material objects) on the other.
The first type, called nonmaterial culture, includes the values, beliefs, symbols, and
language that define a society. The second type, called material culture, includes all the
society’s physical objects, such as its tools and technology, clothing, eating utensils,
and means of transportation.

The culture is not only about intellectual and creative products like literature, music,
drama, painting etc. and again it is not only about beliefs and practices of society but
culture is more than that. Culture is a part of the fabric of every society. It may be also
relatively unconscious such as rituals of food, use of time or family celebrations. The
culture of a particular place depends upon the topographical features, climate, resources
available, historical context, neighboring influences etc. That's why the cultural
difference exists from place to place. Cultural assimilation and culture mix also happens
most of the time at various situations.

1.2 Culture in context of Nepal

The culture of Nepal encompasses the various cultures belonging to the 125 distinct
ethnic groups present in Nepal. The culture of Nepal is expressed through music and
dance; art and craft; folklore; language and literature; philosophy and religion; festivals
and celebration; food and drinks. (Wikipedia, 2007)

According to census 2011, total population of Nepal are 26,494,504 and they follow
different particular religious such as Hindu (81.3%), Buddhist (9.0%), Islam (4.4%),
Kirant (3.0%), Christian (1.4%), Prakrit (0.5%), Bon, Jain, etc. (Bista, 2014).

Many Hindu and Buddhist symbols can be found in Nepalese culture. This multifaceted
cultural heritage incorporates the cultural diversity of diverse ethnic, tribal, and
socioeconomic groups living at various altitudes. Nepal offers a varied range of culture,
while being a relatively small country with geographical diversity. Nepal's cultural
variety appears to have been its identity throughout its history. Art, culture, customs,

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festivals, and religions have

always been an important
element of Nepalese culture and
are deeply embedded in
Nepalese life. Throughout
history, this small magnificent
land has always expressed many
colors of culture and has created
a distinct and praiseworthy status Figure 1: Nepal Cultural Diversity by Altitude
in the globe. Various Nepalese Source:
arts, such as terai Mithila art, https://poozasitaula.wordpress.com/2016/09/09/
cultural-diversity-of-nepal/
stone sculptures, wood carvings,
paintings, architectural wonders, and many more festivals and cultures observed
throughout the year in various parts of Nepal, evoke Nepal's deep-rooted cultural worth.

There is a vast range of geographical diversity in Nepal, from high mountains, hills,
and plain Terai, as well as a large range of cultural diversity. As a result, Nepal is known
as a culturally diverse country with a diverse range of ethnic groups and their distinct
customs, traditions, attire, languages, occupations, religions, and so on. In Nepal, there
are more than 125
caste groupings, 123
languages spoken,
five major faiths
practiced, and much
more unique
customs. Ethnic
groups such as the
Tharus, Newars, Figure 2: Nepal Caste/Ethnic Composition (2011)
Tamangs, Gurungs, Source:
Brahmans, Chhettris, Sherpas, Thakalis, Magars, and others have their own culture,
language, and way of life. Each ethnic group is quite enthusiastic about its festivities.

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1.3 Origins of Tharu

Tharu themselves claim that they are the “real Nepalese” and the original inhabitants
of Nepal, but the traditions about Tharu origins that Tharu recite and remember are not
uniform. There are three theories about their origins. Considering the Tharu facial
features, one theory is that Tharu came from Mongoloid stock (Ibid). According to D.N.
Majumdar, Tharu are Mongoloid people, who succeeded in assimilating non-
mongoloid features. They are thought to have come from Mongolia via the Himalayan
route in the seventh century and settled down in Terai. The second theory of Rajput
origins claims that Tharu were originated from the Rajasthan area of India as part of the
Rajput. Rana Tharu of western Terai of Nepal and India claim they are Rajput
descendants. They believe that after the Muslims attacked and killed the Rajput kings,
their surviving wives came to Nepal with their servants and eventually married with
them. In order to prove this claim, they point to their tradition of matrilineal supremacy
in a household (Ibid). The third theory of Tharu origins holds that Tharu originated
from the holy city of Banaras in North India and they are the descendants of Lord
Gautama Buddha.

1.4 Project Background

According to CBS data 2011, total Tharu population are 1,737,470 and Tharu ethnic
groups are highest in number by districts are Sunsari, Dang, Bardiya but in 2009
highest are in Susari, Dang, Bardiya and Kailaili. Among them 7, 74,924 are males and
7, 58,955 are females according National census 2011 (Bista, 2014).

Tharus are probably among oldest groups to inhabit in Terai. They have their own
language, culture, rituals, culture, customs and lifestyles. They are rich in folklore,
literature, language. Tharus are separated into subgroups based on their cultural and
linguistic differences. Morang Kochila refers to Tharus from Jhapa, Morang, and
Sunsari districts; western Kochila refers to Tharus from Udayapur, Saptari, and areas
west of it; Kotharia, Dangaha (Dangoura, Dangaura) refers to Tharus from central and
mid-western Terai; and Rana Tharu of Kailali and Kanchenpur refers to Tharus from
the far west. Tharus are rich in cultural heritage and have their own special costumes,
unique ways of living, language, religious belief, which make them different from other
indigenous communities in Nepal.

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“The Tharus”, are the indigenous tribes living in inner Terai valleys and the Terai
plains of Nepal. They have been living in villages near jungles and the foothills of
Chure Hills, which are isolated and undisturbed for centuries allowing them to develop
a unique sense of culture and religion within the tribe (Culture & Festivals, 2015).

Tharus are one of the ethnic groups in Nepal with their own culture, traditions, art, and
architecture. They have mostly settled in the Terai regions of Nepal with their main
occupations of farming and fishing. Tharu women are engaged in making bamboo
baskets and wheat-straw fans. The Tharu are divided into different castes that each has
its own culture and religion. Tharus speak variants of Urdu and Awadhi in western
Nepal of Bhojpuri and near central Nepal, and Maithili in and near eastern Nepal. The
Tharus are mostly Hindus, but many do follow Islam, Animist and Buddhist beliefs.
Religious freedom is practiced in all tharu tribes, giving them the freedom to embrace
their desired religion including Christianity. They have their own cuisine and
indigenous clothing.

Tharu women are

considered to be naturally
beautiful. They like to dress
up very colorful, and
flaunting their beauty with
attractive silver ornaments
is the part of their culture.
Tharu women are
considered to be very
skillful craftsmen and the
knowledge has been passed
down from mother to Figure 3: Tharu Fishing Culture

daughter since generations. Source: https://www.explorehimalaya.com/tag/tharu-

culture/
Household furniture, clay
Potts, chauki, dhokra, jhaal and kewar are made using the raw materials found in their
surroundings itself. And the method has not changed since the primitive age (Culture &
Festivals, 2015).

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In current situation this type of skillful craftsmen and knowledge is decline day by day.

Source: http://kitenepal.com.np/index.php?page=tharu-products

Figure 4: Different Types of Handicrafts

In Tharu villages, houses are usually arranged in small clusters around an open
courtyard. The forms of Tharu houses are distinct expressions of the need to adapt to
given physical conditions. The houses have thin walls built of light materials like
bamboo, mud, and reed with small openings for ventilation to keep out the humid heat.

Figure 5: Tharu's Traditional House

Source: https://www.amazing-world-in-free-stock-pictures-and-
photos.com/chitwan-tharu-village.html

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The beautiful and artistic traditional houses of the Tharu people made of wood and
thatch are on the verge of disappearance these days. This situation has arisen as the
people of this indigenous community are abandoning the traditional architectural style
for the 'modern' cement and concrete houses. The shortage of timber, tiles, the 'khariya'
grass and the alluvial mud found in ponds, which are used in building the traditional
Tharu houses is another reason for the disappearance of the traditional houses. Tharus
have also started choosing for the brick and cement houses as their economic status
improves. The cost of traditional house is little bit different than modern house whereas
also modern house has more lifetime and secure as compared to traditional house. Tharu
people community could bring timber from the forest for free but now the situation is
changed forests were changed into community forest as all the forest-based construction
materials have to be purchased. The factories manufacturing the traditional mud tiles
and other items have closed down. Moreover, the Tharu people living in the towns and
cities have started building modern cement and brick house and also in rural areas. In
few place Tharu community people have started the home-stay tourism services and
have preserved their traditional houses (Rastriya Samachar Samiti, 2019).

In present scenario the form traditional is same but the building techniques is changed.
In past all building materials are related to nature. The building techniques in new
indigenous building is changed. They introduce modern technology and equipment.

1.4.1 Tharu wall painting

Ashtimki, an ancient tradition of painting the story of the evolution of life, holds great
significance among the Tharus of western Nepal. While the Tharus in eastern Nepal
draw Kohbar on their walls during marriages and other rituals, the Tharus in the west,
particularly in Banke, Bardiya, Kailali, Kanchanpur, and Surkhet districts, adorn their
walls with Ashtimki on the day of Krishna Janmasthami, the birthday of Lord Krishna.
The painting, aesthetic in form, not only represents an art form, but depicts the Tharus’
version of the evolution of life and tells the story handed down from generation to
generation (Chaudhary Sanjib, 2018).

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Ashtimki is inspired by folklore and

nature. While the painting comprises
motifs representing the sun, moon,
trees, monkeys, fish, and tortoises,
among others, natural colors extracted
from red clay, white stone powder,
colored earth, vermillion, flower and
leaf pastes, and burnt wild grass, etc.
are used to create it. Tender bamboo
shoots are used as natural brushes by
crushing their tips into a brush-like
Figure 6: Ashtimiki
structure. Historically, Ashtimki is
Source: http://ecs.com.np/features/ashtimki-
painted by men, and the an-ancient-form-of-tharu-wall-painting
womensupport them in the process.
However, girls and women are also learning to paint these days in order to keep the
tradition alive (Chaudhary Sanjib, 2018).

In kohbar painting there is sun, moon, bamboo (one is baas and another is basin). In
maithali bamboo means baas. This type of painting was drawn on mud wall but in
current scenario it should be drawn in paper and also in limited number of people draw.
In past wall of tharu house is decorated with beautiful painting and statue. Moreover,
this unique wall painting of the Tharus is disappearing as the youngsters are not
interested in it while the seniors are also not keen to transfer this skill to them.

Figure 7: Kohbar
Source: https://twitter.com/sankuchy/status/1313808436925063170

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Cultural centers are a prime way to bring communities together in their learning, which
makes it more enjoyable and spent their time. Cultural centers often hold classes and
cultural events, which bring numerous volunteer opportunities. Volunteering
opportunities can bring people closer, make them feel good, and for younger kids, they
can look great on applications. These centers are a great way to understand others within
your community. Knowledge is absolutely power, and it will bring community
members together in a fun and constructive environment, which not many other things
can do. These centers provide a unique experience. Cultural center also helps to
preserve our culture for future generation. This center helps to promote Tharu Culture
and Society among local to National level. Culture center also rises the living standard
of people and also welcoming the tourist to visit and stay.

1.5 Justification
For a nation to be established there needs to be identity. Identity is developed by the
history and background of the people living there. The evolution of culture and
civilization forms the unique pattern of lifestyle, costumes, belief systems, tradition and
architecture. But now due to change in socio-economic status and influencing of
globalization and modernization has eroded the genuine life style. Currently the Tharu
traditional lifestyle and culture is facing change and many heritages are either lost or
out of practice.
The cultural center ensures the space for keeping arts and cultural work along with live
performing of yearly cultural and religious activity. The project not only plays
important roles in preserving traditional culture and arts but also engage people with
environment and revive the cultural tradition.

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This center creates different spaces like public space, innovation and training space,
exhibition, cultural space. Tharus are very rich in architecture and the form of the
building and use of building materials in house are very eco-friendly with nature.

Tharu culture center will provided various open spaces, semi-open and private spaces
and creating various entertainments, which creates good relationship between people
and its culture. Tharu culture centre will play vital role for creating central plaza in that
place. Therefore, tharu culture and architecture are reflected in Tharu cultural centre
and also increase well bonding between people, training should be provided to engage
in culture and know about its importance and also helps to increase income through
tourism and helps to flourish cultural in national and international level. Tharu cultural
dance, tharu food and night stay increase the tourism. Most of the people wants to stay
in traditional house and get enjoy the environment.

The study argues that the center to be an important mechanism for maintaining
community bonds and group integrity, restoring harmony and unity among members of
the community and resolving interpersonal and inter-group conflicts also. Such kind of
project is not built in Chitwan till now. This makes more need of this kind of project in
Chitwan to preserve and flourish tharu culture and arts. Presently festivals gathering
and cultural performance are carried out in open cultivated land. Therefore, this kind of
cultural center is very important to design.

o learn andexplore tharu culture.

1.6 Scope and Limitation

The project ‘Tharu culture center’ encompasses both theoretical researches and design
development because of which, it has been chosen as a thesis topic of Bachelor in
Architecture. The project needs understanding of issues, study of theories relating to
tharu culture, its origin, life style, architectural expression, tharu house, architectural
spaces need to be visualized for responding issues with correct solutions. Tharu culture
center also plays vital role in development activities in the local and Nation level. This
type of center also provide opportunity to save our culture for future generation.

Tharu culture and architecture both are vast topic which need lots of researches, lots of
data collection and analysis, only basic and general idea required will be achieved
through necessary study and architectural solution to the need and issuewillproposed.

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2 Methodology
Methodology is the steps to reach the objectives. Data will be gathered through both
the primary and secondary sources. An innovative approach to research called
Participatory Data Analysis will be used. People of related field and randomly selected
members of the community will be interviewed and questionnaires also issued out. The
secondary source will comprise of literature review of publications including books,
journals, conference papers and magazines from both the library and the internet.

The following outlined methodology must be followed for moving a step forward:
1. Preliminary stage:
A. Collection of data and information relevant to the project
B. Visit proposed site and analysis

After collecting all the data from the preliminary stage, the proposed
requirement of the design was formulated based on all above studies.

2. Secondary stage
A. Planning
a. Development of master planning
b. Conceptual design of building
B. Building
a. General layout/arrangement
b. Architecture plans/elevation/section
c. 3D/model

2.1 Proposed Case Studies

The proposed case studies help
to understand to create and linkage of spaces. The case studies were selected as similar to
the project that’s which helps to more understand about the development of space
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function of spaces, lighting systems, architectural expression, linkage of spaces, and many
more. Case studies helps more to clear understanding about the use of functions.

There are different case studies follows:

 Tharu Cultural Museum and Research Centre, Chitwan

 Meghauli Serai, A Taj Safari, Chitwan
 Regional Museum Dhankuta
 Wood Craft
 Tjibaou Cultural Center
 National Craft Museum, New Delhi

2.2 Proposed Components for the Design Formulation Program

Initial draft program formulation for the project has been selected by the site
requirements and the type of tharu museum and culture center practices and programs
that can be exhibit.
The proposed components for the design formulation program for “Tharu museum and
culture Center” are as follow:
 Exhibition
 Museum
 Auditorium
 Multipurpose hall
 Outdoor spaces
 Outdoor dance space

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3 LITERATURE REVIEW
This includes the review of space standards and technical information necessary for
design development of various proposed programs. The literature study will guide
throughout the design phase and helps to sort out the considerations for proper design
solutions. The study will be done on Various Spaces, Areas and Supporting factors
required for Cultural Centre as per the programs proposed.

3.1 Tharu House

3.1.1 Typical Tharu House and Layout

The internal layout of the house dose not vary expect in the size and number of rooms.
The location of the kitchen and the deity room dose not vary, so in addition to the north-
south axis we find a constant distribution of features on the east and west of house.

From North to South the house is divided into three sections

 The southernmost area is "Ghari" (place to keep cattle’s cow, buffalo, goat,
etc.)
 The next middle section "Bahari" is a semi-public area.
 The northern section called "Bhitar" contains the "Konti" sleeping room,
"Bhansa" the kitchen and "Deurar" the deity room.

The "Bhitar" is entered via a door way situated at the middle of the north wall of
'Bahari" which gives into the central corridor of silos " Dehari" on either side. To the
north most part of the house is "Bhansa " on north-west side and "Deurar" on north -
east side, where the deities face east. In the hierarchy basis the highest-level north will
always be dominating, so in case of extension of house, the house is always extended
towards south.

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3.2 Museum and Exhibition

A building or place where works of art, scientific specimens, or other objects of
permanent value are kept and displayed.

3.2.1 Function of museum

a) Collect: Required objects can be acquired, rented, or borrowed from a variety
of sources; the types of objects required are determined by the museum's aim
and type.
b) Store: All obtained items must be carefully stored.
c) Conserve: Another key role is to preserve an object; this is especially crucial in
the storage and display of very delicate objects.
d) Research: The acquired things are researched and the essential information is
documented so that all information about them is readily available when needed.
For researchers, scholars, and specialists, the majority of museum collections
contain cultural and scientific riches. Some museums provide resource centers
and libraries on site that are open to a wide range of users, including academics,
researchers, students, and the general public.
e) Expose/exhibit: The final and most important function of a museum is to
present its collection, by displaying the objects and providing necessary
information.

3.2.2 Aspects of museum

In order to improve the quality of the space and leave a lasting impression on visitors,
it is critical in every museum to pay attention to various areas of the museum. The
following are some of the most significant factors to consider while evaluating the
museum's quality.

a) Circulation
b) Space organization
c) Entrance and Access
d) Exhibition Spaces
e) Lighting

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3.2.3 Museum exhibit areas

An exhibition is display, show or demonstration of something of beauty, value or
particular interest to a targeted audience. Exhibition are complex presentations that
convey concepts, showcase objects, and excite the senses.

Figure 53: Field of Vision; Height/ Size and Distance

Source: Ernst and Peter Neufert Architects’ Data, Third Edition

Open air exhibition space

Open spaces
A minimum of 30% of each lot must be dedicated to open areas and greenery. Excluding
lot setbacks, the Open-air Exhibition Space represents around 50% of each lot, where
it is possible to build:
 Structures used for plants ensuring soil permeability (e.g., trellises, pergolas,
garden structures, planters).

 Landscaping structure (e.g., structures used to retain soil or other materials,

pools, exhibition structures, art works)
Covered Exhibition Space
 Covered Exhibition Spaces are buildings or enclosed structures containing
exhibition areas or other spaces, including all overhanging upper floors or

balconies. Participants may decide to build more than one level within the
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Covered part of the Exhibition Space, based on their individual needs.

3.3 Auditorium
An auditorium is a room built to enable an audience to hear and watch performances.

3.3.1 Types of Auditoriums

a) Arena Theatre

Auditorium with audience surrounded all sides.

ZFigure 61: Arena Theatre

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Figure 62: Proscenium Theatre

Source: https://quizizz.com/media/resource/gs/quizizz-
media/quizzes/566764d5-1d51-4532-bdb7-25602b00db73

b) Thrust Theatre

Auditorium with audience surrounded on three sides.

Figure 63: Thrust Theatre

Source:
https://upload.wikimedia.org/wikipedia/commons/e/ef/Pasant_Thea
tre_from_seats.JPG

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c) Flexible Theatre

Auditorium with flexible stage and seating arrangements.

Figure 64: Flexible Theatre

Source:
https://theater.buffalostate.edu/sites/theater.buffalostate.edu/files/styles/large
_page_image/public/image/Flex%20_1200.jpg?itok=cCBa-fOS

3.4 Meeting / Conference Hall

Size
The conference room should be designed to accommodate average attendance, extra
chairs can be provided for additional seating.
 Conference rooms - 1.39 m² per person
 Lighting requirement: 300 to 400 lux
Spacing guidelines

 Allow 48″ between table and wall for minimum clearances

 Allow 56″ between table and wall for more comfortable space
 Allow 16″ to walk sideways between chair and wall
 Allow 24″ to walk between chair and wall without turning sideways
 Allow 30″ side to side per chair
 Allow 32″ to 34″ between table and back of chair to rise from chair

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3.5 Plaza space / Public Space
A public plaza serves a variety of users including building tenants and visitors and members of
the public. This space type may function as pedestrian site arrival points, homes for public art,
settings for recreation and relaxation, and inconspicuous security features for high profile
buildings. Programmatically, plazas are strongly linked to the lobby space type. Both are a
"public face" for a building that welcomes and orients visitors.
4 Bibliography
Bista, B. et al. (2014). Population Monograph of Nepal Volume 2. In Central Bureau of
Statistics: Vol. II.

Chaudhary Sanjib. (2018). Ashtimki, an Ancient Form of Tharu Wall Painting | Features |
ECSNEPAL - The Nepali Way. ECSNEPAL. http://ecs.com.np/features/ashtimki-an-
ancient-form-of-tharu-wall-painting

Culture & Festivals, T. G. (2015). Tagged - Tharu Culture - Explore Himalaya Blog. Explore
Himalaya Travel and Adventure. https://www.explorehimalaya.com/tag/tharu-culture/

Exhibitions – Tharu Cultural Museum. (n.d.). Retrieved August 8, 2021, from

http://www.tharumuseum.org/exhibitions/

Gangwar, G., & Kaur, P. (2016). Charles Correa: Seeking new Identity of Indian Architecture
through " Critical Regionalism ".

National Craft Museum. (2020). NATIONAL CRAFTS MUSEUM, DELHI – The_Prototype. Word
Press. https://architecturecasestudies.wordpress.com/2020/09/26/national-crafts-
museum-delhi/

National Crafts Museum. (2021). National Crafts Museum – New Delhi | Tribal Cultural
Heritage in India Foundation. National Crafts Museum.
https://indiantribalheritage.org/?p=4220