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Bodo Cultural Interpretation Centre Bachelor of Architecture National

Institute of Technology Rourkela

Thesis · May 2018

DOI: 10.13140/RG.2.2.25803.44325

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Bodo Cultural Interpretation
Centre

Thesis submitted in partial fulfillment

of the requirements for the degree of
Bachelor of Architecture

By

Jwngsar Daimary
(Roll Number: 113AR0003)
under the supervision of
Prof. Dr. Khuplianlam Tungnung

May 10, 2018

Department of Planning and Architecture

National Institute of Technology Rourkela
Department of Planning and Architecture

Certificate of Examination

Roll Number:113ar0003
Name: Jwngsar Daimary
Title of thesis: Bodo Cultural Interpretation Centre

We the below signed, after checking the thesis mentioned above of the student,
hereby state our approval of the thesis submitted in partial fulfillment of the
requirements of the degree of Bachelor of Architecture at National Institute of
Technology Rourkela. We are satisfied with the volume, quality, correctness, and
originality of the work.

------------------------------------
Supervisor

------------------------------------ -----------------------------------
External Examiner External Examiner

i
Department of Planning and Architecture

Supervisor’s Certificate

This is to certify that the work presented in the thesis entitled Bodo Cultural
Interpretation centre submitted by Jwngsar Daimary, Roll Number 113ar0003 is a
record of original work carried out by him/her under my supervision and guidance in
partial fulfillment of the requirements of the degree of Bachelor of Architecture.

------------------------------------
Supervisor

ii
 Declaration of Originality

I Jwngsar Daimary, Roll Number 113ar0003 hereby declare that this thesis entitled
Bodo Cultural Interpretation Centre presents my original work carried out as a under
graduate student of NIT Rourkela and, to the best of my knowledge, contains no
material previously published or written by another person, nor any material
presented by me for the award of any degree or diploma of NIT Rourkela or any
other institution. Any contribution made by others, is explicitly acknowledged in the
thesis. Works of other authors cited in this thesis have been duly acknowledged
under the sections “Reference” or “Bibliography”.

------------------------------------
Date:
NIT Rourkela

iii
 Acknowledgment

This research was supported by Prof (Dr.) Khuplianlam Tungnung, who has guided and
assisted me to throughout the research. I would like to thank the professors of Department of
Planning and Architecture who have been valuable and helpful to my project. I would like to
thank my friends who have helped me during my case studies and site analysis. I would like
to thank specially to the management of Kalakshetra, Guwahati who have been very helpful
in explaining the design and motives of their institute. Lastly I would like to thank my entire
batch mate who have been very helpful in every steps of design.

Jwngsar Daimary
Date: _/_/__

iv
 Abstract
This project describes about the design of Cultural Interpretation Centre for the people of
Bodo Tribe of Assam. Bodos are the indigenous tribe of Assam who have settled on the
northern bank of river Brahmaputra of Assam. An Interpretation Centre with various function
and spaces are designed to showcase the culture and lifestyle of the Bodo people. Various
spaces like exhibition hall, auditorium library and research facilities have been provided in
due of exchange of cultural studies. Temporary and open exhibits are also being provided for
the flexibility of showcasing various exhibits and display. A technique of natural ventilation
is used for the circulation of natural air throughout the compound and internal spaces. The
shape of the building and the concept has been taken from the traditional religion called
bathouism of Bodos, which describes the five elements that is air, water, sky, sun and earth.
The site is selected at the central heart of Bodo district at Kokrajhar, due to its head centre for
administration and major capitalism for Bodo people. The design supports full facilities for
showcasing the cultural and tradition of Bodo people through various spaces. Local and
traditional materials are mostly used for the construction of the entire spaces.
Keywords: Interpretation, Bodo, Natural ventilation

v
 Contents
Contents
Chapter 1 ........................................................................................................................ 1
1.Introduction ................................................................................................................. 1
1.1 Interpretation Centre ............................................................................................ 1
1.2 Project brief and scope of work............................................................................ 1
2.3 Design consideration ............................................................................................ 2
Chapter 2 ........................................................................................................................ 3
2.Methodology ............................................................................................................... 3
2.1 Site selection ........................................................................................................ 4
2.2 Dissertation Area .................................................................................................. 5
Chapter 3 ........................................................................................................................ 8
3. Literature study .......................................................................................................... 8
3 1 Historical background of Bodos ........................................................................... 8
3.1.7 Housing typology and life style ...................................................................... 11
3.2 Secondary Case studies .......................................................................................... 18
3.2.1 Jean Marie Tjibaou Cultural Center, Noumea, New Caledonia ...................... 18
3.3 Palmyra House ................................................................................................... 24
3.4 Louvre Abu Dhabi .............................................................................................. 26
3.5 History of Mizoram State Museum .................................................................... 27
Chapter 4. ..................................................................................................................... 29
Primary case studies ..................................................................................................... 29
4.1 Srimanta Sankardev Kalakshetra, Guwahati,Assam .......................................... 29
4.2 Shillong house .................................................................................................... 35
Summary of Standards and Guidelines .................................................................... 36
Chapter 5 ...................................................................................................................... 37
5 Site details ................................................................................................................. 37
5.1 Concept............................................................................................................... 39
5.2 Drawings ............................................................................................................ 40
References .................................................................................................................... 45

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 List of Figures
Figure 1 Research flow and step by step methodology and framework ........................ 3
Figure 2 map of india ..................................................................................................... 4
Figure 3 Site location (source: google map) ................................................................. 4
Figure 4 Ventilation ....................................................................................................... 5
Figure 5 Ventilation air circulation ............................................................................. 7
Figure 6 hybrid ventilation............................................................................................. 7
Figure 7 Bodos ............................................................................................................... 8
Figure 8 Weaving ......................................................................................................... 10
Figure 9 Dokhona (traditional attire) ........................................................................... 10
Figure 10 Bagurumba dance form ............................................................................... 10
Figure 11 musical instrumen ....................................................................................... 11
Figure 12 Plan of Common Boro House with Names of Holy Places ......................... 11
Figure 13 Traditional Bodo houses .............................................................................. 12
Figure 14 Haystack ...................................................................................................... 12
Figure 15Harrow and rake (item 88 and 89, photo Danish National Museum,2015) . 13
Figure 16Plough with beam (item 90, photo Danish National Museum, 2015) .......... 13
Figure 17 Farmhouse of Bodo ..................................................................................... 13
Figure 18 showing bamboo wall .................................................................................. 14
Figure 19Family courtyard, sacred space .................................................................... 14
Figure 20 Assam house type plan ................................................................................ 15
Figure 21 Elevation ...................................................................................................... 15
Figure 22 view ............................................................................................................. 16
Figure 23 3d view ....................................................................................................... 18
Figure 24 Site plan ....................................................................................................... 18
Figure 25 section showing the wind flow patterns ...................................................... 20
Figure 26 Mode 1 for ventilation ................................................................................. 20
Figure 27 Mode 2 for ventilation ................................................................................. 21
Figure 28 Modes 3 and 4 for ventilation ...................................................................... 22
Figure 29 Ventilation system during hurrican ............................................................. 22
Figure 30 Ventilation system during reverse winds .................................................... 23

vii
Figure 31 Detail of Jean culture centre ........................................................................ 24
Figure 32 plan view ..................................................................................................... 25
Figure 33 Site ............................................................................................................... 25
Figure 34 Palmyra house ............................................................................................ 25
Figure 35 Palmyra house louvers ................................................................................. 25
Figure 36 Louvre Abu Dhabi ...................................................................................... 26
Figure 37 Mizoram state Museum ............................................................................... 27
Figure 38 Kalakshetra Guwahati ................................................................................. 29
Figure 39 Site plan of Kalakshetra............................................................................... 30
Figure 40 museum items .............................................................................................. 31
Figure 41display materials ........................................................................................... 31
Figure 42 manipuri costumes display .......................................................................... 31
Figure 43 view ............................................................................................................. 32
Figure 44 view ............................................................................................................. 32
Figure 45 Auditorium plans ......................................................................................... 32
Figure 46 Auditorium seating ...................................................................................... 32
Figure 47 oat ................................................................................................................ 33
Figure 48 oat 3d view .................................................................................................. 33
Figure 49 Murals on wall ............................................................................................. 33
Figure 50 Ranghar........................................................................................................ 34
Figure 51 shillong house plan ...................................................................................... 35
Figure 52 Section showing shillong house .................................................................. 35
Figure 53 design site location ...................................................................................... 37
Figure 54 site view ....................................................................................................... 37
Figure 55 Bathou.......................................................................................................... 39
Figure 56 site plan ........................................................................................................ 40
Figure 57 views ............................................................................................................ 40
Figure 58 3d view ........................................................................................................ 41
Figure 59 3d view ........................................................................................................ 41
Figure 60 Floor plan..................................................................................................... 41

viii
 List of Table
Table 1 Shillong house lux level.................................................................................. 36
Table 2 Swot analysis .................................................................................................. 39
Table 3 Area statement ................................................................................................ 42
Table 4 Area statement ................................................................................................ 44

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 BODO CULTURAL INTERPRETATION CENTRE

Chapter 1

1.Introduction

1.1 Interpretation Centre

An interpretation centre is an institution for dissemination of knowledge of natural or

cultural heritage. It’s a kind of new-style museum, often associated with visitor centres or
Eco museums and located in connection to cultural, historic or natural sites. Interpretation
centres use different means of communication to enhance the understanding of heritage. To
aid and stimulate the discovery process and the visitor's intellectual and emotional connection
to heritage, the main presentation strategy tends to be user-friendly and interactive, and often
use scenography exhibitions and multimedia programs. Many interpretation centres have
temporary exhibitions related to a specific aspect of the site. An interpretation centre can be a
viable solution for effective communication of heritage information in municipalities and
rural areas where resources may not exist to establish a traditional, full-scale museum, and
where heritage can be an important factor for tourism development. The paper here will talk
about the interpreting of BODO CULTURE of the Bodo people of Assam through various
architectural designs and styles.

1.2 Project brief and scope of work

To design a cultural interpretation centre for the Bodo tribe of Assam, India. The aim
of the project is to express the socio-cultural lifestyle of Bodo tradition. To also built energy
efficient building by providing natural ventilation and lighting. Due to the lack of Cultural
Interpretation centre people usually have forgotten their cultural dignity and their practices.
Cultural Interpretation centre can give them a lot of benefits and more knowledge about the
society and their living styles. It will also help in sharing and exchange of other cultures
activities by organising different scenography exhibitions, multimedia programs and
performances.

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Scope of the project

The design will mainly include spaces like:
 OAT
 Auditorium
 Exhibition hall (temporary and open exhibition area)
 Food court
 Library
 Administrative
 Meeting and training spaces
 Beautiful landscaping.
2.3 Design consideration

 Landscaping outer spaces with lots of open areas.

 Using natural air circulation throughout the spaces indoor and outdoor.
 Barrier free design for exhibition areas.

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BODO CULTURAL INTERPRETATION CENTRE

Chapter 2

2.Methodology

Figure 1 Research flow and step by step methodology and framework

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 BODO CULTURAL INTERPRETATION CENTRE

2.1 Site selection

Figure 2 map of india

Figure 3 Site location (source: google map)

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 BODO CULTURAL INTERPRETATION CENTRE

2.1.1Site location

As Kokrajhar town is the main central recognised location of Bodo people, so it

would be a good selection of the site. Many major offices and assembly buildings of the
region are located around the town, so more public gathering and visitors will be a major
asset for this site.
2.1.2. Climate site Kokrajhar

The climate in Kokrajhar is warm and temperate. In winter, there is much less rainfall
than in summer. The average annual temperature is 24.3ºc. The average annual rainfall is
3139.The analysis will be mainly focus on how to connect the climate through natural
ventilation and make a comfort zone. Use of climate software will be used for major analysis.

2.2 Dissertation Area

2.2.1 Natural Ventilation for Comfort in Warm-Humid Climate

The natural ventilation of buildings depends on climate, building design and human
behaviour.
Basic three elements of building ventilation
• Ventilation rate
• Airflow direction
• Air distribution or airflow pattern
• For warm and humid climate ventilations is important
to supply fresh air, for body cooling and for cooling of Figure 4 Ventilation
buildings.
• Desirable wind speed for such areas is 0.53 to 3.04 m/s
• Minimum of 0.28 m/s
• Comfort 20- 30ºC
• RH 60% in still air
Source: Bansal (p.138, table 3.3.5-2)

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2.2.2 Stack Ventilation

• Principle of stack ventilation is convection.

• The warmer air of the interior rises and leaves the building from a higher outlet.
• Cooler air is replaced via lower inlet.
Equation for the rate of flow induced by this thermal forces are given by:
V = 0.117A [h (ti - ta)] ½
V = ventilation rate (m³/s)
A = free area of inlet opening (m²)
h = vertical distance between inlet and outlet (m)
ti = average indoor air temperature (Celsius)
ta = average ambient air temperature (Celsius)

Source: Bansal (p.138)

2.2.3 Ventilation due to Wind Forces

• Ventilation due to wind relies upon the pressure differential created by the incoming
force of the wind.
• When wind strikes a building, a region of higher pressure is created across the side of
the building facing the wind.
• The pressure on the leeward side, side walls and roof are reduced.

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 BODO CULTURAL INTERPRETATION CENTRE

Q = KAV (relation of air flow rate)

Q = rate of air flow (m³/h)
A = area of smaller opening (m²)
V = outdoor wind speed (m/h)
K = coefficient of effectiveness which is dependent
upon
the direction of the wind relative to the opening and the
area
ratio of the two openings.

2.2.4 Hybrid or mixed-mode ventilation

When natural ventilation alone is not suitable, some Figure 5 Ventilation air
circulation
mechanical energy will be used to increase the ventilation rate
to make it comfort.

Figure 6 hybrid ventilation

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 BODO CULTURAL INTERPRETATION CENTRE

Chapter 3

3. Literature study

3 1 Historical background of Bodos

Figure 7 Bodos
The Bodos are an ethnic and linguistic aboriginal group of the Brahmaputra valley in
the northeast part of Assam, India. They are recognized as a plains tribe in the Sixth Schedule
of the Indian constitution. The Bodos belong to the Indo-Mongoloid family of Tibeto-
Burman stock of the Assam-Burmese group. The Bodos migrated to eastern India in waves
between the second millennium B.C to the first millemiumA.D. The north-western China
between the head-water of the Huang Ho and Yang-Tsze Kiang rivers was the early home of
the Proto-Bodos who migrated to eastern india. They were first classified as the Bodo-
Kacharies. Here, Bodo is derived from Bod which means Tibet and Kachari is derived from
Kachar meaning area near the river.
3.1.2 Social structure

In their family or domestic life, the Bodos follow a patriarchal family pattern. The
senior male member is the head of the family and owner of all family property. Bodo social
life is closely compact and well-organized and members are bound by certain strict rules and
regulations in their social life. Community living, teamwork, fishing and collective
merrymaking are still prevalent among the Bodos.

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3.1.3 Traditional Bodo religion

The religion of the bodos is called Bathou, after the name of the supreme god Bathou
bwrai.
Bathou followers believe the number five is very significant for religious belief and
worldview. This is evident from a hymn performed in Kerai worship. Source(The bodos of
Assam by halfdan Siiger)
 The wood apple fruit has five ridges
 Siju plant has five edges
 The flute has five holes
 The alter of Bathou has five rings
 The Bodos have five principles.

‘Ba’ in the name Bathou is understood
as the number five, an important number in
the religion. The universe consists of five
elements: soil, air, water fire and sky. The Bodos have no fixed place meant for the purpose
of communal worship, like a temple, church or mosque. But one can see a Siju plant
(Euphorbia splendens) on the Bathou altar in every Bodo household. While there are named
deities, there is no place for idol worship in Bathou religion.
3.1.4 Aspects of Bodo Culture

The Bodo Culture is the culture of Bodo people of Assam which is influenced by the
land where they currently live. For a long time, Bodos have been farmers, with a strong
tradition of fishing, keeping poultry, piggery, rice and jute cultivation. They make their own
traditional attire. The Bodo linguistic ethnic group arrived the earliest and settled in the
region, and have contributed to the cultural traditions of the Assamese and others in north
east India. The Bodos follow certain traditional customs with regard to house building. Their
main house is built on the northern side of the homestead. The main house has a door facing
to the south, stretches from the east to the west, and contains three divisions. The easternmost
portion (ising) of the main house is meant for cooking and worshipping. The courtyard also
provides the altar of the Bathou, the Supreme God, with a siju plant parallel to the
easternmost portion of the main house.

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3.1.5 Bodo attire

Dresses and ornaments of the Bodos are the symbol of their traditional art and culture.
accustomed with the production of clothes from the tread of Eri and Muga. The Eri cloth is of
dub colour and is durable

Figure 8 Weaving Figure 9 Dokhona (traditional attire)

3.1.6 Music and dance

The Bagurumba
The Bodos traditionally dance Bagurumba. It is practiced and performed usually by
young village girls and also evident in schools and colleges dominated by the Boro
community.

Figure 10 Bagurumba dance form

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Musical instruments
Among many different musical instruments, the Bodos use:
Sifung: This is a long bamboo flute having five holes rather than six as the north
Indian Bansuri would have and is also much longer than it, producing a much lower tone.
Serja: a violin-like instrument. It has a round body and the scroll is bent forward.
Tharkha: a block of bamboo split into two halves for clapping.
kham : a long drum made of wood and goat skin.
Khawang: small symbols, a smaller version of that being used in namghar.
Jota: made of iron/tama

Figure 11 musical instrumen

3.1.7 Housing typology and life style

Figure 12 Plan of Common Boro House with Names of Holy Places

Note: Siiger wondered if the arrangement of the Bodo house could have elements in common with
Bengali houses (Notebook A), but he never followed up on this issue in his collections.

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Figure 13 Traditional Bodo houses

Traditional Bodo houses continue to be constructed just beyond the
village’s boundaries (photo P. Andersen, 2012)

Figure 14 Haystack

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 BODO CULTURAL INTERPRETATION CENTRE

Figure 15Harrow and rake (item 88 and 89, photo Danish National Museum,2015)

Figure 16Plough with beam (item 90, photo Danish National Museum, 2015)

Figure 17 Farmhouse of Bodo

Tanesår’s farmhouse (above) is built in concrete but a shed built in the traditional
bamboo structure (below) is also in active use (photo P. Andersen, April 2014)

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BODO CULTURAL INTERPRETATION CENTRE

Figure 18 showing bamboo wall

Figure 19Family courtyard, sacred space

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3.1.3 Assam Housing Type

Figure 20 Assam house type plan

Figure 21 Elevation

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Figure 22 view
BUILDING TYPE
• The building is of two storied house.
• Building is symmetrical on both side.
• 1st floor is connected with a timber stair case.
• Open spaces in front (chotal) and back side (bari) of the house.

SPECIAL FEATURES
Front facade
• As the site is compact with so many houses, so as to provide better ventilation, front
facade is very important.
• Contains large no of openings.
• Sheds are provided, restrict rain fall.
• Arrange in different level.
• Better ventilation in front rooms.
• Sill level of the window is about 60 cm only
• Roof is of sloping form, to provide shed during rain
High plinth level
• Plinth is of about 60-70cm.
• To provide foundation.
• Reduce dust and smoke of roads to enter inside the house.
• To provide better air circulation for light inside.

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•
Entrance
• Two entrances.
• Directly open to the street.
• Ideally built according to their needs.
• 10 mts of open space infront of the house.
Ceiling
• Made of wooden beams.
• Wooden members are stick very close to each other.
• Supported by vertical wooden /steel column.
• A fully wooden structure.
Flooring
• Flooring is of cement flooring.
• Accommodation of dust coming from the street in all rooms in the front side.
Building materials
• Walls are of timber frame work, inside those panels Ikara used to fill.
• These Ikaras are cut in size of the panel and laid vertically.
• The horizontal members are usually bamboo.
• After putting the Ikara,it is left to dry for few days.
• Then it is plastered in both side with mud mortar.
• 3 layers of plaster are done alternatively after dying of each coat.
• Finished coat is of liquid mix of mud and cow dung.
Roof
• Roof layout is very critical.
• It is in various level and multi-cornered.
• But the angle of inclination is same.
• Roof is of corrugated iron sheet.
• Sheets are fixed in timber purlin by nail.
• Rubber washer is used to protect the rain drop penetration through the side of the nail.
Inferences
- Using vernacular style of architecture
- Uses of materials
- Adoptive the techniques for construction

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3.2 Secondary Case studies

3.2.1 Jean Marie Tjibaou Cultural Center, Noumea, New Caledonia

Figure 23 3d view Figure 24 Site plan

Built year: 1993
By Ar. Renzo Piano
The architecture is a celebration of Kanak culture. Taking inspiration from the Kanak
peoples deep ties with nature, the project sought to meet two main objectives: one was to
represent the Kanak’s talent for building, and the other was the use of modern materials such
as glass, aluminium, steel and modern light technologies along with traditional wood and
stone. The Cultural center designed by Ar. Renzo Piano is a cluster of small huts, small
pavilions and tree-filled spaces. It is located on a split of land called the Tina Peninsula,
surrounded by water on three sides
The building with greenery paths and unique ventilation system express the
harmonious relationship with the environment.
Ten wooden abstract huts (cases), varying in sizes, are arranged in gentle curve along
the peninsula. These hut serves various functions. The first group comprises exhibition
spaces, the second series of huts houses research area, a conference room and a library. The
last series of huts contains studios for music, dance, painting and sculpture.

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3.2.2 Climate

• Semi tropical (hot and humid)

• Warm throughout the year, average temperature 25-27º Celsius.
• Prevailing wind facing south.
 The passive ventilation system is one of the main devices for cooling and ventilating
the Tjibaou Cultural Center.

The steep slope on the south side (direction of prevailing wind) has a cooling effect on the
wind as it travels up the slope from the sea to the building

 Site surrounded by water.

 A temperature difference between land and water generates sea and land breezes.
 The steep slope on the south side (direction of prevailing wind) has a cooling effect
on the wind as it travels up the slope from the sea to the building.
 Cases design with a wooden double skin structure for better circulation of air.
 It works to bring breezes down into the building or by guiding convection currents up
and out of the cases.

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
3.2.3 Natural Ventilation and lighting

The buildings have a highly efficient passive ventilation system which eliminated the
need for mechanical air conditioning. The double outer facade, air circulates freely between
the layers of slatted wood. The flow of air is regulated by adjustable louvers, which open
when the wind is light to allow for fresh air, but close when wind speeds pick up.

Figure 25 section showing the wind flow patterns

Figure 26 Mode 1 for ventilation

Source:(Banfi: 27)

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The first mode, shown in figure, is used when there are light winds or still air. With
the thermal chimney closed, ventilation of the building is solely dependent upon wind forces.
The height of the building is not utilized to ventilate the room.

Figure 27 Mode 2 for ventilation

Source: (Banfi: 27)
The second mode, shown in figures is used when there are moderate winds and light
breezes). Examining the basic equation for ventilation due to wind forces: Q = KAV it can be
seen that with the higher wind velocity, the smaller opening will maintain the same rate of
airflow as in mode 1. Again, ventilation relies solely upon wind forces, and the height of the
building is not utilized

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Figure 28 Modes 3 and 4 for ventilation

Source: (Banfi 27)
The third and fourth modes, as shown in figure, are used when there are strong winds.
This method relies upon both convection and the negative pressure created by the wind.
Utilizing the principles of stacked ventilation, the air entering the room is heated and exits
through the upper opening and up the thermal chimney. This is aided by the fact that the wind
is creating negative pressure across the top of the thermal chimney, causing the air to be
sucked up the chimney.

Figure 29 Ventilation system during hurrican

Source:(Banfi 27).
During cyclone conditions, as shown in figure all of the louvered opening are closed.

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Figure 30 Ventilation system during reverse winds

Source:(Banfi 27).
There are times that the winds come across the lagoon, rather than across the bay, as
shown in figure. During these times, both the principles of wind ventilation and stacked
ventilation are used. The louvers on both the sides are opened, allowing the wind to move
from the positive pressure on the northern side to the negative pressure on the positive side.
Additionally, as air heats up within the room, it rises through convection and can exit out of
the thermal chimney.

MATERIALS USED
 Glass
 Steel
 Corrugated aluminium
 Bamboo
 African Iroko wood
 Iroko had a particular significance (selected for the exterior) because of its durability,
connection to the natural landscape, and its ability to evoke the appearance of the
traditional huts.

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Figure 31 Detail of Jean culture centre

Inferences

• Thermal Environment natural ventilation and comfort

• Showing of traditional cultural styles of particular tribe
• Using of low cost and energy efficient building
• Spaces and programs for cultural centre.

3.3 Palmyra House

Studio Mumbai Architects

Nandgaon, Maharashtra, Indiacompleted 2007
• Located outside of Mumbai on the Arabian Sea,
• Palmyra House was built as a refuge from the bustle of the busy city.
• The 3000 sq. ft. house consists of two wooden louvered structures separated by a
courtyard and pool, coconut plantation.

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Figure 32 plan view

Figure 33 Site

Figure 34 Palmyra house Figure 35 Palmyra house louvers

This two storey timber house, built as a weekend retreat, lies in the shade of an
extensive coconut grove on coastal agricultural land facing the sea, near the fishing village of
Nandgaon, south of Mumbai. The functions of the house are placed within two oblong
masses slightly offset from one another, whose facades are predominantly characterised by
louvers made from the trunks of the local Palmyra palm. The structure is made of ain wood;
local basalt was used to make boundary walls, plinths and paving. Plaster finishes were
pigmented with sand from the site. The development of the design and detail, which resulted
from collaboration between the architect and the craftsmen, took on tested techniques, both
local and foreign, and raised them to a finer construction resolution. The louvers on the

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 BODO CULTURAL INTERPRETATION CENTRE

elevations enable passive cooling, as does the extensive shade provided by the
coconut trees above; water for the house is harvested from three onsite wells, filtered and
stored at the top of a water tower and fed by gravity to the house.

Inferences
- Techniques of passive design
- Comfort and energy efficient

Source:http://studiomumbaiarchitects.blogspot.in/2007/12/palmyra-house.html

3.4 Louvre Abu Dhabi

Figure 36 Louvre Abu Dhabi

Location: Saadiyat Island, Louvre Abu Dhabi

The striking and innovative Louvre Abu Dhabi building was designed by Pritzker
Prizewinning architect Jean Nouvel: Combining modern architecture and inspiration drawn
from the region’s traditions, the design reflects the desire to create a universal museum in
which all cultures are brought together. Two thirds of the museum is covered by a white
dome of 590 feet (180 meters) in diameter, which is an emblematic feature of Arabian
architecture, evoking mosque, mausoleum and madrasa. The dome’s seemingly random but
carefully designed arrangement of geometric openings was inspired by the interlaced palm
leaves traditionally used as roofing material. The apertures make it possible to control the
light and temperature inside. All climates like exceptions. Warmer when it is cold. Cooler in

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the tropics. People do not resist thermal shock well. Nor do works of art. Such
elementary observations have influenced Louvre Abu Dhabi.
Inferences
- Interpretation the feature of architecture style
- Designing according to climate, light & shadows.

3.5 History of Mizoram State Museum

Figure 37 Mizoram state Museum

Source http://www.aizawlonline.in/city-guide/mizoram-state-museum
One of the important tourist destinations of Mizoram, the Mizoram State Museum is
situated at Mc Donald Hill at Aizawl. The cultural heritage of the state of Mizoram is finely
depicted in the form of different items on display in the museum. The museum shows the rich
history and cultural heritage of the people of Mizoram.
3.5.1 Collections in the Museum

The items exhibited in the museum display the rich culture and tradition of Mizoram.
There are six galleries in the museum viz, Anthropology, History, Ethnology, Archeology,
Textile and Zoology. The Mizoram State Museum is an ethnological museum and hence the
collection of the museum comprises mainly of ethnological collections. A collection of
photograph, arms and weapons, musical instrument, coins, utensils, paintings, historical
relics,stone sculpture, ancient costumes and traditional equipments are on fidplay in the
museum. The museum also has a separate gallery dedicated to the tribes of Mizoram. The
most important section of the museum is the separate section displaying the textile and

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costume of the tribes of Mizoram. The total number of objects displayed is 574 and
the total number of objects in reserve is 1978.
Type of collection :
Mainly Ethnological collections
Total No. of Objects on display :57
Total No. of objects in reserve :1978
Total No. of Art & Archaeological material :
(i) Sculpture (Stone) - Nil
(ii) Sculpture (Metal) - Nil
(iii) Pottery - Nil
(iv) Coins - 104
(v) Jewellery - Nil
(vi) Manuscripts - Nil
(vii) Illustrated Manuscripts - Nil
(viii) Paintings - 16
(ix) Textiles - 616
(x) Any other, please specify - 432
Total number of Ethnographic objects :
(i) Sculpture (Stone) - Nil
(ii) Sculpture (Metal) - Nil
(iii) Pottery - Nil
(viii) Textiles - 61
(iv) Masks - 104
(v) Puppets - Nil
(vi) Dress & Ornaments - 688
(vii) Domestic items - 318

Inferences
Materials to display inside the museum
Separate museum for the culture

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Chapter 4.

Primary case studies

4.1 Srimanta Sankardev Kalakshetra, Guwahati,Assam

Built year 1990

By Architect Consultant Pvt. Limited (Guwahati & Kolkata)
Srimanta Sankaradev Kalakshetra is an Assamese cultural museum in the Panjabari
area of Assam’s Guwahati displaying rich culture of north-east. It was name after the great
unifier of Assam and one of the greatest integrators of the Indian society of the fifteenth
century, Srimanta Sankardev.
The aims of the institution include preservation, restoration, research, promotion and
development of the cultural heritage of the diverse ethnic communities inhabiting Assam and
North East

Figure 38 Kalakshetra Guwahati

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Figure 39 Site plan of Kalakshetra

4.1.1 The Kalakshetra is divided into several complexes.

Museum
The Central Museum exhibits the articles used by the tribal people of Assam state.
The museum also houses several cultural objects of the state within it. It displays many
handcrafted and folk materials of the state and also of the entire northeast states of India.

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Figure 40 museum items

Figure 42 manipuri costumes display

Figure 41display materials

Artist village
Artists' Village is for the stay of the performers of various cultural activities held
inside the compound. The Artists' Village, replicates the village society of Assam.
It has total 6 houses capacity of 200 at one time

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Figure 43 view Figure 44 view

Auditorium
There are total three new auditoriums inside the campus capacity holding of 1250,
600 and 300 people. The auditoriums are separated from the other cultural spaces with a
separated entry and a boundary in between the compound. Auditoriums are basically booked
by the people for many programs and shows.

Figure 46 Auditorium seating

Figure 45 Auditorium plans

Functional areas of Auditorium have

 Vip lounge
 Green room

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 Catwalk
 Seating area and Performance stage
Oat

Figure 47 oat Figure 48 oat 3d view

The open-air theatre can accommodate around 2,000 people at a time and hosts
cultural programs in its premises.
Murals on wall

Figure 49 Murals on wall

Murals on the wall showcase the evolution of people of Assam and Northeastern state,
from the ancient history to modern style.

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Figure 50 Ranghar

Rang Ghar (an Ahom Amphitheatre in Sivasagar district of Assam), is positioned in

the entrance corridor to the main Central Museum. Replicating the vernacular design of that
particular area and the design typology

Inferences
 Entrance gate: separate entry for auditorium and other cultural spaces.
 Parking: separate parking for both complexes and is inside the campus.
 Architectural character: showcase of various tradition and cultural history
 Zoning of spaces.

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4.2 Shillong house

The Shillong House is located in a locality of Upper Shillong which is about three
kilometers from the center of the city’s business district and still maintains its original forest
landscape. It is a unique residence that floats above its more typical concrete and brick
neighbours.

Concept: Environmental sustainability was an important facet of this project and

efforts were made to apply environmental design principles conducive to the project.

Figure 51 shillong house plan

Figure 52 Section showing shillong house

Natural Ventilation: Shillong’s climate is very conducive for natural ventilation which
is used to achieve thermal comfort in a building.
In this house, natural ventilation is driven by wind-pressure and by stack ventilation where
warm air is exhausted from the higher clerestory windows. During winter when the clearstory
windows are shut, stratification of warm air due to solar and internal gains offset heat loss
from the upper roof and window area keeping the space warm.

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Natural lighting
Calculated using light detector during winter clear sky
Table 1 Shillong house lux level
Spaces Time Lux level (avg)
Dining 12:00 pm 400
Living 12:05 pm 100
Study 12:10 pm 800
Bedroom 12:20 pm 120
Master bed 12:30 pm 250

Inferences
Natural ventilation and lighting

Summary of Standards and Guidelines

• Guwahati-Building-Construction-BYELAWS-2014.pdf
• Neufert
• NBC 2005
• Time Saver Standard
• Thermal comfort ASHRAE in Tungnung k. 2014 ( PLEA paper)
• Universal Design Handbook by Preiser, Wolfgang and Ostroff, Elaine

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Chapter 5

5 Site details

Site location Kokrajhar, Assam, India (main central recognised location of Bodo
people).
TOTAL SITE AREA: 97000 sqm
FAR :1.75
GROUND COVERAGE :45%

Figure 53 design site location

Figure 54 site view

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Climate
 Mostly warm and humid or temperate
 Average annual temperature 24 degree Celsius
 Less rainfall in winter than in summer
 Average annual rainfall 3139

Wind direction

Major flow of the wind is from North East direction.

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Swot analysis
Table 2 Swot analysis
STRENGHT WEAKNESS
Open landscape area Local town road (little far from
Free from crowd and noise National highway)
Transportation from main road and
town are nearby
OPPORTUNITIES THREATS
Good environment for building Floods during rainy season
natural ventilation and lighting (if heavy downpour occurs for a
Central area for communication of longer period)
major bodo people

5.1 Concept

The concept is Bathou which is the traditional religion of the Bodo people of
Assam.‘Ba’ in the name Bathou is understood as the number five, an important number in the
religion. The universe consists of five elements: soil, air, water fire and sky. It is made of
bamboo material and is the place of where the bodo people perform their rituals. It has a five
pair of rings around it and eighteen pair of vertical bamboo strips

Figure 55 Bathou

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5.2 Drawings

Figure 56 site plan

Figure 57 views

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Figure 58 3d view Figure 59 3d view

Figure 60 Floor plan

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AREA STATEMENT
Table 3 Area statement

AREA PROGRAM
AREA/
NO. OF PER TOTAL
SPACE SOURCE
UNITS PERSON & AREA
SPACE
TICKET COUNTER 5 50
SECONDARY
QUEING 200
CASE STUDY
CHECKING 100
ENTRANCE

ADMIN &
LIBRARY
LOBBY/RECEPTION
15 1.7 25.5
WAITING AREA
DIRECTOR 1 12 12
MANAGER ROOM 5 10 50
ASSISTANCE 5 5 25
OFFICE SPACE 10 10 100
FILE ROOM 20
STORAGE ROOM 30
MEETING ROOM 10 60
SERVER ROOM 5
PANTRY SPACE
RESTROOM
LADIES 4 10
GENTS 7 15
CIRCULATION 40
TOILET : GENTS WC= (1 for 25) , WB=(1 for 25), U= (2 for 25) NBC

LADIES WC= (1 for 15), WB= (1 for 15) NBC

Circulation desk 100

20 comp. terminals 60
Stack Room (2000
150
books)
Store 20
Photocopy 10
Office 20
Research area
Seminar

COMMON SPACES
AMPHITHEATER
STAGE 350 PRIMARY CASE
SEATING 2000 0.5 1000 STUDY

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GREEN ROOM 200

REST ROOM 100
CONTROL ROOM 100
REHERSAL HALL 100
MULTIPURPOSE
100
ROOM
CIRCULATION 1000
AUDITORIUM
ENTRANCE 50
TICKET COUNTER 30
STAGE 150
SEATING 600 0.6 360
PROJECTION/
30
CONTROL ROOM
STORAGE 50
GREEN ROOM 1.65 100
REST ROOM
LADIES 25
GENTS 30
CIRCULATION 200
TOILET

AUDITORIUM 2
ENTRANCE 18
TICKET COUNTER 11
STAGE 60
SEATING 300 0.6 180
PROJECTION/
11
CONTROL ROOM
STORAGE 18
GREEN ROOM 35
REST ROOM
LADIES 9
GENTS 30
CIRCULATION 70
TOILET
TOTAL built area 40000

Temporary exhibition
Total area 24000

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Table 4 Area statement

EXHIBITION GALLERIES
Galleries 650
security + office 50
Store room 50
souvenir shop 4 120
Circulation 800
Toilet 65
floor area 1800
Restaurant
Seating 100 2 200
Kitchen 40% or 0.8 180
Service yard 0.3
TOTAL built area 27000

WORKSHOP 6600

PARKING 0.5-1.5 ECS PER 100 Sqm OF FLOOR AREA NBC

OR 20% OF TOTAL PLOT AREA
PRIVATE CAR
PRIVATE BUS
VIP PARKING
TWO WHEELER

CIRCULATION 30% 32400

TOTAL SITE AREA 97000sqm 24 acres

GROUND COVERAGE 45% GMDA
FAR 1.75 GMDA
MAXIMUM BUILT UP FAR*SITE
169750
AREA FULL FAR AREA
MAXIMUM GROUND 0.45*SITE
45% 43650
COVERAGE AREA
HEIGHT
22m
RESTRICTION
TOTAL BUILT UP A 113500

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References

 Siiger, H. (2015). The Bodo of Assam revisiting a classical study from 1950.
Copenhagen: NIAS Press.
 Tungnung, K., Kodama, Y., 2014. AFFORDANCE OF THERMAL COMFORT
THROUGH PASSIVE DESIGN: A Case Analysis on Effects of Ventilation, Shading,
and Thermal Mass in Delhi.
 Tungnung, K., Kodama, Y., 2015. Affordance of Thermal Comfort through Passive
Design-Towards Sustainable Architecture in India.
 Tungnung, K., 2016. Passive Design with Affordance – Towards Low-energy
Architecture in India. Persistent ID:ndljp/pid/10370502.
 Arvind Krishnan, Climate Responsive Architecture (2011), Mc Graw Hill Education
 Miyaoka.F, Tungnung.K, Kodama.Y, Krishan.A. (2014). Sustainable Habitat for
Emerging Economies. In: 30th International PLEA Conference, Ahmedabad, India,
16-18 December 2014. Ahmedabad: CEPT University Press, 2014.
 Natural Ventilation for Infection Control in Health-Care . (n.d.). Retrieved May 6,
2017, from https://www.ncbi.nlm.nih.gov/books/NBK143277/
 Sabari Vishnu, Kumar Shanmugaraj . (2016). Jean Marie Tjibaou Cultural Center case
study.Retrieved May 06, 2017, from
https://www.slideshare.net/SabariVishnuKumarShanmugaraj/jean-marie-tjibaou-
cultural-center-case-study
 Janpreet Kaur, Architect . (2010). Jean marie tjibaou cultural center, nouméa, new
caledonia. Retrieved May 06, 2017, from
https://www.slideshare.net/janpreet.kaur/jean-marie-tjibaou-cultural-center-nouma-
new-caledonia
 Kaushik, Prerona , Kaja Nagaraju,(2016) , Assam Type Architecture; Problems and
Prospects,Retrieved from, http://www.iarjset.com/upload/2016/september-
16/IARJSET%2039.pdf
 Olgyay, V. (1963). Design with Climate. Bioclimatic Approach to Architectural
Regionalism. New Jersey: Princeton University press.

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 Krishan.A, Baker.N, Yannas.S, Szokolay.S.V (2007). Climate Responsive

Architecture, A Design Handbook for Energy Efficient Buildings. Second reprint.
New Delhi: Tata McGraw-Hill Publishing Company Limited, New Delhi, 2001. Print.
p. 32.
 Tungnung, K. (2015). Passive Design with Affordances - Towards Low-energy
Architecture in India. Summary of PhD. Kobe Design University, Kobe, Japan. Print.
 Tungnung, K & Kodama, Y. (2015). Affordance of Thermal Comfort through
Passive Design –
 Toward Sustainable Architecture in India. Design Research, 67, pp. 32-39.
 Tungnung, K & Kodama, Y. (2014). Affordance of Thermal Comfort through Passive
Design: A Case Analysis on Effects of Ventilation, Shading, and Thermal Mass in
Delhi. In: 30th International PLEA Conference, Ahmedabad, India, 16-18 December
2014. Ahmedabad: CEPT Univ. Press, 2014
 Museums in Aizawl. (n.d.). Retrieved May 09, 2017, from
https://tourmyindia.com/museums/aizawl.html

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