golf club

GOLF CLUB

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The topic chosen by me for my thesis is a ‘GOLF CLUB’. When I studied about golf club, It was very fascinating for me to find that, it gives me the opportunity to explore more in field of architecture. It also consists of a vast part of landscaping (mainly in golf course). Although, planning about the golf course is itself really challenging as it contains contours, water bodies and many other elements which motivated me more for choosing golf club as my thesis topic. The designing of a golf course is not only limited to landscaping but includes various other facilities like swimming pool, tennis and squash courts and an equestrian centre. Large scale golf course also hosts various tournaments and cups which arise the requirement of designing a guest house for the stay of the participants. Other than that several indoor and outdoor bars, restaurants, gym, sauna, etc. are also a part of a golf club. A lot of efforts go into designing a golf course because it is a large area and requires accessible facilities at every point. Hence the main motive to design a golf club is to study a circulation of large space and also working on contours. Apart from landscaping a major part of designing a golf club is solely dedicated to construction of various buildings required for other facilities.

ARTS AND HERITAGE VILLAGE

HASTA SHILPA HERITAGE VILLAGE,MANIPAL BHAWNA NAIN STATE UNIVERSITY OF VISUAL AND PERFORMING ARTS

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INTRODUCTION: THE HERITAGE VILLAGE project was born out of an intense concern of Hasta Shilpa Trust of Manipal for the restoration and conservation of centuries-old vernacular structures Of architectural merit, aesthetic interest and craft importance and also for preservation of traditional objects of art and craft of Karnataka state. The whole concept is based on that art, craft and architectural traditions are integral to our cultural continuity. The whole crisis lies in the fact that when a society loses its sense of identity with its roots, and therefore its pride in itself, it is deprived of a sense of judgment of values. Over the last decade, the trust has relocated through the process of restoration 26 structures of immense architectural merit and fine craftsmanship. The whole exercise of relocation of a traditional building involves several processes like documentation of the concerned structure through measured drawings and visuals, coding of each component of the structure prior to its dismantling and restoration of the damaged portions of the structure before its restructuring in the Village.

SITE LOCATION:


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Hasta shilpa heritage village is located about 1km away from tiger circle in manipal, the university town in udupi district in the coastal region of Karnataka state. The site is located stretches 6 acres to the east of MANIPAL LAKE and to the south of planetarium.

PROJECT INITIATOR

: VIJAYANATH SHENOY

SITE AREA

: 6 ACRES

TOTAL BUILT UP AREA : 3 ACRES CONSTRUCTION TIME : 12 YEARS COST OF PROJECT

: 1.4crores (estimated)

TOPOGRAPHY : The ground was red laterite earth with lots of ups and downs and the structures were stuck into the mountainous site forming a beautiful amalgamation of a traditional village. The overall site slopes down towards the eastern direction, where the manipal lake is present.

site SITE PLAN

SITE SECTION


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VEGETATION: The site remains hidden from the outside due to varied tree species present in the site, the site is lined with trees which creates vista at every node and junction, thus giving the feel of a village expedition.

SITE PLAN


CIRCULATION: This pedestrian path resembles the main bullock cart lane of village with buildings on either side, these lanes is further branched into smaller lanes on either side denoting the pedestrian bye-lane of villages with bazaars on either side.

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The OAT can be approached through the village or directly from the entrance, the idea is to open the OAT for the public with disturbing the village.

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The green colour represents the turf in the site.


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There were no water bodies on site natural or man made because the site itself was sloping down to the nearby lake. The site itself was highly porous and does not allow any water stagnation. Brown colour represents the existing pathways in site. The pathways were irregular in pattern depicting the village pathways and the pathways were not paved.` The pathways near the crafts centre were paved with brich to ensure artisans to work in open environment when necessary. The newly constructed structures were also done with locally available materials like laterite, stone, wood, mud etc….. All the entries were facing the street and the rear door also opens into the back street. The building materials used varies on each type of building, vernacular building materials and techniques were followed since all the structures were old buildings.

HUNGARACUTTA BANSAALE MANE: The hungaracutta bansaale mane is a trading house and warehouse with its residential quarters situated in the coastal port town of hungaracutta in udupi taluk. Its structure was planned in such a way as to as to facilitate and merge the dual purpose of its function as a workplace and residence very effectively. The front portion harbor, logically became the business block while the trader’s residence portion was located at the rear separated by the court left open to the sky. It was roofed with steep slopes and deep overhangs to ensure the drainage of the monsoon effectively so that the commodities stored remained dry. Robust circular and square coloumns with heavy brackets carved with geometrical patterns span

the whole interior of the business area.


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The corridor around the courtyard is used to store samples of merchandise, and weighing scales to measure the produce. The main roof slopes down covering a tapered wood-pillared portico on either side of the main entrance. The portico served as a resting-place for loaders, porters, etc.waiting to be summoned while the need arose. This building was aligned facing the lake in the hasta shilpa village to denote the real context of the structure

Plan of hungaracutta mane

JUNGAM MUTT OF PUCHUCHAMOGARU: The jungam mutt at puchuchamogaru is believed to have been built much earlier in the sixteenth Century, with the blessings of two jungamas who travelled down the district from north Karnataka on a spiritual mission. The structure of jungam mutt of puchuchamogaru that has been transplanted in the heritage village is an amalgamation of three different portions, salvaged from their respective places of origin and put togrther on a plan of the one of the oldest surviving mutts, although in its

fragmentary state. The functions of these portions have not been altered and they collectively stand testimony to the purpose that they served. ARTS AND HERITAGE VILLAGE

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The spaces could be broadly classified into two areas- the public area and the sacred area. The public area comprise a four-tiered jugli or pillared corridor of varying depths, each climbing higher and leading to a much broader and wider platform which functions like a hall. The taper slightly and step down to an eight-sided cylinder capped by an ornate capital and brackets supporting an elaborate and intricately carved coffered ceiling.

BRITISH COLONIAL HOUSE: It is three floor building with each floor having a central hall and two side-halls with a semi open veranda. The use of timber is limited to doors, windows, grills and parts of staircases.


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VIDYAMANDIRA OF RAMACHANDRAPURA MUTT: This compact one-storied structure of vidyamandira of ramachandrapura mutt conforms to a square plan facing east comprising a central core with rooms running around on all three sides. The two leveled entrance jugli opens out to the front, flanked by the protruding side rooms. Two fluted columns with suspending fruit-baskets provide solidity to the elevation. A wooden ceiling with painting on the coffered panels provides necessary insulation. The mud plastered walls merge harmoniously with the roof while the balcony, windows and fluted columns of the front verandah provide the necessary punctuation.

VEDERHOBLI HOUSE: MANOR HOUSE 

The structural plan of vaderhobli house is a rectangular block with pillared two-tiered verandahs running along its length on both the faces of the house, separated by a wall, highlighted by a projected balcony at the first floor level, and supported by two tall pillars at the ground level.


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Of these two tiered juglis, the upper one has robust square-shaped pillars with a bellshaped capital and a bracket assembly that support a planked ceiling resting on a network of thick beams jugli has tapering octagonal columns.

BHATKAL NAVAYATH MUSLIM HOUSE : 

This is characterized by an ornate main door, with couplets from the holy quran engraved on the lintel, placed centrally to the width of house, attached to which is the narrow verandah forming a compact fore-part.

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The house is roofed by a single large gable roof, longitudinally spanning the first floor, with separate lean-to-roof covering the kitchen and dining area at the ground floor level.

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The houses are essentially one-storied, narrow in width and an unusually large depth.

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However, the more affluent houses are independent, elaborately planned, and occupy large areas often enclosed by a high compound wall to ensure privacy.


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CRAFTS CENTRE: 

The street leading to the museum of arts and crafts has on both sides a series of shops that display chinaware, catering vessels and utensils in metal ware, terracotta pots, picle and jars.

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The entire area of crafts bazaar looks very vibrant with its impressive array of traditional crafts objects displayed on the street front.

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There are also primary school, a bank office, a printing press and a school book shop besides the ayurvedic medical shop.


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BASEL MISSION MUSEUM: 

The hasta shilpa has collected almost all the structural, domestic as well as decorative terracotta products, designed and produced by these factories and displayed them in its BASEL MISSION MUSEUM IN HASTA SHILPA HERITAGE VILLAGE.

YERUKONE HOUSE: 

The front block is rectangular in plan, sitting on a high plinth with pillared two-tiered verandahs runnings along its length on both the faces of the house, separated by a wall.

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The use of cornices running along the edge of the beams gives the ceiling a rich look.


SAMLL SIZE SHRINES: HARIHARA VILLAGE: It was built in the traditional architectural style of kerala.

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This four-century-old shrine was in ruins in its original location, and the trust acquired it and rehabilitated it in its heritage village KHADGA RAMA SHRINE: This is a very simple structure with no walls, but standing on a pedestal that supports four wooden columns and overhead roof. VISHNU MANDIR: This elegant temple structure has been recreated in the heritage village on the model of an old temple situated near katapadi in udupi district. It has all the distinctive characteristics of traditional temple architecture of this coastal region. BHAVYA DURGI SHRINE: This shrine represents the age-old architectural style of udupi district with double roofs laid over the other.

HARIHARA MANDIR ARTS AND HERITAGE VILLAGE

BYNDOOR-NELYADI HOUSE:

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It has a series of functional areas positioned around a compact open-to-sky court.

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These kinds of structures came up during the nineteenth century and have most of the manor house but built in a smaller scale.

KUNJUR CHOWKIMANE: 

It was built in the architectural style of Kerala based on the fifteenth century.

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It is a two-storied house, with a hipped roof sloping down into the central courtyard.

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The plan of structure follows a mandala or a grid aligned to the cardinal directions wherein the center of the mandala is left open or not built up, to coincide with the central courtyard.

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An intricately carved wooden ceiling running to the entire width of the louvers window adds further beauty.


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MUSEUM OF FOLK ARTS: The exhibits of museum and spread over three buildings dividedinto eight sections each one displaying i. ii. iii. iv. v. vi. vii. viii.

Ancient building form and character of agarodi, Traditional structure structure of a shrine with wooden folk-deities of varying sizes. Metal icons of Karnataka and other states of India Bronze masks with traditional ritual objects associated with the worship of folk deities Household and occupational articles and artifacts of yesteryears Folk theater crafts like yakshagana, puppetry, moodalapalya and nandi kunita Folk musical instruments, and Stone and metal figures and wooden masks from Chhattisgarh region.


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SRINGERI HOUSE: 

The exterior of sringeri house has a rich appearance owing to the wood turned balcony railing stretching along the entire width of first floor and a two-leveled jugli flanked by two pillars on the ground floor.

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A small room adjacent to this jugli serves as a shop, run by the inmates of the house who used to sell ritual items of temple offerings required by pilgrims who flocked into this holy town.

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A small rectangular room known as padasale serves as the family space linking the entrance, jugli with the kitchen and the puja room.

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A staircase from the padasale accesses a common hall, which has an attached balcony and a smaller room used as a store.


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HENGAVALLI-KORRA HOUSE: 

It consists of an outer pillared verandah, attached to an L-shaped jugli of the main house.

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This verandah with its stout wood-turned columns, placed successively along its length creats an impressive colonnade.

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A high ceiling paneled to the lean-to-roof resting on these columns adds volumes and richness to this jugli.

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The inner jugli opens out into a central room flanked by a kitchen and dining area on one side and room used as a bedroom across.

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The whole spatial arrangement in the interior is compact and a low wooden ceiling further enhances the coziness of the space.


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HARKUR OLAGINAMANE: 

The plan of harkur olaginamane is a simple rectangle with a central court surrounded by

broader rooms on its sides with narrower rooms and a pillered verandah at the rear and front respectively. 

The unique feature is that the columns of the front verandah are modeled to resemble the maddale or the mridangam, a percussion instrument associated with the folk art form.

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The columns in turn support a robust grid work of beams and joists planked to function as a ceiling.

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The central part of the verandah ascends to form a jugli, highlighted by two stout maddale pillars.

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The walls of the central core are raised to form a rectangular hall at the first floor level, accessed by a steep masonry staircase.

ARTS AND HERITAGEVILLAGE

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MUDHOL PALACE DURBAR HALL: 

The durbar hall functioned as an audience hall when the ruler sat in state.

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The whole façade of the front block is an assembly of a series of panel doors with arched

ventilators placed behind a delicate wood-turned balcony railing. 

The panel doors repeat on either side of a beautiful carved main door.

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The front block probably functioned as the drum house, where distinguished visitors were announced.

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The doors leading out of the durbar hall wood framed, closed by solid wooden shutter and have a panel with decorative motif,

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The royal structure used teakwood entirety.


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PESHWA WADA: 

A small bur elegant structure, which was a part of the frontage of a peshwa wada.

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The remaining portion of this wada had long back collapsed, and the frontage of thid modest- sized, single-storey structure with its lovely jhrokha was the only surviving part

of the wada, which tha hasta shilpa acquired for its preservation in the heritage village.

DECCANI NAWAB MAHAL: 

the interior consist of a large hall of a considerable depth in three levels, having a wooden assembly that divides the width of the space into a wider central space and two slightly narrower spaces at the sides.


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MANGALORE CHRISTIAN HOUSE: 

This house which is square-shaped with an attached toilet front verandah has a steep hipped roof with its caves projecting to cover the walls and the verandah, shading them

from the sun and deflecting the downpour of rain away from the building.

Plan and views of manglore Christian house

MUSEUM OF ARTS AND CRAFTS: 

The museum of arts and crafts is housed in a three-floor building.

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The ground floor displays exclusively aradhna kala, traditional ritual arts consisting of wooden idols and panels of gods and deities in classical tradition, stone statues and terracotta figures and also ritual objects and icons in metal ware in the same tradition.

ARTS AND HERITAGEVILLAGE 

The upstairs of the building displays both traditional and contemporary alankara kala, that is decorated crafts and also physical objects used by men for their villas and recreation and by women for their shringar.

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The basement of the museum building contains old wooden structural crafts primarily devoted to the display of scores of various patterns of pillars earlier used for houses,

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shrines, and monasteries in coastal and malnad regions of Karnataka.


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CONCLUSION: Hastha shilpa forms an unique environment to conserve and protect the art and architecture of Karnataka just bringing out the rich culture of their past. Hastha shilpa gives an idea about the prominent style of art and architecture prevailed in early parts of Karnataka. It presently serves as a gateway for many historians, scholars and researchers to visit the complex , learn and

analyse the vernacular architecture of Karnataka and history. The planning is very cozy and composed. This place serves as a platform for many artisans to practice their arts and keep the art alive however the artisans didn’t have any accommodation in the complex. This place is not commercially viable as the trust is not interested in converting this place into a tourist spot and they have not encouraged any lay of powers by corporate sectors. This heritage complex is very sensitive that more crowed can’t be handled in this place due to the intricacy.

golf club

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