National Arts and Crafts Center
Thimphu: Bhutan
Karma Choden
(
A thesis submitted in partial
Fulfillment of the requirements
For the degree of
Bachelor of Architecture
Department of Architecture
Montfort Del Rosario School of Architecture and Design
Assumption University 2016 Thesis Approved:
Date Assoc. Prof. Proalong Phirananda, DEAN
Date A Supharath Valaisathien, Chairperson
Date Dr. Sasitorn Srifuengfung Thesis Advisor NATIONAL ARTS AND CRAFTS CENTER
Thimphu, Bhutan
Karma Choden
Abstract:
Over the years Thimphu the capital city of Bhutan has grown from a cluster of houses along the valley to the largest city in the nation. The Government of Bhutan's vision for the country, "Bhutan 2020: A vision for Peace, Prosperity and Happiness" or the vision for GNH city (gross national happiness) focus on the spiritual, social and economic well-being of the population. Its main aim is to preserve the traditional arts and crafts of the country. However, the absence of museum or a college to house such institutions in the country has taken away the opportunity for the arts and crafts to be a tangible culture and tradition of the country.
The National Arts and Crafts Center will provide a model which displays a perfect harmony between modernism and traditional architecture of Bhutan, and economic and ecological systems to firstly serve the growing population of the country, secondly to educate the people about sustainability and even building methods( climate responsive and site responsive )and to enhance the value of arts and crafts of the country, thereby increasing the nation's economy and giving a hand towards achieving a GNH city.
Keywords: Live Museum, Waterfront, Iconic Architecture, Public Space Acknowledgement
I would like to express my sincere thanks to my advisor, Dr Sasitorn for all the support and guidance she gave me in bringing up this thesis 'The National Arts and Crafts Center'. Thank you for the kind co-operation, insightful talks and encouragement to A. Jaturont Boonla-or and A. Suriyong Suriyachat. I am grateful to all the Thesis committees for guiding me and for always being there when I needed help regarding the project.
I am very grateful to Mr. Karma T. Wangchuk, (Architect), Mr. Tashi Penjor (Architect) Mr. Sonam T. Tshering (Architect) for providing me with the information through several interviews and materials.
My deepest Gratitude to my family for always encouraging me and for being extremely supportive, it wouldn't have been possible without them and I owe all my success to them.
Last but not the least; I would like to thank all my best friends for encouraging me and adding extra energy to work on this thesis.
Karma Choden Table of Contents Page
Acknowledgement Table of Contents ii List of Figures iv List of Tables vi
Chapter 1: Thesis Introduction
1.1 Background of Interest 11 1.2 Issue of Interest 12 1.3 Objective of Proposal 13 1.4 Hypothesis of Proposal 14 1. 5 Thesis Statement 14
Chapter 2: Literature Review 2.1 Literature Searches 2.1.1 Traditional Bhutanese Architecture 15 2.1.2 Building Typology 16 2.1.3 Religious believe and its reflection 18
2.1.4 Culture as a medium 21 2.1.5 Status Qua 22
2.2 Theory 2.2.1 Globalization and Critical Regionalism 23
2.2.2 Case Study 24
Chapter 3: Contextual Proposition 3. 1 District Selection 34
3.2 Site Selection 35 3.3 Law and Regulation 45
Chapter 4: Potential Design Response 4.1 Design Scope 49 4.2 Programming Analysis 51 4.3 Organization Structure 52 4.4 Activities and Spaces 52 4.5 Space Summary 53 ii Chapter 5: Building Technology 5.1 Building Structure 55
5.2 Building System 56
Chapter 6: Design Schematics 6.1 Concept Development 59 6.1.1 Schematic Design 59
Chapter 7: Design Summary 7.1 Concept 64 7 .2 Final Thesis Presentation 67
Chapter 8: Design Conclusion 82 gbvfdgre'
Bibliography 83
iii Figures Page
Figure 1.1 Existing Arts and Craft Institute 12
Figure 1.2 Bhutanese Architecture 12
Figure 2.1 Tashichoe Dzong in Thimphu Bhutan 16
Figure 2.2 Plan of Tashi Choe Dzong. 16
Figure 2.3 Thimphu Dzong 17
Figure 2.4 Taksang (Tiger's Nest) 17
Figure 2.5 Prayer wheel 17
Figure 2.6 Kharpandi Temple 17
Figure 2. 7 Thimphu Memorial Chorten 17
Figure 2.8 Private House 17
Figure 2.9 Buddhism Mandala 18
Figure 2.10 Tashi Choe Dzong Diagram 19
Figure 2.11 Diagram 19
Figure 2.12 Diagram 20
Figure 2.13 Diagram 21
Figure 2.14 Bhutanese Houses 22
Figure 2.15 Urban Building 23
Figure 2.16 Aman Kora 25
Figure 2.17 National Museum Bhutan 26
Figure 2.18 National Museum Bhutan plan 28
Figure 2.19 Tallinn City Hall 29
Figure 2.20 Tallinn City Hall Section 31
iv Figure 3.1 Thimphu City plan 34
Figure 3.2 Memorial Chorten, Tashi choe Dzong
Buddha Point 35
Figure 3.3 Thimphu Map, Tashi choe Dzong Area 36
Figure 3.4 Thimphu Map, Changangkha Area 37
Figure 3.5 Thimphu Map, Changzamtok Area 38
Figure 3.6 Thimphu Weather 41
Figure 3. 7 Site Analysis Diagram 46
Figure 4.1 Design Scope 49
Figure 4.2 Organization Structure 52
Figure 5.1 Bhutanese Traditional building 55
Figure 5.2 Bhutanese Traditional building section 55
Figure 5.3 Plan of Tashi Choe Dzong 55
Figure 5.4 GRC Walls 56
Figure 5.5 Heat Insulation System in Traditional
Building 57
Figure 5.6 Heat Insulation System in Modern
Building 57
Figure 6.1 Bubble diagram 59
Figure 6.2 Sun Path 60
Figure 6.3 Schematic Zonning 60
Figure 6.4 Schematic Planning 61
Figure 6.5 Schematic Planning 62
Figure 6.6 Schematic Planning 63
Figure 6. 7 Schematic model 63
Figure 7.1 Conventional expression diagram 64
Figure 7.2 Conceptual diagram 65
v Figure 7.3 Idea of space 65
Figure 7.4 Idea of space 65 Figure 7.5 Idea of space 66 Figure 7.6 Layout plan 67
Figure 7. 7 Upper Terrain Ground Floor Plan 68
Figure 7.8 First Floor Plan 69
Figure 7.9 Lower Terrain Ground Floor Plan 70
Figure 7.10 Elevations 71
Figure 7 .11 Elevations 72
Figure 7 .12 Sections 73
Figure 7 .13 Perspective from West 74
Figure 7 .14 Perspective from East 75
Figure 7 .15 Perspective from North-east 75
Figure 7.16 Interior Perspective 76
Figure 7 .17 Common Plaza 76
Figure 7. 18 Study Model 77
Figure 7.19 Section Model 78
Figure 7.20 Final Model 79
Figure 7.21 Final Model 80
Figure 7.22 Final Model 81
vi Tables Page
Table 3.1 Site Criteria Marking 39
Table 3.2 Thimphu Weather 40
Table 3.3 Bhutan Weather 40
Table 3.4 Bhutan seasons 41
Table 4.1 Space Summery 53
vii 11
Chapter 1: Thesis Introduction
1.1 Background of Interest
Due to Bhutan's self-imposed isolation from the international community until the 1950s, the cultural heritage of the country has remained to a great degree unblemished. Bhutan is the last surviving independent country in the world that practices the Mahayana form of Buddhist culture. From the magnificent architectural monuments to the unique farmhouses in the villages, from the rich and colorful hand woven textiles still used daily to the pure white prayer flags fluttering high up near the clouds in the mountains, from the monks deep in prayer in ancient monasteries to the small Buddhist alters enshrined in modern apartments in the cities, from the colorful and vibrant mask dances performed in annual community festivals to the folk dances enjoyed in small family gatherings, the rich cultural heritage of Bhutan is very proudly evident.
However, the fast modernization in construction technologies is causing a huge pressure on the nation's goal to preserve our culture as the new high-rise modern structures replace the old low rise traditional structures. There is a great risk of losing the essence like the scale, details, proportions, use of materials, etc. of our Bhutanese architecture.
History has told us that the incursion of industrialization and modernization has often taken over centuries old traditions and cultures in many countries. In Bhutan such influences can be observed in the border towns and in the urban areas where modernization and industrialization has encroached into our rich and vibrant traditional values and cultural heritage. 12
1.2 Issue of Interest
- The royal government of Bhutan, sensing the danger of losing traditional values and culture, has taken steps to preserve and promote the kingdoms distinctive identity. The Government of Bhutan's vision for the country, "Bhutan 2020: A Vision for Peace, Prosperity and Happiness" or the vision for a GNH city (gross national happiness) gives emphasis on the spiritual, social and economic well-being of the 1 population. It accentuates on a development which is more inclined toward the well being and preserving the traditional arts and crafts of the country and the spiritual and economic development of the people. The degradation of the values of arts and crafts, which is the result of absence of a proper platform for the arts and craft in the country, has all been causing a huge blow on its vision. The capital which is the most populated city in the country just have a poorly established institute of arts and crafts till date.
Fig 1.1: Existing Arts and Craft Institute
Fig 1.2: Existing Arts and Craft Institute
1 Bhutan 2020: a vision for peace, prosperity and happiness. Planning Commission, Roya l Government of Bhutan. 13
-The other issue is the same language of architecture for different kind of building. The building typology doesn't reflect its function and can no longer grab people's interest to visit it. 2
1.3 Objective of the Proposal
1. To create a new architectural language that represents a cross breed between Bhutan's traditional culture and the universal globalization to show case the traditional arts and crafts. 2. Designing a cultural center would mean openness to find as many ideas as possible, where one can explore and transcend his imagination and creativity and moreover both the term culture and architecture has something to do with art in particular. 3. Tourism plays an important role in nation's economy, infect it's the second largest economy generator for the country following the hydro power. So by having a proper Arts and Crafts center would not only encourage people towards tradition arts and crafts but also boosts nation's economy.
Culture is a living manifestation of a civilization and it cannot be defined in static terms because it lives in the minds of people. If it is to retain its relevance and vitality, it must be understood in dynamic terms.
Culture is an elusive concept that has tangible and intangible aspects and the maintenance of distinctive Bhutanese identity is dependent upon the articulation of an unambiguous cultural imperative. Cultures may change from within, as well as due to external influences. The present situation in Bhutan, as in other countries, is that there is growing influence of outside pressure, whereas the internal level of cultural awareness has not yet been a major focus of development efforts.
A cultural center, therefore, will integrate cultural services and ensure that the cultural heritage continues to live in the minds of the people and hence the people will not only understand their culture and tradition more deeply, but the traditions may continue to evolve and stay alive.
2 12 Months in the land of thunder dragon, Jen in Bhutan. https ://j en in b h utan.word press.co m/2014/09/03/14-a rch itectu re-a nd-constructio n-b h utan-style/ 14
Culture is the intellectual expression of men, society and nation. It reflects the state of civilization, thus in today's fast changing and digitalized world, where due to outside influence in particular, perhaps, the superficial of the cheap universal media the younger generation are disillusioned and facing identity crisis, it becomes imperative to preserve and sustain culture.
1.4 Hypothesis of the Proposal
It is necessary to keep up with the developing world and the need of the modern people; at the same time it is equally important to preserve our culture and tradition. So this project would functionally keep the Bhutanese rooted to the traditions and at the same time experience the contemporary design/ planning.
This project would reinterpret the Bhutanese architecture with contemporary style, method and translate the language of Bhutanese arts and crafts upon architecture.
1.5 Thesis Statement
To find an approach towards designing a contemporary national arts and crafts center in which the theory of regionalism would be experienced. 15
Chapter 2: Literature Review
Data Collection
2.1 Literature Searches
2.1.1 Traditional Bhutanese Architecture
Bhutanese architecture developed quite independently from the Himalayan neighbors. There is a close cultural tie to Tibetan art and civilization. It is recognized as being of exceptional interest and beauty. It constitutes a cultural tradition which is still very much alive, representing an unbroken historical legacy of a sacred architecture which also provides insight into how architecture in general developed historically. In the book Bhutanese architecture guidelines the researches mentioned that Bhutan places immense importance on the culture and how it influences the way of life of our people, which mainly manifest in our rich architecture, arts, dances, festivals, languages, costumes and the sacred sites.
Origin
The origin of Bhutanese architecture goes back to Tibet, which itself had trade links with China and Persia. Though Bhutanese architecture has traditionally borrowed its forms and ideas, yet it has evolved and taken its distinctive forms to suit the natural 3 conditions prevailing in Bhutan.
In the Bhutanese architecture the Dzongs plays the major role since the architecture of all the dwellings in Bhutan are mainly rooted from the dzong itself. Large monastic establishments are combined with administrative functions in the Bhutanese Dzongs. The Dzongs may be described as the architectural expressions of the Bhutanese concept of government, called the "harmonious blend of religion and politics".
3 Bhutanese architecture guidelines. http://www.mowhs.gov.bt/wp- content/uploads/2010/ll/Bhutan-Arch-Guidelines-final-2014.pdf 16
Fig 2.1. Tashi Choe Dzong in Thimphu, Bhutan
2.1.2 Building Typology
This type of the architecture follows a clear courtyard system. Where all the religious and political spaces are located on the periphery and inside an open court is created as a public gathering space during the ceremonies and religious festivals.
The building consist of three basic elements- the inclined massive volumes of the stone walls, the elaborate and transparent wooden frame for doors, windows and balconies, and the use of bright colors. The structure all has in common the methods of employing frame and infill- using timber and stone. The roofing's mainly involves the sloping roofs. In traditional houses shingles of the wood are used with stones supports. The traditional cover has been replaced by the metal roofing in 4 contemporary Bhutanese houses.
El E2
Fig 2.2 Plan ofTashi Choe Dzong.
4 Dzong Architecture in Bhutan. http://www.himalaya2000.com/bhutan/architecture/dzongs/index.html 17
The planning of the Bhutanese architecture interests mainly in the creating of an open space, courtyards and understanding of the built forms in proportion. Iconography plays a key role here, where it depicts the religious symbols with individual motifs. The art of painting, the creation of three-dimensional Mandela also relates to Bhutan as a most precise interpretation of a set of rules. The units themselves have no absolute value, but their proper relationship within each composition is to achieve a perfect balance.
There is a high cohesion between Bhutan's institutional, religious and domestic architecture.
Following are the types of architecture found
- Dzongs (fortress) -Lhakangs (temples)
Fig 2.3 Thimphu Dzong Fig 2.6 Kharpandi Temple
- Gompas (monasteries) - Chhortens ( stupas)
Fig 2.4 Taksang (Tiger's Nest)
Fig 2.7 Thimphu Memorial Chorten - Manis (prayer wheels) - Domestic houses.
Fig 2.5 Prayer wheel Fig 2.8 Private House 18
2.1.3 Religious believe and its reflection on Architecture
Bhutan follows Vajrayana Buddhism which was originated in Tibetan Buddhism. Vajrayana Buddhism (the great vehicle)- the school of Buddhism which holds that the combined belief of its followers will eventually be great enough to encompass all of humanity and bear it salvation. The Buddhist faith has played and continues to play a fundamental role in the cultural, ethical and sociological development of Bhutan and its people.
Buddhism is symbolized by Mandala which represent universe. Many old civilizations held the circular shape in deep awe, and sites like Stonehenge use the basic circular shape and this seems to touch some deeper part of most who visit there. Some 5 Buddhist temples are set out in a large mandala shape.
In Buddhist art, complex drawings or paintings are made which represent various levels of existence. These are often very colorful and full of symbols, and are often displayed on special occasions.
Fig 2.9 Buddhism Mandala
Source: Mandala Google
5 Buddhist Art and Architecture, symbolism of the Mandala. http://www.buddhanet.net/mandalas.htm 19
Elements of the Mandala and its influence on architecture
The believes of the mandala has been conventionally reflected upon architure.
The Ring of Fire: To begin the mystical journey, one must leave samsara, the world of phenomena, and pass through this flaming barrier to enter the sacred enclosure of the mandala. Its purpose is not to terrify the aspirant from entering, but rather to show that the flame of the wisdom contained within the mandala can burn away ignorance and error.
Fig 2.10 Tashi Choe Dzong, Diagram of how a dzong can be seen as a massive block from a distance.
Source: Tashi Choe Dzong- Google, Diagram-Author
The look of such fortress in Bhutan is usually very huge and impossible it represents the mystical journey that is yet so begins.
The Ring of Vajras: It is the emblem of a truth with the power of thunder and also the purity and indestructibility of the diamond. This ring is the threshold of ultimate reality, the sphere of illumination, of unchangeable, absolute essence.
e No direct entrance e oark vestibule - V
Fig 2.11 Diagram: the entrance of a dzong.
Source: Diagram Author 20
The entrance to this fortress is usually small and dark, which doesn't allow people to see what is going on in the inner space. People have to pass through the dark vestibule which represents the unclear path and ultimate reality.
The Ring of The Lotus: The lotus, with its roots in the darkness of mud and its flower floating on the clear water above, open to the sky, is the symbol of spiritual rebirth and thus of enlightenment
e Central open courtyard
Fig 2.12 Diagram: central courtyard system
Source: Diagram Author
This courtyard is a semi- outdoor space. It is inside the fortress but at the same time its open to the sky which represents the roots of the darkness and the spiritual rebirth.
The Ring of Cemeteries: represent both the illusory terrestrial world and the sensations and erroneous mental activities that keep human beings bound to phenomenic appearances; as the cause of samsara, they must be destroyed in order for one to ascend to the plane of the absolute.
The Inner Square/ The ring of deity: the aspirant reaches an inner square, the walls of the palace or temple of the deity, or of the royal city. Its outline is that of a traditional Indian temple, a square with four doors.
6 The Ring of Buddha: represents the purification of sins and enlightenment.
6 Mandala: The Architecture of Enlightenment. http://asiasociety.org/mandala-architecture- enlightenment 21
-Offices -Utse- the main focal point. -Pray halls -Head monastic body's room -Temples Many openings
Utse- Many big openings
I Pray halls and Alters r are not very bright
Entrance hall will mostly be dark
Fig 2.13 Diagram: function and lighting.
Source: Diagram Author
The central tower (utse) is the main focal point, it is the house of deity and the topmost floor is room for the king and the head of Buddhism of the county. It is shown in the section and the diagram, how lighting and structure of the building represented the believes of mandala.
2.1.4 Culture as a medium
Cultural Identity is often linked to tradition. If tradition is seen as part of a culture it is indeed limited to the past. Still even if it no longer exists it may become a "monument" either as a statement of another time or as a source of inspiration. If traditions were considered to be part of a no longer functional past, it would be considered history.
Architecture has its own pace of role in Bhutan. It is considered as a medium of cultural transference. Here, architecture is a means of expressing that homogeneity and unity in society. Now, with the excepted change, architecture may become a means of personal identity or means of making personal statements.
Form of a Bhutanese House 22
Bhutanese houses have a built form which is generally consisted of a light thin structure suspended and floating above a heavy massive box- like structure. These forms project out from the land and are notable in that they do not disturb the natural curves and slops of the hills and valleys that's make up the natural topography of the 7 land.
IID
Fig 2.14Bhutanese Houses
Source: Traditional Bhutanese House Survey and Research Report by MOWHS and CIOT japan (book)
2.1.5 STATUS QUA
The contemporary architecture of Bhutan is to an extent copying of external vocabulary. The question here is "Do they need to do so?" Bhutan is now at the cross roads where they need to choose between past and future, individualism and social consensus, innovations and continuing traditions. After my research ·on my Dissertation on "Cultural influences on architecture of Bhutan" I realized that it is a very crucial stage and the answers are not very simple, but still only possible way is to accept the present and not to forget the past. Explore many possibilities to find the
7 Bhutanese architecture guidelines. http://www.mowhs.gov.bt/wp- content/uploads/2010/11/Bhutan-Arch-Guidelines-final-2014.pdf 23 medium between these two crossroads- Traditional and contemporary era through 8 architecture.
Fig 2.15. Urban Building
Source: United Consultancy (Architecture Firm)
1.2Theory 1.2.1 Globalization and Critical Regionalism
Globalization and Critical Regionalism are a very important concept that has a big impact on work in architecture. Globalization is because we live in a global world the fact that we can look up for anything on a computer is a proof of it. People have access to all kinds of methodology, materials and approaches to architecture, what happens is you can built in a context that is totally foreign/ different from the ideas that you are using for your project and this work will be different from its own context. Modern architecture has reached a point in sixties and seventies where it was doing so called international style where projects were quite similar. Projects had very little relationship to the local culture, to the local material and to the local context that is why in Modern architecture were criticized at some point.
Paul Ricoeur, Universal Civilization and National Cultures, 1961 said, " The The phenomenon of universalization, while being an advancement of mankind, at the same timeconstitutes a sort of subtle destruction not only of traditional cultures, which might not be an irreparable wrong, but also of what I shall call for the time being the creative nucleus of the great civilization and great cultures, that nucleus on
8 Bhutanese architecture guidelines. http://www.mowhs.gov.bt/wp- content/uploads/2010/11/Bhutan-Arch-Guidelines-final-2014.pdf 24 the basis of which we interpret life, what I shall call in advance the eternal and mythical nucleus of mankind." 9
In 1980s some architect and critics like Kenneth Frampton, came with an idea of Critical Regionalism. Critical Regionalism is an idea in which you can create these regional schools which are influenced by this global architecture and global ideas but personalize them and adapt them to the specific context, this is why every building had relationship to its climate, construction technics, cultural heritage and to the place where it was built.
Kenneth Frampton, Critical History of Modern Architecture, p.314 says, "The term 'Critical Regionalism' is not intended to denote the vernacular as this was once spontaneously produced by the combined interaction of climate, culture, myth and craft, but rather to identify those recent regional 'schools' whose primary aim has been to reflect and serve the limited constituencies in which they are grounded." Among other factors contributing to the emergence of a regionalism of this order is not only certain prosperity but also some kind of anti-centrist consensus- an aspiration at least to some form of cultural, economic and political independence. The concept of a local or national culture is a paradoxical proposition not only because of the present obvious antithesis between rooted culture and universal civilization but also because all cultures, both ancient and modern, seem to have depended for their intrinsic development on certain cross-fertilization with other cultures.
1.2.2 Case Study 1. Amankora Resort, Paro:Bhutan
Critical Regionalism by Kenneth Frampton raises the issue of genius loci as Critical Regionalism talks about the approach to architecture that strives to counter the placelessness and lack of meaning in modern architecture by using contextual forces to give a sense of place and meaning. Something similar Kerry Hill has done in his project "Aman Kora Resort" in Bhutan but didn't really refer to as Critical Regionalism.
9 "Paul Ricoeur Universal Civilization and National Cultures, 1961." Paul Ricoeur Universal Civilization and National Cultures, 1961 tradur;ao do texto 11 Livros-texto, manuais - LinguaLeo. N.p., n.d. Web. 01 Feb. 2017. 25
Fig 2.16. Bhutan City Building
Source: Amankora Google
Kerry Hill has said that he rather want to make people feel Bhutan than to see it, so for Aman Kora he has neglected all the ornamentations of Bhutanese architecture but still used the materials like rammed mud and timbers which were used in traditional buildings. He has even used the slit windows in the corridors which were used only for lighting purpose in traditional building. Critical Regionalism talk about how to be modern and return to source, the styling of Critical Regionalism seek to provide an architecture rooted in the modern tradition, but tied to the geographical 10 and cultural context.
2. National Museum of Bhutan, Paro: Bhutan
-After the advent of modernism in the country the Royal Government of Bhutan, with an aim to showcase the country's rich culture and traditions, initiated the idea to introduce a museum for the first time and in 1968. The watchtower above Paro Dzong was chosen to initially house a modest collection of murals, numismatics, philately, etc.
Over the years, after much renovation the museum accumulated more and more objects from different parts of the country and is today a storehouse of Bhutan's 11 cultural and traditional treasures.
10 Amankora by Kerry Hill Architects: Architecture au . http://architectureau.com/articles/amankora/ 11 Ta Dzong: AB Travel. http://totallybhutan.com/ta-dzong/I 26
Fig 2.17. National Museum Bhutan
Source: Sonam Tashi Tshering (Bhutanese Architect)
The museum aims to:
-Acquire, research, preserve and interpret the history, art and culture of Bhutan from the ancient to the present day.
-Organize, maintain and develop galleries for the purpose of education and leisure.
-Develop educational and documentation centre in order to acquire and preserve documents relating to works of Bhutanese art and history.
-Organize lectures, seminars and research on the museum artefacts.
-Develop specialized reference books, periodicals, photographs and audio-visual materials.
-Develop information source and database of the artefacts.
Site location: It is located on top of a hill overlooking the paro valley and the paro dzong (the administrative centre of Paro Districts).
Built: was built in 1641 AD. by Desi Tenzin Drukda, the then Governor of Paro
Architectural Description:
Entrance Gate ...
The main entrance gate to the museum is located in the north with a one storied security point. Both are added later on as per the need.
The entrance gate as well as the security point is constructed in stone wall masonry with traditional Bhutanese feature in order to blend with the architecture of the museum. 27
Parking ...
Visitors parking are allotted outside the main entrance gate whereas VIP and staff parking are provided inside in front of the museum. The no. of visitors varies season to season. During the peak tourist season the no. of visitors shoots up to 1000 persons a day (approx).And during the off season it comes down to 100 persons a day (including local visitors). Thus during the peak season bit of traffic congestion is experienced in the parking area.
Entrance
The National Museum of Bhutan, also known as Ta-dzong (watch Tower) is cylindrical (unusual round), seven storied built structure. The main entry to the building is from the fourth floor of the building and the exit from the ground floor.
The traditionally built wooden bridge connects to the entry of the building. The entrance of the museum is well accentuated with rich crafted traditional Bhutanese architectural features. The entrance leads to the reception area and galleries of pre history and early history of Bhutan which is described later in detail.
Materials
The materials used for the construction are locally available ones viz. stone , mud and timber. Later on glass and CGI sheets were used for windows and roofing. Constant renovation and restoration works are carried out as per the needs.
The two and half metre thick walls with mud mortar are tapering gently inside; the main reason behind this method of construction during the olden days was for its durability to stand against earthquakes and any other natural calamities. Every floor has wooden flooring and is neatly polished. All the stairs inside the museum are of wooden construction and are painted.
The red band of painting around the museum signifies its religious importance.
Lighting and security
The museum display is well lit but to avoid the fading of colors by light rays, diffused light are used. At some places natural light is also used for lighting. Many nos. of surveillance camera are fixed at all floors for security purpose. 28
- 7
1. Nation Museum of Bhutan 2. Administrative block. 3. Staff and VIP parking 4. Caretakers residence. 5. Security point. 6. Bridge 7. Toilet 8. Visitors Parking 9. Mani Dungkhor.
Fig 2.18 National Museum Bhutan plan 29
2. Tallinn city hall
The city hall based on the Design idea of transparency, Public Insight and Political Overview
Good governance and participatory democracy is dependent on transparency in both directions. It requires adequate political overview of the problems, demands and desires of the public, as well as public insight into the political processes. The new town hall of Tallinn provides this two way transparency in a very literal way. The various public departments form a porous canopy above the public service market place allowing both daylight and view to permeate the structure. The public servants won 't be some remote administrators taking decisions behind thick walls, but will be visible in their daily work from all over the market place via the light wells and courtyards. From outside the panoramic windows allow the citizens to see their city at work. In reverse the public servants will be able to look out and into the market place's making sure that the city and its citizens are never out of sight or mind .
./ 167 ~ .r- _· s ' .~ • .,,,..- 111 ~ r 'l -" 'l II • I, 1111 • I :$.\ ~' ..J' 111i • . . ilia j ~ (/{ ~ . ~ - I 1 ~ ; · ·(/; f 111 · ~ - ~ -~ ~
Fig 2.19 Tallinn city hall
Source: Tallinn city hall Google 30 1 -- Compact organization and Hinged complex retains efficient layout at the expanse compactness and efficiency while of daylight and views. maximizing daylight and views.
Programmatic specify transforms Specific organization of the generic diagram. public village.
Each department is rotated in order to create maximum The floor below the departments is mainly connections between the other occupied by the city office. The city office departments at the same time has maximum flexibility to address the changing demands and connect to the leave place for internal courtyard. different departments.
Elevator cores links The seven grand light wells allow ground floor to the daylight to enter the market place upper floors. at the ground floor. 31
The City Council, the heart of the democratic process, is located in the town hall tower visible from the park, the plaza and the podium of the Linnen Hall. . Above the greeting hall, the City Council is located in a generous space illuminated though a large window facing the city. The sloping ceiling of the tower is finished in a large reflective material. The mirror ceiling transforms the tower into a huge democratic 12 periscope allowing literal transparency between politicians and public.
The Town hall is not only surrounded by public space - but literally invaded by the citizens in the form of the public service market place beneath the canopy of the public offices, where the citizens of Tallinn can meet their public servants.
LIGHT WELL
Fig 2.20 Tallinn city hall section
Source: Tallinn city hall Google
The distance between the A large mirror in the council hall departments allows natural daylight above the public servants gives to enter the marketplace below. a periscope view of the city.
Windows at the top of each From the top of the city hall tower the department catches sun and citizens can enjoy the great views of reflects diffuse light into the office. Tallinn. The same view can be experienced 12 via the council hall mirror. New City Hall, Tallinn by Big Architects. https://inta- aivn .org/en/activities/exchange/roundtables/2011-tallinn/new-tallinn-city-hall 32
Inferences: Inferences:
•!• Creating places that enables •!• The traditional architecture of transparency and Bhutan has been retained for indulge more of public. centuries in the form of such simple but architecturally rich •!- Enhancing the public Dz.Q!l9§{ Ta~hi ChoeOzoog). domain by leaving the ground floor open for the +The building construction methods public. using locally available materials mainly stone with mud mortar •!- Creating better hnkages and finished with lime plaster. functional inter relationship. •!• The minimum use of windows on •!- The usage of roof for other the ground floor makes it act like a purposes than simply shear wall and light timber bracket shading the building. structure on the upper floors give a perfect solution to Bhutan being in •!- The porous organization of high seismic zone. spaces brings about the views and greater •!• The layering or the hierarchy of connectivity courtyard is an important feature of the lggnas as it not only gives a sense of protection but also gives variety of plblic spaces.
•!• The use of ground floor as a store house not only provide a suitable storage space but also acts like a thermal mass as it releases heat during the colder night. 33
•!• Has long narrow widows for less exposure to sunlight(prevents d~trpiajiQl1 of the artifacts)
•!•The minimum windows on the ground floor makes it act as a shear wall.
•!• Its thickness is maximtm at the ground floor , Thickness decreases with succeecftng upper floors. As the horizontal thrust at the ground level develops highest at the time of earthquake in a buitding the greater thickness reduces the shear failure at that time.
•!• The circular movement seems to tell a story at every tum. 34
Chapter 3: Contextual Proposition
3.1 District Selection
The National Arts and Craft Center is in Thimphu Bhutan. Thimphu because it's a place which will reflect Bhutanese people, a place where we can see Bhutan's past, present and future. It has all the head offices, best school, the largest populated city of the national. It is the place of hopes and dreams for Bhutanese people. Moreover it's the Capital city and the most happening part of Bhutan.
- ~ I ~
"""'"' - IN·I Ur-. W.,. C · f.·t ~0.--,.._,. W-.2~ ...... ,..,....,., - l-lFONll~ - 1.N--lUreiiw!W.,.~ - (..) ~'---- Nl-...... · t:~ .,._...... ,._ ~C.. - UC • c...... ,..... • "'" i........... __...... -- . ... ~----- • " ...... CP U...C-..,,,_.. Qlllo'I,__.. ,.,__...... -• 0O.t ---a...a.- ..... -• a..i °"-'_ ...... ,_ -- Fig 3.1 Thimphu City plan
Source: Sonam Tashi Tshering (Bhutanese Architect 35
3.2 Site Selection and Site Analysis
Thimphu is one of the most populated city in the country and the capital city. It contains most of the important political buildings in Bhutan, including the National Assembly of the newly formed parliamentary democracy and Dechencholing Palace, the official residence of the King, located to the north of the city. As a metropolis and capital city, Thimphu is coordinated by the "Thimphu Structure Plan", which is the Urban Development Plan that evolved in 1998 with the objective to protect the fragile ecology of the valley. Thimphu City is a place where people gather from all parts of the country with a hope of changing their lives. It's the dream city of the country.
Fig 3.2 Left- Memorial Chorten, Top Right- Tashi choe Dzong, Bottom Right-Buddha Point
Source: Shutterbug Bhutan facebook 36
There are 3 possible sites in Thimphu for The National Arts and Craft Center.
1. Tashi Choe Dzong Area
Fig 3.3 Left-Thimphu Map, Right-Tashi choe Dzong Area
Source: Google Earth
This site is located nearby the 'Tashi Choe Dzong' which is the historical area. So there are restriction regarding built form and traditional building ornamentations. However, we can analyze advantages and disadvantages of the site as:
Advantages of T as hi Choe Dzong Area:
It is near the Tashi Choe Dzong ( old iconic building/ landmark) It has a school very close by Access for cars and pedestrian
Since it is near the Tashi Choe Dzong the site is already very well known to people and easier for the tourist to spot it too. It can encourage the students from the nearby school to visit the center and learn more about the arts and crafts and as it is a public space easy access is always appreciated.
Disadvantages of Tashi Choe Dzong Area:
it has lots of existing land marks it is in the historical distric
As the area around is filled with important building it might not be able to stand out and be iconic. The rules and regulation of building near the historic areas are very strict. 37
2. Changangkha Area
Fig 3.4 Left-Thimphu Map, Right- Changangkha Area
Source: Google Earth
This site is located right above the Thimphu town and the surrounding area is mostly busy for the whole day. It is between 2 roads and the slop of the terrain is steep. The location is fine for any other project but its surrounding might not be a very inspiring location for the Artists as it will not allow them to have a private or a quiet place to concentrate and work.
Advantages of Changangkha Area:
Close to the youth center Has lots of school near by Access is not at all a problem
The youth center and the schools nearby are advantages because it is already know as a gathering and learning center for youth and in the future maybe it can be a collaboration project to educate youth about our arts and crafts.
Disadvantages of Changangkha Area:
It's on a steep slop Too many activities in the context
There are so many other activities surrounding the site which later might not be appreciated as neighborhood. The land form will need a lot of cutting down and building of retaining walls making it expensive. 38
3. Changzamtok Area
Fig 3.5 Left-Thimphu Map, Right- Changangkha Area
Source: Google Earth
The Changzamtok site is almost perfect with its context, accessibility and the Wangchu River flowing parallel to it. Since the entry to the city core from the north is already welcomed by the Tashi choe Dzong, building the National Arts and Craft Center in this location would play a significant role for the entry of the city core from the southern direction. It has visual linkage to the Semthoka Dzong to its south East, Buddha Point towards its south-west, Thimphu city core to the north and Wangchu river to its east.
Advantages of Changzamtok Area:
The site falls on the main entrance to the city from south It is by a wangchu (river) bank It has a lot of schools and mixed used building in the community It is next to the National High way (easy access) It has a suspension bridge·near by Visual linkage to lots of landmarks of the city
Since it would be an iconic building the site is at a good position to define it, it will always get to enjoy the beauty of the river Wangchu and it is always appreciated to have school nearby so the youths will be encourage to participate and learn about the arts and crafts. The suspension bridge connects the other side of the river where a lot of settlements exist. 39
Disadvantages of Changzamtok Area:
the water level increase during rainy season Noise from the high way
During the summer Thimphu gets frequent rainfall and the water level of the river increases even though the chances of flooding are very less. The other side of the site is the Thimphu- Babesa National highway which can be noisy during the day time from the moving cars.
SI. no Criteria Site 1 Site 2 Site 3 1 Youth gathering Non High Few 2 Density Low High High 3 Access Few Easy Easy 4 Trafic Medium High Medium 5 Law Restrictions Highest High Medium 6 Area Administration Education Commercial 7 Nature Close Non Fair 8 Noise Pollution Low High Medium
Table 3.1 Site Criteria Marking
Source: Author
Site Analysis
CLIMATE
Bhutan has a wide range of climates, from the hot and humid jungles of the southern foothills to frigid snowcapped peaks in the north which rise to 7,700 meters. Broadly speaking, we can divide the climate of Bhutan into four seasons: Spring, summer, autumn and Winter. Spring begins by the end of February and lasts till the end of May. Summer starts by the end of May and lasts till the end of August. There is one more season that may be identified in between somewhere here. The rainy season starts by June and lasts till the middle or end of September. The rainy season more or less coincides with the summer season. The rainy season is vital for farmers to grow their crops like maize and rice, but it causes roadblocks due to landslides. Sometimes, you may be stranded on the highway for hours or for a few days due to roadblocks. Autumn starts by October and lasts till the end of November. Winter lasts from December to February. In most places in Bhutan, it snows in winter except in 40
Southern Bhutan. Even in the south, it is quite chilly in the morning and evening in winter. Summer is quite hot everywhere. But in the south, it gets almost terribly hot.
Thimphu Jan Feb. Mar. April. May June July Aug. Sept. Oct. Nov. Dec.
Rain. (mm) 15 41 23 58 122 246 373 345 155 38 8 3
Temperature 18 19 25 28 30 29 29 28 28 27 23 19 Max. ( °C) Temperature 2 4 7 12 16 19 20 20 19 13 7 3 Min. ( °C) Spring is a good season. Rainy season is not much loved by the city dwellers.
BHUTANS CLIMATOLOGY (MEAN VALUES)
Table 3.2 Thimphu Weather
Source: United Consultancy (Architecture firm in Bhutan)
Station Chukh Dagan Damph Ged Sam ts s/gan Thimph Tongs wang a a u u e g u a di Annual 1566 1282 1818 349 4290 1743 646 1259 639 average 8 rain. (cm) Temperatu 27.6 25.3 23.4 23.7 32 20.1 25.6 21.7 28.3 re Max. (°C) Temperatu 8.7 7.5 6.5 4.2 16.3 6.4 -3.8 -1 4.6 re Min. (°C)
Table 3.3 Bhutan Weather
Source: United Consultancy (Architecture firm in Bhutan)
SEASONS OF BHUTAN
Spring Spring begins by end of February and lasts till the end of may.
Rainy season The rainy season starts by June and lasts till the middle or end of September. The rainy season more or less coincides with the summer season. The rainy season is vital for farmers to grow their crops like maize and rice, but it causes roadblocks due to landslides. Sometimes, you may be stranded on the highway for hours or for a few days due to roadblocks. Rainy season is not 41
much loved by the city dwellers. Summer Summer starts by the end of May and lasts till the end of August. Summer is quite hot everywhere. But in the south, it gets almost terribly hot. Autumn Autumn starts by October and lasts till the end of November.
Winter Winter starts by December and ends in February. In most places in Bhutan, it snows in winter except in Southern Bhutan. Even in the south, it is quite chilly in the morning and evening in winter.
Table 3.4 Bhutan seasons
Source: Author
40 ········ T 38 · • 36 ...... • 34 . '12 ...... '10 ...... I 28 ·· n 26 · 24 . 22 c 20 ..
l•Mlx°C.Min°C ·~o11inoml
Fig 3.6 Thimphu Weather
Source: Sonam Tashi Tshering (Architect Bhutan)
13
CLIMATE-INFLUENCE ON ARCHITECTURE
The climatic influence is reflected in the Architectural characteristics of the Buildings in Bhutan. The long saved roofs help to protect the mud (masonry) walls from monsoon rains, while the courtyards covered with stone pavements help to retain the heat during cold seasons. There are quite a number of similarities between the Architecture in Tibet and Bhutan although in Tibet the buildings are normally not provided with roofs except on some
13 "Thimphu Weather - AccuWeather Forecast for Thimphu Bhutan." AccuWeather. N.p., n.d. Web. 01 Feb. 2017. 42
14 main temples and big Dzongs. Climate is one of the very important factors that affect the architecture of a place.
The impact can be accounted in two ways:
1) It effects the comfort condition of the inhabitants, secondly 2) It affects the building materials. 3) In first case, it results into appropriate orientation, and design to provide maximum comfort to the inhabitants. In second case, the selection of appropriate building materials and proper method of construction is governed, so as to ensure the safety of the building.
The following are the climatic factors which must be considered:
1) Dry bulb temperature 2) Solar radiation 3) Wind 4) Relative humidity 5) Rainfall
1. INFLUENCE OF TEMPERATURE:
Temperature of Thimphu ranges from minimum -2°C to Max 25°C
Temperature is one of the very important factors of climate, that effect human comfort. When the temperature is high the human sweet glands are stimulated which causes man to fill hot and stuffy, whereas low temperature will make him feel cold and rigid. So an attempt should be made to avoid very cold or very hot condition.
The temperature chart of Thimphu shows slightly warm summer and long cold winter. So in our design of building care should be taken to let in as much winter sun as possible to achieve this slight roof projections and large glazed area will be more appropriate. To cut the summer sun and let maximum winter sun in the best orientation would be to face the larger side of building south.
2. INFLUENCE OF RADIATION:
14 Bhutanese architecture guidelines. http://www.mowhs.gov.bt/wp- content/uploads/2010/ll/Bhutan-Arch-Guidelines-final-2014.pdf 43
The amount of solar radiation in a building is another important factor of climate to be considered. It has a distinct effect on the internal room temperature of any building. Greater solar radiation is desirable in winter but undesirable in summer. In the summer the sun is over head hence the roof gets more heat than the side wall where as in the inter it is the other way round. So long and narrow building, oriented with longer side facing north and south are best for this solution. In summer when we want minimum radiation the narrow roof and long wall oblique to sun's ray expose a smaller area to the sun. In winter when the sun is much lower the larger sides exposes a longer area to the sun there by raising the inside temperature.
3. INFLUENCE OF RELATIVE HUMIDITY AND WIND:
The effect of humidity is very important where the temperature is high and where there is problem of perspiration. But in place like Thimphu, where the temperature is not very high, it does not affect much. However in monsoon period when the temperature is little high little un-comfort is felt. To avoid this cross ventilation through window is sufficient.
So we find that R.H. alone does not affect the comfort of living, but temperature and wind along it are the influencing factor. As stated above, when the temperature and R.H. both are high, it creates a very stuffy atmosphere and tends to make the inhabitants uncomfortable due to sweating. For this condition maximum use of wind should be made such that there is constant evaporation of sweat. When the temperature is high and R.H. is low wind should be avoided as they tend to be hot and dry. The wind is also to be avoided when the temperature is low and also the R.H. The wind chart of Thimphu shows major direction of wind from N-W and S-W so the building should get only S-W wind in summer for proper use of wind. However, 15 this factor is not of very importance, as has been already stated above.
4. INFLUENCE OF RAINFALL: Mainly rainfall occurs for the period from May to September with maximum in July with 35cm. Amount of rainfall is another important factor that effect building. Rain causes dampness and also results in destruction of plasters, wires etc. So, proper precaution should be taken to drain away the rain water. The rainfall of Thimphu is about 35cm and lasts about for five months. So care should be taken to provide
15 Climate: Thimphu. https://en.climate-data.org/location/5977/ 44 suitable water-proofing and drainage of rain water. For the exposed wall surface use of small projections, to prevent striking rain, will be appropriate.
Changzamtok Site Analysis
The site for the Craft village is located on the Wang Chhu river bank towards the southern part of Thimphu city (a gateway to the city) along the main axis of the city. Towards the eastern side of the site beyond the highway road is Wangchhu River. The buildings right on top of the steep slope toward the western side of the site forms the western edge. The flyover towards the south forms southern edge and few residences towards the north with walnut orchard form the northern edge. To the west it has mixed land use zone, where the building rises up to G+4 stories high, with commercial on the ground floor (shops/bar/restaurants) and residence on the upper floors. To the east there is a sport academy, school and government housing.
The following elements are considered in the site analysis
1. Location: Thimphu, Bhutan. Towards the South of the City and located near the river. - 1 km from main administration and religious center of the country.
2. Neighborhood context: - commercial and residences, both old and new Structures. 3. Size and zoning: Site falls under urban hub, UV2 - 40% ground coverage with B+G+2 allowed. - 1 car parking for every 30 m2 office building. 4. Legal: The land is owned by Department of National Properties (DNP) and its legal. 5. Natural physical features: The site slopes at 1: 12 slope. - Has a river flowing along the lower edge. - Immediately after some distance, all lands are covered with forest. 6. Man-made features: lots of commercial and residential buildings - a traditional bridge connecting the two sides of the River 45
7. Circulation: The road passes the site which goes to the main city and goes towards the North. - The road is 13m wide without divider. - No existing pedestrian access.
3.3 Law and Regulation
5 RAGE
~. ------~------H ... IF ... ALL BUILDINGS AT GROUND LEVEL ALL BUILDINGS AT GROUND PLUS ONE
17%G VERAGE
l JLATIONS: ------~-- A~M51t~~~G~6'lm~~('crs PERMISSIBLE GROUNG COVERAGE = 40 % PERMISSIBLE FLOOR HEIGHT = G + 3 BUILDING SETBACKS= MIN.3M, & 10 METERS FACING THE ROAD NO. OF VEHICLE PARKING OFFICE = 1 CAR FOR EVERY 30.Sq. M OF PUBLIC FLOOR SPACE PUBLIC HALLS, BANQUET, COMMUNITY CENTRE, MUSEUM = 1 CAR FOR EVERY 30.SQ. M OF PUBLIC FLOOR SPACE 46 RESTAURANTS, BAR, CAFE_= 1 CAR FOR EVERY 15.Sq. M OF PUBLIC FLOOR SPACE 16 ~ ~ / i '. .., 0 []- ...... 1ht Sl!lltch of •"Pltitw>)'th•t lbnl ...... " :'.. > :-c::~ u• • ,. Analysis UoenActn.ities Tel Restaurant -Mostly Youth ind Middle age i otnc:owor• -Tourist "" Job & Residencial -few (o,,,;gner siettled ... RtJI doncbl -Prese ntly 1he site is uoed u ii; Trudt Drlw" iAiSchool t ·Truck Oirkna TNirht flf Accessibility Views Sound 6i' Th imphu- Bilbesa Highway Ji.. Footh pnh next to highwiY 1 From the highw.yand footpith A Suspension bridge 2 From the footbil I ground I~ Bus stop on the opposite side, 3 From the Riller need a " Zlb~ Crossing" 16 Bhutan Building Rules : Department of Urban Development and Housing. https://bhutan.eregulations.org/media/bhutan_building_rules_2002.pdf 47 Landform IWangchu River' Thim hu- Babesa Highwa ite Sm 20m 30m 90m 3rn 1Sm Fig 3.7 Site Analysis Diagram Source: Author SWOT Analysis on the Site Strength Located close to the city core and surrounding settlements: at a walk-able distance. There are amenities both natural and man-made such as Thimphu Chhu, Buddha Statue, Neys, Lhakhangs and mountain peaks clearly visible which would add to the quality of space. Located along one of the busiest roads in the Capital which would make the site and project highly visible. No tall structure in the vicinity that could overshadow or block views and sun light. Located against the backdrop of concrete structures. Topography of the site is almost flat. The site development will require no major excavation. 48 Weakness Low elevation of the site: The project may not be as prominently visible as most village settlements generally are. Risk of Flood: The site is close to the river bed. Should there be flood; the whole project would be at risk. Flat topography: As the existing land form is flat, creation of interesting features that our topography generally associated with would be costly. Inadequate or no heritage/cultural elements on site: Bhutanese cultural and traditional element needs to be reintroduced which would add to the cost. Opportunity Revive the original name of the location as 'Zamdhongthang' and reconnect it with the Lungtenzampa. Showcase Bhutanese traditional arts and crafts and village form. Showcase that Bhutanese traditional architecture and landscape could be blend with modern technology and functions without compromising on essence. Realign Expressway to make the site continuous for comprehensive and integrated development. Recreate a traditional feel into a complex that could accommodate modern as well as a traditional and cultural activity. A community that will live through times to keep our invaluable arts and crafts alive for the future generation. Threat High economic value of land; increasing demand for spaces and construction of additional structures; distortion of the proportion of built-up to open air and scale of the development. 49 Chapter 4: Potential Design Response 4.1 Design Scope Being located in the capital city with a purpose to show case the culture and traditional elements need a perfect breeding between what has existed and what is expected to exist. The project has to be a harmony blending between contemporary planning and truly Bhutanese look which is must by the laws and regulations. - - 4 Identity j Design Scope 1 I r------f : ~ -1 Bhuddhism j I I Importance of the : Find common arts and crafts ~ - 4What? ~ - -- ~ - -- - ~-p_ro_ce_s_s ~ I I I ~ ----i Material use I ~ -4 How? I I I 1-----I Typeofworkj I Desig~ Scope I Understanding Arvhitecture Providing responsive ~------+ programs Process of making the crafts I I I '------4Laws and Regulations ~ ------Respond with Critical Regionalish Fig 4.1 Design Scope Source: Author The main design scope is to promote Bhutanese Arts and crafts with the help of architecture. An architecture which speaks the language of the arts and crafts of Bhutan, making it new and interesting for not just tourist but also for the Bhutanese citizens. Studying the background of the arts and crafts and the process of making them in our county to design an appropriate space. Giving an opportunity for all kinds so of visitors to get involved in the process of making the arts and crafts rather than just show casing the result. Since Bhutan has so many building rules and regulations, because of which almost all the buildings look alike, I am using Critical Regionalism's methodology to sort out through the issues. 51 Programming Analysis Bhutanese Arts and Crafts The thirteen traditional art & crafts of Bhutan impart a major role in the cultural heritage of the country. The Zorig Chusum of Bhutan has been in practice since time immemorial. The categorization of these arts & crafts were made during the rule of the fourth temporal ruler of Bhutan, Gyalse Tenzin Rabgay. • Painting • Sculpture • Carving • Calligraphy • Paper making • Casting • Embroidery • Weaving • Carpentry • Masonry • Bamboo and cane weaving • Gold/Silver Smithy • Blacksmith To provide the necessary space/ facility to the National Arts and Craft Center, it is important to figure out what kind of material and process it takes to make these arts and craft. So I grouped them accordingly to their process of making and materials used. After grouping them, then it was time to figure out what kind of space, lighting and atmosphere was needed for such kind of work. 17 17 http://www.tourism.gov.bt/about-bhutan/Arts-crafts 52 4.2 Organization Structure !Principal\ I ,------....!_ - - - - - !Assitant Principal! jAssitant Principal\ I I I I Fac~lty I I I I I fafility (ordinator\ jAcademic Advisor I HJ'ainting Instructor! I I I I I IA~countantl I HTa1lormg Instructor\ I pzongk~a Instructor\ librarian\ I I :--farving Instructor! I I !Museum Staff\ I ~imithing Instructor\ I ~Jpporting Staff\ I HSculpturing Instructor\ I I I I ~arpentery Instructor! I I I I ,_ ------_,_ ------I I I I Student! Fig 4.2 Organization Structure Source: Existing Arts and Craft Institute 4.3 Activities/ Spaces According to the existing Arts and Craft Institute these are the necessary activities and spaces required: 1) Exhibition hall 2) Institute classrooms 3) Library 4) Workshops 5) Museum 6) Food court 7) Souvenir shop 8) Administrative office All most all of the spaces are to be public except for back of house and administrative office. The exhibition hall would be temporary so it will frequently change the display to keep having the local's interest to visit again and again. The workshop would be also public so it can allow people to interact in the making of the arts and crafts rather than just seeing the result. 53 4.5 Space Summary QUANTIT1VE ANALYSIS '.' '• f '• '• f I ; ~ :.- ;.. ,._ 1 - .:. t.-. .'':. •I ~s olllce(llltadled Toilet) 1 40 a) director's offic~att.ched Toilet) 1 40 c) PA's Office 1 !5 e) MaMCft's Office 20 40 f) ~Office 112 16 210 11 Confettnce X2 20 1110 Ill hntry 1 30 h)R~ 80 0.6S 110 hJT*t ... 10 I) Tourism centre so •)Worlt ... 112 50 2 200 b) Exhibition .... 130 LS 200 c1Sb9r n •I Pr.tia11 0.ssroom 116 15 2 180 b) Theory clmsroom 116 15 LS 135 c) M..ten.1 ~rilll room x4 100 d)Toilet 112 60 a) R9di,,. Areti 40 25 100 b) stKb- Boob 100 d) Head libr.O.n oflicl! 15 e) Computer room 35 2 10 f) 8ook Issue 10 l)Talet 112 60 •I Art wortshop 30 2.5 75 b) <::nit worbhop 112 60 2.4 140 c) Entrance lobby 20 0.75 15 di Servtnl room 1 15 e) w.. h biisin 1 1.S 3 54 a)Seariy 10 bl~-.- 50 1.5 75 c) Exhibition •re• 150 2.5 360 d) Visulll room 90 1.5 135 e)Roomsx4 30 1.5 180 f) Toilet 112 &O •) Outdoor elti.. 40 2.4 120 b)lncbweMinl 25 2.4 60 c) Entnlnce lobbv 0.75 15 d)~room 1 15 e) Kitchen 17 f)stofe 15 &I Wllsh b.sin 2 l .S 3 QUANTITIVE ANALYSIS ------·------ ' '.' ~ ' , I ', ' , ~ • ~ .\ · :. ~ f .. SSHO·'~ :v •) SoweNr shop 115 1.5 135 TOTAL CARPET AREA 3,610 SQ.M 3,61o+ 35% TOTAL BUILT UP AREA 4,900 SQ.M CIRCULATION SITE AREA 10,000SQ.M OR 2.5 ACRES FAR 0.49 Table 4.1 Space Summery Source: Author 55 Chapter 5: Building Technology 5.1 Building Structure Traditional Bhutanese houses are built from a composite construction of rammed earth and timber. The reason traditional houses have a strong verticality is that there is only a little flat land as much of it is steeply sloping. Also, building height increases heat retention against the winter cold. The combination of white washed earth walls and timber makes for a beautiful exterior. The skill shown in the ingenious mastery of the two materials, earth and wood, is superb. Fig 5.1. Bhutanese Traditional building Fig 5.2. Bhutanese Traditional building section Source: Traditional Bhutanese Houses, Survey and Research Report {Book) In the big public building the use of expansion joint at the joining points will help the structure act individually in time of earthquake and the continuous flow of the built 18 form will help support the structure from collapsing. Fig 5.3. Plan of Tashi Choe Dzong Source: Author 18 Bhutanese architecture guidelines. http://www.mowhs.gov.bt/wp- content/uploads/2010/ll/Bhutan-Arch-Guidelines-final-2014.pdf 56 In terms of new material used is the Glass Reinforced Concrete, commonly known as "GRC" instead of timber or concrete which helps to lighten the weight on the structure, thus the impact of earthquake will be less. A~'~ "'.!I...... ,,.. Fig 5.4. GRC Walls Source: Traditional Bhutanese Architecture Guideline (Book) 5.2 Building System In the past, many houses have 2 or 3 floor levels. The first and second floors are constructed of rammed-earth walls and the third floor is a composite structure of earth walls and timber construction. The roof above creates an inside/outside space between the flat top surface of the house and the underside of the roof. The first floor has livestock pens enclosed by thick earth walls. The thick walls are excellent for retaining heat, so are well-suited to an animal enclosure. On every floor, earth is inserted between the timber floorboards to serve as a heat 57 storage medium. In the cold Himalayan winter, the heat radiated by the animals 19 is reserved and radiated like a floor heater. Fig 5.5. Heat Insulation System in Traditional building Source: Traditional Bhutanese Houses, Survey and Research Report (Book) Modern Methods of Heating --- --...., ___...... , ---'*"' ~ f450 •450f • 300nwn lhick, c.c 11 2 4) .;=rnn;.;"' 76rrwnhc*pc.cl138f 150rrwl ...... 0 Fig 5.6. Heat Insulation System in Modern Building Source: United consultancy (architecture firm) Heating strategies includes the use of Evacuated Tubes. The set of tubes contained in an insulated box shall be landed on the south facing roof which shall be supplied with an inlet and outlet tank located on the attic floor of the building (supplied with cold water from the stream/ other reservoirs via pumps. The heated tubes will carry 19 Traditional Bhutanese Houses, Survey and Research Report: Ministry of Works and Human Settlements, Bhutan and Chiba Institute of Technology, Japan . 58 the infill hot water to the entire building and heats the room via convention. A separate boiler shall be used as a backup heat supplier. Solar Evacuated Glass Tube System Tube No: 24-30 PCS Tube size: 47X1800mm Tank Capacity for Hot- cold water: 160-220 LT 59 CHAPTER 6: Design Schematics 6.1 Concept Development 6.1.1 Schematic Design The site connects the southern ends of the city hens the site could prove to be a good location for the project which intend act as an ambassador to the city/ gateway to the city. The site has good views all over but however, some important view like the river on the east side and the forest on the east direction could play important determinant factor in the placement of public gathering spaces. Public Semi-Public -The Library can be public and act as another attraction to people (espicaUy local) and booow the books •Theory Classes wiH not be enteraining any I I public interaction unless It is a special guest lecture or excercises c Semi-Pu bI ic I -The Workshop room is placed in the Privae block becasue there might be equpments that only the profesSionals can operate and can be risky to keep in the public and semi- public spaces Fig 6. 1. Bubble diagram Source: Author 60 A WINTER Sun Path SUMMER Sun Path Fig 6.2. Sun path Source: Author Fig 6.3. Schematic Zoning Source: Author 61 Schematic 1 I 1.Back of the house 2.Library 3.Museum 4.Exhibition 5.Cafe/Shops 6.Pratical classroom Fig 6.4. Schematic planning Source: Author -In the first schematic the main focus was giving to the museum because it would be the focal point of the visitors, combined with that would be the exhibition space which would be a temporary one so the display would keep changing. The Library was placed on the same floor so it would be easier for the people to walk in and read more about the Bhutanese arts and crafts. The practical class was also included within the public space so the visitors could watch or get involve with the making of arts and the crafts. 62 Schematic 2 To ,, J > p ,, 6 s ,,, 7J 1. Drop off a Underground Museum 14. Back of House 2. Parking 9. Open Plaza 12.Admin. Office 3. Temporary exhibition 10. Work shop 13. Service Parking 4. Pratical Class 11 . Stage 14. Back of House 5. Shops 6. Cafe 7. Library Fig 6.5. Schematic planning Source: Author The approach towards the site has to be kept from the main road. After the drop off the first stop would be the temporary exhibition which will change the display monthly so it will attract more people. While the people are entering towards the temporary exhibition space the circulation going to the upper floor and the lower floor would be prominently visible so they get to choose. Each floor would have an important function so it can grab the attention of the visitors. 63 Schematic 3 .... t Fig 6.6. Schematic planning Source: Author The main arrival spot would be the open plaza after the drop off which will have a huge cutout in the center as a stair going to the lower terrain plaza. The temporary exhibition and the practical class will be a flexible space with no solid wall but rather would have partitions made of strings which will become a part of the exhibition. Fig 6.7. Schematic model Source:Author 64 CHAPTER 7: Design Summary 7.1 Concept The creation of art is mainly for spiritual practice used to convey spiritual values. Besides being the identity of Bh~tan the importance of these arts and craft is; it is mostly seen to be used for the religious festival (Tshechu) which brings people together, educate them about life and death and it is one of the event that attracts the highest no. of tourist in Bhutan. Buddhism as mentioned earlier is represented by Mandala and it's been explained clearly how Mandala has influenced the Bhutanese Architecture. When it comes to Arts, there is no universally accepted definition of art. It can be the expression of human creative skills and imagination. People don't look at it or do it in a conventional way. Art doesn't have a particular expression and art can be flexible. Art can be expressed differently and art can perceive differently by individual. There is no boundary, no rules because art is something that flows freely. Fig 7.1. Conventional expression diagram Source: Author In olden days the expression of art into architecture was very sequential, but the expression of art in this National Arts and Craft Center would be unconventional 65 Fig 7.2. Conceptual diagram Source: Author To provide a different atmosphere to people with the freedom of their expression and perception of art. Giving people the option to flow freely and avoiding solid wall and fixed entrance and exit. Adapting a new look and new feeling during their frequent visit. Idea of Space Circulation- entrance and exit from every possible direction. Sparkling Space vs Still Space Sparkling Still Sparkling Perception Fee ling I • I Fig 7.3. Idea of space Source: Author Visual linkage- maintaining visual linkage between all public spaces and activities. ;< I I -J_..---1- 1.....-----'1 / "'-. ~ : : ~ ~,___l -r----1 l L:~ Fig 7.4. Idea of space Source: Author 66 Hierarchy- Playing with level in depth. / ~ / -tt --- >u Typical Museum Depth varies with collection Fig 7.5. Idea of space Source: Author 67 7.2 Final Thesis Presentation 1. Plans __/. ~ .. •. :. I • I • I I • I i·ll I ...,_ , #> -e \. I ·-·--· l • ...e , .•• -·· Layout Plan Fig 7.6. layout plan 68 Upper Terrain Ground Floor Plan Fig 7.7. Upper Terrain Ground Floor Plan 69 • • First Floor Plan F'ig 7.8. First Floor Plan 70 • • I Lower Terrain Ground Floor Plan Fig 7.9. Lower Floor Ground Floor Plan 71 2. Elevations and Sections .... N z z 0 0 fi ti >LU >LU -' -' LU LU Fig 7.10. Elevations 72 M ~ z z 0 0 ~ ~ > > .....LU .....LU LU LU Fig 7 .11. Elevations and Sections 73 <( c:c ci: c:cI z z 0 0 t t LL.I LL.I VI VI Fig 7.12. Sections 74 3. Perspectives ' ~/ Fig 7.13. Perspectives from West 75 Fig 7.14. Perspective from East Fig 7 .15. Perspective from North-east 76 Fig 7.16. Interior Perspectives (exhibition hall with thread walls) Fig 7.17. Common Plaza 77 4. Study Models Fig 7.18. Study Model 1. Study model of the display space and circulation scape. 2. Interior thread wall study model. 3. Abstract from traditional Bhutanese building. 78 5. Section Model Fig 7.19. Section Model (structure and interior thread wall) 6. Final Model 79 Fig 7.20. Final Model 80 Fig 7.21. Final Model 81 Fig 7.22. Final Model 82 Chapter 8: Design Conclusion The traditional architecture of Bhutan is one of the most beautiful expressions of the ancient culture of the people of Bhutan. Harmonious proportions and graceful designs that reflect and mirror the integration of the simple daily lives of the Bhutanese people with the breath-taking landscapes of peaceful valleys and soaring mountains is a key nature of Bhutanese traditional architecture. Traditional architecture in Bhutan adapted over many centuries to suit the local environment, climate, materials, technology, and more significantly, culture traditions and spiritual beliefs. Architecture in Bhutan was consequently adapted to satisfy not only functional and economical needs but also social and spiritual requirements. However Bhutan is heading towards where every other country is, modernization has come up with so many international copied architecture. An architecture that doesn't relate back to the traditional and an architecture that doesn't have any relation to the place where it is build. This is happening because the want of the modern mind has to be fulfilled. To bridge this gap or to find this perfect blend between modernization and traditional this national arts and crafts center is providing an idea of how a space can be planned in a modern ways but still give it a feel and look of traditional to keep the culture and traditional of Bhutan flowing. 83 Bibliography Book Resource: Tzonis, Alexander, Bruno Stagno, and Liane Lefaivre. Tropical architecture: critical regionalism in the age of globalization. Chichester: Wiley- Academic, 2001. Smith, Beryl K. Space planning for the art library. Tucson, AZ: Art Libraries Society of North America, 1991. Watson, Donald, and Michael J.Crosbie. Time-saver standards for architectural design. New York: McGraw-Hill, 2004. Journal Resources (Database/Online): Emma. "Tips for building on a sloped terrain." First In Architecture. January 19, 2015. Accessed January 29, 2017. http://www.firstinarchitecture.eo.uk/tips-for building-on-a-sloped- terrain/ Lecture: Boonla-or, Jaturont,"Building Environmental Control." Lecture, ABAC School of Architecture, September, 2014. Magazine Articles: Amankora - Architecture Gallery - Australian Institute of Architects, The Voice of Australian Architecture." Amankora - Architecture Gallery - Australian Institute of Architects, The Voice of Australian Architecture. N.p., n.d. Web. 01 Feb. 2017. Emma. "Tips for building on a sloped terrain." First In Architecture. January 19, 2015. Accessed January 29, 2017. Web Resources: Varinsky, Dana. "10 iconic buildings from the architect behind America's most Stunning mid-century modern structures." Business Insider. Business Insider, 01 Sept. 2016. Web. 01 Feb. 2017. VitraDesignMuseum. YouTube. October 05, 2015. Accessed January 29, 2017. https://www. you tu be. com/watch ?v=Sm Bi_T-3ZAA. 84 Thesis Book: Kinlay, T, Dorji. School of Architecture, Thimphu, Bhutan (Bangkok: Assumption Univerity, 2012) Sonam, Zam. Cancer Health Care (Bangkok: Assumption University, 2014) Tashi, Lham. Depsi Retreat Resort (Bangkok: Assumption University, 2013) lghton9d. This would not only short en the dlstinco. l would •lso opon up th• of to t>r lntogr;itlng tho rlWf.