Multi-purpose cultural centre | THE

ARTISAN NEXUS

(using architecture as a catalyst for development of

vanishing cultural values and connecting the actors)
 Abstract
Tourism is a key source of employment and income today, and
different parts of the world are heavily dependent on it as
travel and tourism’s contribution to GDP was approximately
US$ 2.9 trillion in 2019 worldwide. World Tourism and Travel
Council predicts that Pakistan’s tourism industry has the
potential to grow to around US$ 42.8 billion within a decade.
Keeping in view the current prevailing better law and order
situation and, above all, the will of the government, it is
predicted that by 2025, the tourism sector will contribute Rs.1
trillion to the country’s economy by tapping unexplored
potential and it is also predicted that Pakistan tourism has the
potential to increase by 5.6% in 2027 (WTTC 2017).
When the world endures huge changes, be that cultural, social,
technological and political, the role of architecture is to adapt
accordingly. Tourism in Pakistan is also beneficial to eradicate
poverty from the lower skill-based communities, provide locals
with a platform to get exposure, valuing their culture and raise
their standard of living but on the other hand most tourism in a
specific area is a failure when it fails to provide a space that
caters to the requirements of sustainable tourism.
Tourism is vital to Pakistan's economy and contributes
significantly to the country's foreign exchange revenues.
According to its natural and human resource base, economic,
political, and governance conditions, as well as the general
scope of its progress, each nation chooses its own. Social,
cultural, ideological, archaeological, natural resource and
educational contributions are needed. Increased infrastructure,
service quality, and cost effectiveness are all elements that
might affect demand as a whole. (PTDC, 2019). With that, some
of the challenges Pakistan may undergo on its journey to being
the world's most popular tourist destination are unexplored
religious tourist sites, terrorism in Pakistan, negligence to
tourist places, social challenges, negative role of Pakistani
media, depleted infrastructure, underdeveloped hospitality
sector.
Keywords: social integration, cultural tourism, socially
inclusive architecture, economic praxis, cultural spectacle,
community-based tourism.

INTRODUCTION

“Architecture is the outcome of how we deal with the

environments ,and culture is the result of how architecture
responds to the environment.” (shirk & klepper, 1992)

The way we deal with the environment- architecture

Different environments – different architectures
Different architectures - different cultures

Response to Environments architecture culture

Different environments different architectures
different cultures

Architects have the power to nurture community and to

influence the form of our social culture through design
interventions. Social capital depicts relationships between
social groups in diverse communities through shared morals,
faith and reciprocity. It also refers to increased cooperation
among people, less friction, realization towards common
grounds and intertwined fates. Architecture can help cultivate
social capital through multiple design strategies and can help
induce formative ground for social interaction and numerous
unplanned activities because architecture that promotes social
interaction is a topic of excessive interest.
Thesis Statement
“A multipurpose cultural centre that will promote the Southern
Punjab Crafts, and provide multiple facilities for the craftsmen,
as well as for tourists. It will acts as a nexus for visitor-
craftsman interaction and helps to revive the dying tradition of
crafts and promote the art nationally and globally.”

Aim
To design a multipurpose cultural hub using architecture as a
catalyst for the development of vanishing cultural values and
providing the facilities for the craftsmen, as well as for the
domestic and international tourists.

Objectives
 This complex will help craftsmen to get admiration
nationally and internationally through public display and
will encourage the other craftsmen to display their work
and achieve a better rank in the society. Their skills will
be appreciated, and the new generation will get an
opportunity to learn from these skilled people. It will also
help to control the unemployment in the region.
 To create an opportunity to the local community as well
as for the tourist to get the essence of the context,
keeping alive that essence of the local regional context.
 To make the space a centre of public interaction and
activities that reflects the people of the region.

Scope
 To engage the people by creating a hub in a culturally
rich city where they can learn, educate and understand
each other.
  To increase the tourism statistics and also the future
urban development.

Limitations
 Only focusing towards the culture of southern Punjab,
architecture styles, arts and crafts and their local
materials.

Need & Importance:

 The Art and Craft of Southern Punjab and their local
culture have an extreme potential that can be exploited to
achieve different goals:
 Their art is incorporated in different projects e-g Like
SERENA HOTEL, Faisalabad, NAQASH HALL, Ramada
Hotel, Lahore which has a brilliant display of Camel Skin
painting on the ceilings and walls, which is an
appreciation of Art and a brilliant depiction of culture.
 Representation of our Craft in different festivals around
the world, to increase in the Foreign Trade, which
enhances the GDP of the Country.
 The blue pottery craft in the city of Multan, Southern
Punjab faces the challenges due to shortage of availability
of pottery kilns at large scale, due to which the sun dried
pottery is first transferred to Gujranwala for the firing
process and then commuted back to Multan for selling, so
there is dire need to focus on the crafts.
 Also in year 2003, Multan’s Craft Complex was
inaugurated. It served the city and the region actively
during the Past few years and made major contributions
in terms of promoting the crafts in the region. This
complex has been demolished due to the expansion of
Ghanta Ghar Chowk and Shaheed Younis Road. The
temporary space which has been provided does not
 support the activities of craftsmen in an appropriate
manner, causing a dire need for a new complex which
would not only support their activities in terms of
functions &enhancing space utilization.

Research Question
How can the architecture of a multipurpose- cultural centre
enhance the visitor experience while promoting craftsmanship
and eco-friendly practices for environmental awareness in a
region?

Qualities of the multipurpose cultural centre

 To make use of the site’s assets in terms of creating a
landmark for the urban fabric of the city as well as for the
people.
 The centre will portray the significances of craftsmen,
living and sales areas. They will be designed in a
traditional setting.
 The influence of the context will play a vital role in the
design of the complex. And it will be designed in a way
that it will blend easily with the neighbouring context.
 Displayed items will be highlighted with the presence of
Light.
 Panoramic views and Vistas will be generated through the
straight axis towards the neighbouring context.

BACKGROUND STUDY
As we all know that Pakistan is a country which is filled with
different types of cultures that are divided intro zones on basis
of the provinces and further subdivided on the basis of their
region, architectural style, religion, literature, art, crafts,
languages etc. And to promote and support these cultural
values cultural centres are the need of time.
Cultural Centre
“A Cultural Centre is a public building or site for the exhibition
or promotion of arts and culture, especially of a particular
region or people.”
Cultural Centre: A community facility that provides services
that are intended for the enrichment of the public through the
enjoyment and appreciation of the arts, culture and/or
heritage. A cultural centre acts as a hub of activity by
addressing the needs of people and their social, cultural and
environmental values.

Why multipurpose?
Its going to have various different activities apart from cultural
centre like it will also have sarais, dormitories, open
restaurants, game zones etc.

Programs
 Exhibition Hall/Art Gallery
 Craft Shops
 Making area of blue pottery
 Amphitheatre - Performing Arts
 Open Air entertainment
 Sarai – Artisans- tourist Hostel/ Kitchen for visiting
artisans
 Student Hostel - Accommodation for students working on
specific dissertation work
 Artists Retreat / Studios - "Live in" artist accommodation
for visiting artists to work and interact with the local
artists/ artisans
 Regional Food Courts / restaurants
  Children - Friendly Play Areas
 Environmentally responsible Park Areas
 Chai Khanas/cafes

City Selection in Southern Punjab

The most famous city in southern Punjab, Pakistan, is Multan.
Known for its rich history, vibrant culture, and significant Sufi
shrines. It has a strong economic presence, being a hub for
agriculture, trade, and craftsmanship, particularly in blue
pottery and textiles. The city's historical sites, including
ancient tombs and the fort, attract tourists and pilgrims alike,
solidifying its status as a key city in the region.

Multan; the City of Saints

Multan is the fifth largest city in the country in terms of
population. Located on the banks of river Chenab in the
geographic centre of the country, the city is known as the
Madina-tul-Auliya or the City of Sufis, because of the large
number of shrines and religious places. The city also has the
honour of being one of the first cities which became a source
of the advent of Islam in different regions of the Sub-continent.
Poets of Punjabi like “Fariduddin Ganj Shakar” opened their
eyes in this city.

The red dots indicate the presence of intact shrines &landmark structures in
the city.

The city is considered as one of the oldest cities of the World.

It had been one of the major centres of Hinduism during the
Vedic Times. Sun Temple & Prahlad Puri Temple attracted
major pilgrims from the region. After the Islamic advent, the
city had major influence of Persia in Architecture. The city
holds many monuments and religious structures which are still
intact. Multan’s blend of spirituality, history, and vibrant
culture makes it a unique travel destination in Pakistan.
Crafts of South Punjab Arts
The craft vibrantly reflect the traditions of a region. These
traditional arts include all sorts of traditional crafts and
traditional classical and folk performances which includes
theatre, dance and music. Today in the modern world these
arts are just shown as the products and most of them are
machine made (Industrial). The skill of hand is acknowledged
but it is so expensive that it becomes difficult for a common
man to purchase it. The Machine-made item lacks the
originality. The tradition is not a mere product or commodity of
the modern world paradigm, in fact a process involving
mastery, skill and social interaction and relationship.
Traditional arts are crucial to encourage social interaction and
to eliminate discrimination and segmentation in our society.
And in addition, they promote the employment in the society.
And by appreciating them we can clean our own society. And
every person can contribute for the development of a whole
society.
With other crafts , Blue pottery in Multan is a distinctive art
form that showcases the city's rich cultural heritage. This
traditional craft is characterized by its vibrant blue hues and
intricate patterns, often featuring floral and geometric
designs. Artisans in Multan have perfected this craft over
generations, using local clay and natural dyes.

CRAFTS OF MULTAN
Cotton Fabrics:

Process:
The thread is made from the spinning wheel and is dyed and
bobbins are formed. This thread is then rolled on the wooden
warping mill. These will be bought as raw materials. Then
waving will be carried out for which the designs are already
made and calculated.
Products:
Khais are also classified as majnu, gumti and sada khais/
Salara – staple yarn – woven cloth – stripes/Lungi – tucked
around waist/ Durrie – multipurpose rug – thick cotton thread.
Space requirements:
Storage for raw materials – threads of various thickness and
colors. Weaving loom 10’ by 5’ (hand pit – fly shuttle – 28’ by
5’), stitching area, storage for finished products.

Block Printing:

Process:
Cloth is stretched on plain flat table. Pacca and kaccha chappa
pigments are applied – on spongy surface. Wooden blocks,
soaked in pigments and applied on the fabric.
Products: On fabrics : Bed sheets, pillow covers, table cloths,
dubatta
Space requirements: Storage of plain cloth, Block library,
washing area, Drying area, Storage of printed cloth, printing
area (printing table – 4’ by 9’ and printing pigment stand 2’ by
2’)

Embroidery/ Zardozi:
Types: kaccha tanka, aari tilla, salma sitara, gotta kinari
Process: initially design is drawn on paper or block printed on
the fabric, then cloth is stretched on wooden frame called
“adda”. Various needles and threads are used.
Products: Wedding dresses, dubattas, table cloths, napkins,
bed sheets.
Space requirements: for final product. Pottery: Storage for
plain cloth, Storage for printing blocks, Adda – 4’ by 9’,
Storage
Camel Bone items:

Process: Small pieces of bone are given basic desired shape

with the lathe machines and details are carved with the small
hand tools.
Products: Chess men and boards, Penholders, Knives, Bangles,
Surma Danis, Cigarette holders, Key-rings, jewelry.
Space requirements: Storage for raw materials, lathe machine
(3’ by 1’), storage for small handy tools, carving workable
table, tools and storage for final finished products.
Pottery:
Types: Unglazed Pottery, glazed pottery, blue white pottery of
Multan.
Process: dry clay is cleared of solid impurities and placed in
pit, then it is watered where impurities are settled. Purified
clay forms a slurry which is dried to form a semi solid. Clay is
kneaded by hand to remove air bubbles. This dough is used on
the potter’s wheel which is kept in dry and normal room
temperature. Hardened at 800 degrees temperature in the Kiln
– this “kaghazi pottery” is painted with Enamel glaze. Glaze is
the grounded powder of “kharand” (stone) and “sajji” (impure
carbonate of soda) is prepared. At 800 degrees temperature
glass crystals are grounded and melted mixed with
“maidah”(plain flour), then this mixture is applied on the clay
pot. Color is cobalt oxide and copper oxide. After glazing it is
fired at 1200 degrees temperature in the furnace.
Products: Platters, Bowls, Ghara, Matka, Surahi, Vases,
decorative tiles.
Space requirements: Storage of dry clay, clay purifying area
(net/ composition control – additives and measure scale),
kneading area, potter’s wheel (placed in a pit – 80-90cm
diameter and 80-90cm deep), dump for defected and broken
pots, drying area (racks on which pots are placed), glaze
preparation area (ball mill for grinding 3’-6” by 3’-6”, mixing
area, storage for pigments and powders), small kiln, painting
section (brushes and paint storage), drying area, storage space
for finished products.
Camel Skin Ware:
Three Different crafts: 1. Claywork, 2. Raw camel hide work, 3.
Painting and naqashi
Process: Clay moulds are made up of desired shape and size
with wheel and hands and sundried. Camel skin is cleaned
with acids, stretched on clay molds and then it is dried in the
sun to attain the desired shape. Naqashi (enamel paints) and
kasshi (water based paints) is done.
Products: Lamps, Globes, Vases, Bowls, Dishes, 3-D animal
figures.
Space requirements: Pot making ( kaghazi pottery), skin
washing area (acid storage space, washing area, waste
disposal area), skin stretching, sun drying area, mold
separation (waste clay disposal, cast cleaning area), painting
section (paint storage, working space), storage for finished
products.
Wood Carving:

Process: Desired size of wood is obtained in logs cut by saw.

Lathe machines are used to give them special circular forms.
Designs are drawn on the wood and then are carved with
sharp metallic tools. The last step is to polish it.
Products: Beds, Chairs, Doors, Windows, Tables, Chawkis,
Spinning wheel, Jharokas, Bukharchas.
Space requirements: Storage of wooden pieces, wood cutting
area, saw and small hand tools, lathe machine, waste disposal,
drawing design area, carving and final finishing area, polish
and painting area. Drying area and storage for finished
products.
Lakh turning:

Process: Desired shape is attained by using lathe machine. Lac

is mixed in different colors and the article is applied with
successive coasts of desired colors. The most prominent color
is painted as a last coat. Sharp tools are used to scratch to the
desired depth and the pressure is controlled.
Products: Hand fans, sticks, Milk churners, mirror stands,
tables, pen holders, Vases.
Space requirements: Storage of raw materials (wood pieces),
lathe machine, waste disposal, painting area (lac preparation,
stoves, paint storage), drying area, Design scratching, storage
for the finished product.
Sheesha Meena-kari:
Process: Designs are drawn on butter paper and the brown
paper which are then traced on the surface with the aid of a
needle and blue powder. Glass is cut in different shapes with
the diamond nib pen. Glass pieces are pasted with geran glue,
dana saresh and gun from the kikar tree. Lastly a coat of
plaster of paris is applied to fill in the spaces.
Products: on walls, on ceilings, vases, plates, bangles,
miniature animals.
Space requirements: Display area of approximately 100 sft and
workplace on one crafts person required is approximately 50
sft to address the following requirements: Storage for plywood
sheets, small clay pots, drawing area for small tools and
powder, glass storage and glass cutting area, waste disposal,
painting (paint and brushes storage), drying area, gum
preparation area (stoves, working counter, storage of raw
powders), pasting area, finishing area (storage of Plaster of
Paris, mixing, applying, cleaning and washing areas), storage
of finished sheets and products.
Metal Carving:

Process: Shapes of the product are drawn on the boxboard and

cut to form a stencil. Many faces and varying volumes are cut
in separate shapes. Each face is placed on a bed of soft rubber
like material made by burning sanded clay or lac. If object has
a hollow body then lac in molten state is poured in it and
hardens later. Object face is carved by applying pressure
firmly and only on the spot. Different carved faces are joined
by welding. Finished products rubbed with foam or wool and
polished to give a desired appearance.
Products: Swords, Plates, Vases, Surma dani, Paandaan.
Space requirements: Storage and cutting for boxboard,
chipboard and lassani board. Storage for the lac and sanded
clay (stoves, working counter, storage of raw powders),
Storage of finished products, waste disposal area, Polishing
area.
Straw and Date Basketry:

Process of Straw Basketry: Straws are obtained from riverside

and are cut and chiseled. Straw mats are made and sewed as a
purse or a bag. Mat is pasted on the card board and cloth is
pasted on the card side to hide it and handles are attached.
Process of Date Basketry: Date basketry is made from the
dried date leaves. Hard midrib from base isseparated. Needle
like leaves woven are in different patterns. Decoration is done
with painted buttons and beads.

Products: Mats, Rugs, Handbags, Hand fans, Changair

Space requirements: Storage for the straw, straw cutting area,
disposal of waste straw, cardboard pasting, straw mat sewing
(cloth cutting and pasting, sewing machine – 1’8” by 1’),
handle sewing, drawing area, storage for finished products.
Shoe Making:

Process: Designs drawn on the butter paper and the brown

paper which are traced on the surface of leather with the aid
of carbon paper. These designs are embroided using adda.
These thin leather sheets are cut and sewed to make a shoe.
Space Requirement: Storage for the raw thin leather sheets.
Area for embroidery. Working counters for tracing, embroidery
and sewing. Storage for embroidery and decorative materials
& Storage for finished products.
Lakh Jewelry:
Process: This is similar the process of metal making material
but at a smaller scale.
Space requirements: Storage for the lac and sanded clay
(Stoves, working counter, storage of raw powders). Storage for
beads, stones and specialized tools, Storage of finished
products, waste disposal area, Polishing Area
Stone Craft – Marble & Onyx:

Process: Pieces of stone are given basic desired shape with

Lathe machines and details are carved with the small hand
tools.
 Products: Vases, lamps, platters, candle stands, paper weight
etc. Space requirements: Storage for raw material, lathe
machine (3’ by 1’), storage for small handy tools, carving
workable table, tools and storage. Storage for final finished
products.

CASE STUDY
DILLI HAAT, JANAKPURI
Location: Janakpuri Road, Delhi
India
Year: 2014
Plot Area: 9.8 Acres
Built up area: 16,000sqm/ 172222
sqft / 3.9 acres
Client : DTTDC ( delhi tourism and
transport corporation)
Architect: Ar. Sourabh Gupta, Archohm
Conceptual Idea
The conversation between the past and present, and
acknowledgement of the traditional and adaption of the
contemporary. Parking Space
Basket Towers

Stalls

Expository
 ZONES

Platinum Zone –
Food Court, Entrance
Gold Zone –
Amphitheatre
Silver Zone – Central
Plaza
Bronze Zone – Stalls,
Baskets, Towers

Facilities and areas

 100 craft stalls, 85 Platform stalls
 3 Exposition Halls
 820 seats at amphitheatre
 46 Air conditioned shops
 28 food stalls
 800 seats at auditorium Basement+ surface parking (300
cars and 122 bikes)
 4 basket shaped bamboo towers
 Music towers and circular central plaza
 Const
ructio
n
Techn

Materials
Used
Conclusion:
 Site is located in new Delhi on Janakpuri road. It has a
metro station in its proximity to 200m and a bus stop
nearly approx.. 150m
 Nearby a market i.e Chandni chowk line , chawri bazar
 Proper use of landscaping throughout the structure
 Spaces that adheres to all types of people adults, teens,
children, elderly and handicapped
 Every food stalls has different style of seating and shades.
 Art & Craft Village Shakarparian
Location: Shakarparian, Kashmir Highway, Islamabad
Date of Initiation: 2004
Date of Completion: February 2012
Client: Capital Development Authority (CDA).
Architect:Naeem Pasha, Architects & Planning Consultant,
Islamabad.
Site Area:26 acres
Ground Coverage:10%

Art& Craft village is a landmark project by Capital

Development Authority (CDA), launched in February 2012 and
located adjacent to Rose & Jasmine Garden Shakarparian,
Islamabad.
The proposal of a village which would host all the crafts of
Pakistan in Islamabad, was given by Senator Kamran Lashari
the administration was managed by Indus Heritage Trust in
2004. Initially the funding and (I.H.T) but later on the project
was taken in control by an NGO named P.P.A.F (Pakistan
Poverty Alleviation Fund). It was designed by a prominent
Pakistani Architect Naeem Pasha.
The Art & Craft Village has been constructed on 26 acres of
area with the view to promote the indigenous arts and
handicrafts and to enhance the inter-provincial harmony. It
provides an ambiance of traditional village market for more
contemporary needs. It provides a synthesis of craft, food and
cultural activities. According to Capital Development Authority
the exhibitions at this cultural Centre would promote the soft
image of the country as the foreign diplomats and other
delegates would be visiting such exhibitions in the federal
capital.
The Arts & Crafts Village is equipped with exhibition hall,
clusters of shops and studios for theartists, tea shops, show
rooms, folk theatre and hostel for the visiting artisans.
Facilities at - The Art & Craft Village"
 Craft Shops - Crafts by genuine Artisans from all over
Pakistan
 Exhibition Hall Art Gallery - Art and Craft exhibitions
 Design Center - Research and Development Center.
Preservation, Promotion of Crafts
 Artists Retreat / Studios - "Live in" artist accommodation for
visiting artists to work and interact with the local artists/
artisans
 Student Hostel - Accommodation for students working on
specific dissertation work
 Open Air entertainment - Wandering Minstrels/Performers
from all over Pakistan
 Regional Food Courts
 Special Events - Regular monthly events for families
 Sarai - Artisans Hostels/ Kitchen for visiting artisans

Physical Features

 The Architecture is inspired from the villages and is in the

typical Vernacular Style.
 The Texture applied on the walls resembles the typical mud
plaster in the villages. The texture of straw in mud plaster is
visible. The Architect’s intension was that the building should
depict the architecture of the villages of overall Pakistan.
Particularly the plainer regions.
 The Architecture should depict that living in the country side,
should express the fundamental experiences, such as proximity
to nature, the greater exposure to light.
 Here the usage of Verandas is such that the intensity of the
light is somehow controlled and pleasant in different blocksbut
the connecting alleys are not surrounded by heavy buildings or
plantation, which make them thermally unstable.

 The architecture is developed but the climatic condition of

the Pakistan is neglected in this project. The cultural content
which is evident in a bazaar cannot be seen in the master
planning during the placement of shops. The passage ways are
not covered, during the summers and monsoon period it would
become difficult for the visitors to move from one place to
another as there is no shade given.
 The placement of shops gives a scattered or haphazard
feeling. The composition is lacking in the master planning.
 Individually the shops and the other departments are well
designed but in terms of master planning, much of the space is
wasted.
 The departments are stacked in an irregular manner but due
to contoured regions it allows the visitor the view the whole
space in a glance.
Conclusion:
The village’s activity depends upon the supporting activity,
which was not present near the site. I believe if I would have
been at a walking distance from Lok Virsa then its impact
would have been improved.
SITE
Location & Site Selection Criteria:
The location selection criterion was based on the availability of
active craftsmen in the South Punjab Region. The Most
Influential Cities of South Punjab w.r.t crafts are Multan,
Bahawalpur, Rahim-Yar Khan, Sadiq-Abad & Muzzafar Gharh.
So, I have selected Multan as my site because Multan is the
biggest city in terms of Population in this region& also has a
rich historic background than the other cities. The city dates
back to Indus Valley and Vedic Cultures of India. The No. of
Known craftsmen in Multan are much more than the other
neighboring cities. The City is also known as the City of Saints.
If we recall the history, most of the crafts shops were
developed near the vicinity of the shrines due to the
commercial activity around them. The site was supposed to be
in close vicinity of any of those monuments.
Area:

Area needed for the multipurpose cultural center is

approximately 9-10 acres.

SITE 01 02 03

Cultural NO YES NO
significance

Historical NO NO NO
significance

Accessibility/ YES YES YES

connectivity

Urban Residential DEVELOPIN residentia

morphology G l
 Vegetation NO NO NO

Tourist spots NO YES YES

nearby

Availability of YES YES YES

Infrastructure

Basic amenities YES YES YES

Safety YES YES YES

Site Selection
 Perhalad Temple
 Tomb of Baha-Ud-Din-Zikariya Multan
 Tomb of Shah Shams Tabreez Sabzwari

Marking of the city radiuses:

 2.5k
m

5km

10km

15km

SITE 01
 25-30min from shah shams park
 Near to DHA Multan
 Most of the residential area
 Not connected to public transport
Site 02

 15 mins from shah shams park

 15-17 mins from DHA Multan
 Connected to main education
avenue
 2-3 mins from the metro bus
Terminal
 Next to the Commercial Area
Site 03

 10min from shah shams park

 15-17 mins from DHA Multan
 Connected to main education avenue
 Surrounded by residential area
 right next to the metro bus
terminal
Area Calculation :

Craft Workshops:

Cotton Fabrics

Weaving Loom = 10’ x 5’

Fly Shuttle = 28’ x 5’s 4
weaving looms ---- 30 x 4 = 120 sft
Fly Shuttle ---- 140 sft 120 + 140 = 260 sft
Working & Circulation Area: 30-40 % circulation
Stitching Area = 120 -150 sft
Storage Space = 80 – 100 sft
Display Area = 300-400 sft

Block Printing:

Storage for Plain Cloth = 60-80 sft

Block Library = (Shelves)
Washing Area = 250-300 sft
Drying Area = 250 – 300 sft
Storage for Printed Cloth = 60-80 sft
Printing Area = [Printing table = 4’ x 9’] [Printing
pigment stand = 2’ x 2’] = 100-150 sft including
circulation
Display Area = 300-400 sft

Embroidery / Zardozi:

Storage for plain cloth = 60-80 sft

Storage for printed blocks = Shelves Working Area =
[ Size of ADDA= 4’ x 9’= 36 sft] [ No. of ADDA’s = 2 , 72
sft]
Working Area = 200-250 sft
Storage for Final Product = 250-300 sft

Pottery:
Storage for Dry clay = 100 sft
Clay purifying area = 150 sft
Kneading Area = 20 sft
Potter’s wheel = 25 sft
Dump for detached & broken pots = 60 sft
Drying Area [racks on which pots are placed] =
cupboards

Glaze preparation Area [ Ball mill for grinding 3’-6” x 3’-

6”, ]
[ mixing area, storage for pigments & powders] = 60-80
sft
Small kiln & Chimney = 30-40 sft
Painting section [Brushes & Paint Storage] = shelves
Drying Area = Shelves Storage for finished products =
Shelves Camel Bone items: Storage for Raw materials =
40-60 sft
Lathe Machine = (3’ x 1’)
Storage for small handy tools = shelves Carving workable
table
Tools & Storage = Shelves = 120 sft
Storage for final finished products = 120 sft

Camel Skin Items:

Pot Making “ Kaghazi Pottery” = 80 - 100 sft

Skin Washing Area (acid storage space, washing area,
waste disposal area) = 250-300 sft
Skin stretching = 150-200 sft Sun drying Area = 200-250
sft
Mould Separation Area = (Waste clay disposal, cast
cleaning area) = 120-150 sft
Painting section (Paint storage, Working space) = 80-100
sft Storage for finished products = 200 sft

Wood Carving:

Storage for wooden pieces (Logs of Wood) = 150 sft

Wood cutting area = 580 sft Saw & small handy tools =
200 – 250 sft
Lathe Machine = 72 sft
Waste disposal area = 60 – 80 sft
Drawing Design Area = 380 sft
Carving & Final finishing Area = 450 sft
Polish & Painting Area = 500 sft
Drying Area = 300 sft Storage for finished products =
850 – 900 sft

Lakh Turning:

Storage for Raw materials (wood pieces) = 120 sft

Lathe Machine = 3’ x 1’ Waste Disposal Area = 60 sft
Painting Area (lakh preparation, stoves, paint storage) =
150 – 200 sft
Drying Area = 120 sft
Design Scratching = 80 – 100 sft
Storage for finished products = shelves = 60 sft

Metal Carving:

Storage & for cutting box board sheets = 400 sft

Chip board and lasani board = 120 sft
Storage for Lakh and sanded clay = 280 sft
Storage for finished products = 300 sft
Waste disposal Area = 40 – 60 sft
Polishing Area = 80 sft

Straw & Date Basketry:

Storage for straw = 60 – 80 sft

Straw cutting area = 100 – 120 sft
Disposal of waste straw = 30 – 40 sft
Card board pasting = 60 – 80 sft
Straw mat sewing = 320 sft
Handle sewing = 80 – 100 sft
Drawing area = 80 – 100 sft
Storage for finished products = 200 – 250 sft
Shoe Making:

Storage for raw thin leather sheets = shelves Area for

embroidery = 120 – 150 sft
Working counters for tracing = 300 sft
Embroidery & Sewing = 300 sft
Storage for embroidery & Decorative materials = 30 – 40
sft
Storage for finished products = 200 – 250 sft

Lakh Jewelry:

Storage for the Lakh & Sanded clay = 384 sft

Storage for beads, stones & specialized tools used = 80
sft
Storage for finished products = 30 – 40 sft
Waste disposal area = 30 – 40 sft
Polishing area = 80 sft

Stone Crafts:

Storage for raw materials = 80 sft (depends on the size of

the stones) Lathe Machine 3’ x 1’
Storage for small handy tools = shelves Carving workable
table, tools & storage = 192 sft
Storage for final finished products = 120 sft
Cane work: Storage for cane works = 100 sft
Burner = 4’ x 4’ atleast
Working space to join cane sticks = 200 – 250 sft

SYMBOLISM IN ARCHITECTURE

Symbolism in architecture can be justified in various ways

like religious symbolism, national identity, metaphorical
representation, commemoration, and sacred geometry.
The ideas and values of the faith are frequently
represented in religious structures via symbolic elements.
For instance, the pointed arches, elaborate stained glass
windows, and tall spires found in
European Gothic churches represent a desire for the
divine and heavenly realm. Likewise, architecture can
represent a nation’s identity with its values. The Taj
Mahal in India symbolises love and devotion, while the
Pyramids of Egypt signify the pharaoh’s authority and
afterlife.
Architects sometimes employ metaphorical
representations to convey abstract concepts. The Sydney
Opera House, designed by Jørn Utzon, resembles a series
of sailboats on the water, symbolising Australia’s
maritime heritage and its cultural connection to the sea.
Buildings are frequently erected as monuments or
memorials to remember important occasions or to honour
people. The names of lost soldiers are carved on a
reflecting black wall of the Maya Lin, designed Vietnam
Veterans Memorial in the United States, evoking a sense
of sadness and remembering. Throughout history,
symbolic geometric shapes and proportions have been
used in buildings. For instance, several architectural
designs, like the Parthenon in Athens, have used the
golden ratio, a mathematical ratio thought to express
aesthetic harmony.