ARCHITECTURAL

DESIGN - IV

TOPIC: VOCATIONAL TRAINING INSTITUTE

POCHAMPALLY
 LOCATION
Bhoodan Pochampally is a census town in Yadadri
Bhuvanagiri district of the Indian state of Telengana. It is
located in Pochampalle mandal of Bhongir division.
• It is 42km from Hyderabad.
• Area total : 24.42km^2
 INTRODUCTION
•  Pochampally, a town situated in the Nalgonda district of Andhra
Pradesh, is popularly referred to as the Silk City of India because of the
high-quality silk sarees that are woven at Pochampally.
• Pochampally is a famous town not only because of its sarees, but also
because of the interesting amalgamation of culture, tradition, heritage,
history and modernity that is unique to the place.
• This scenic town is situated amidst hills, palm-trees, lakes, ponds and
temples.
 HISTORY
• The town has a very interesting piece of
history attached to it.
• Vinobha Bhave visited the town in the
year 1951, and he was given a warm
reception by the people of Pochampally.
The people asked for 80 acres of land for
themselves and their families. One of the
landlords' of Pochampally named Vedre
Ramchandra Reddy generously offered
250 acres of land to the people. It was
this incident that sparked off the
Bhoodan movement or the movement of
donating land. Since then the town has
always been referred to as Bhoodan
Pochampally.
• The village area is 193 acre.
• The Pochampally Gram Panchayat has 16 wards
comprising of 22 colonies.The village has about
3000 families and the total population is around
14000 with number of males and females being
almost equal.
• The Weavers community, Padmasali, is the
dominant community in the village representing
more than 70% of the families . Weaving is the
major source of livelihoods for people in
Pochampally, providing livelihoods to more than
50% of the families in the village . The village has
about 2000 pitlooms and 5000 weavers.
 CATEGORIES
• Weavers in Pochampally can be divided
broadly in three categories. The first category
of weavers is in the Co-operative fold. The Co-
operative society provides raw materials to
the weavers and the final product is taken by
the society.
• The second category of weavers consists of
Independent Weavers. These weavers have
their own looms and they buy raw materials.
• The third category of weavers includes those
who work under master weavers. Master
weavers give capital/financial loans and
supply raw materials to coolie weavers.
 INTRODUCTION TO ART AND
CRAFT
• Pochampally is famous within Andhra Pradesh for its silk ( pattu)
sarees. Prior to independence, it was also known for bangles
or gajulu and pearls or  poosalu. In fact the village got its name
from “Gajula-Poosala-Palli ”. This later became Gajula
Pochampally.
•  At Pochampally, telia rumals were made during the pre-
independence period. Natural dyes were used. The colours were
extracted from leaves and flowers,especially from a flower
called Modugu puvvu. For the purpose of designing the rumals,
the weavers used the technique of tie and dye also known
locally as Chittakam-addakam. Later, cotton sarees were made
using the same technique and they soon became popular.
• The cotton ikat sarees of Pochampally weavers were recognised
by the Central govt. handloomDepartment and the weavers
were sent to Chennai, Delhi and Mumbai to learn more about
the handloom weaving techniques. This is when the weavers
became aware of the material ‘silk’. They mastered the art of
silk weaving and the Pochampally Pattu Cheeraluor Silk sarees
of Pochampally became popular.
 INTRODUCTION TO ART AND CRAFT
• Pochampally weave is popularly known as tie and dye weave. The uniqueness
lies in the transfer of design and colouring onto warp and weft threads first and
then weaves them together.
• The consumer-weaver interactions provide inputs for new designs. The weavers
from the older and new generation have shown resilience and adapted
themselves to the changing tastes of the consumers.
INTRODUCTION TO ART AND CRAFT
 DIFFERENT TYPES OF DESIGN
• Single Ikat. •Combined Ikat. •Double Ikat
 INTELLUCTUAL PROPERTY
RIGHT(IPR) OF POCHAMPALLY
• In accordance to the WTO framework,
the Parliament has passes
Geographical Indication act in 1999.
• The act provides guidelines for IPR
protection of unique products of
different sections like clothing, textile
etc.
• Pochampally has been accorded its
intellectual property right under
Pochampally ikat.
EVOLUTION OF DESIGN
BEFORE G.I
AFTER G.I
 WEAVING PROCESS
• RAW MATERIALS
• SPINNING
• DESIGNING
• TIE AND DIE
• DESIGN SETTING
• JOINTING
• WEAVING
• PRODUCT
 RAW MATERIALS

• The material is
purchased from
spinning mills of
Bangalore.
• Muga silk materials
purchased from
Amritsar and
Coimbatore.
 SPINNING PROCESS
• The raw material is first YARN IS WRAPED
washed. AROUND THE
CHAKRA FOR THE
• Then the yarn is winded WRAP
from hank to bobbin.
• The yarn is winded on to the
Ashu for further designing
purpose.
• The yarn is winded upon THE YARN IS WINDED
different types charka FROM HANK TO
depending upon the BOBBIN

product.
SPINNING PROCESS
 DESIGNING
• Required designs are
draw and rendered on
the graph sheet and
sent for the production.
TRANSFER DESIGN ON WRAP AND
WEFT
• The design is transfer on to
the wrap and weft.
 TIE AND DYE PROCESS
• Required designs are marked on
the wraps and rubber strips are
tied on areas which should not be
dyed .
• After one round rubber strips are
tied at different areas which
should not be dyed.
• This process continues until the
estimated design has been covered
on the threads.
• After the dyeing they are stretched
to dry.
DYEING
 DESIGN SETTING

• After the yarns are dried

setting is done.
• Later the yarn are
arranged into a dent for
jointing process (wrap).
• The weft yarn is
wrapped around a
bobbin.
 JOINTING
• Jointing is basically done by
attaching extra threads in order
make it convenient while
weaving.
• The yarn is passed through a
reed. Each yarn is knotted one by
one with remaining threads in
the reed and then attached to
handloom for weaving.
• Ash powder is used for the better
grip.
 WEAVING
• Designed yarn both wrap and
weft are sent for weaving.
• The prepared reed(warp) is fixed
to the weaving loom.
• Weft yarn bobbin is fixed in a
shuttle which transfers from one
end to another end of loom when
shaft is pulled be hand and with
the shuttle the thread is also
passed in between the wrap
thread.
WEAVING
 TYPES OF LOOMS
PIT LOOM
• On pit loom weaver sits with
his/her legs inside the pit
where he/her operate the
two pedals.
• The speed of pit loom is
relatively more compared to
weaving on framed loom.
• Depth of the pit loom :- 60cm
(2 feet)
 SECTION
PLAN
 TYPES OF LOOMS

FRAME LOOM
• Frame looms are made of roads
and panels fastened at right
angles to construct a form
similar to a box to make handy
and manageable.
• This type of loom is being
utilized now due to portability.
 NATURAL LIGHTING

• The positioning of the

weaver’s pit is done in such a
way that the entire light
coming from the window is on
to the loom from behind the
weaver. The height of this
window is such that, when the
weaver sits at the loom, the
light comes in from over his
head.
 FLOORING
• The material that is used
for the flooring should be
able to take the wear and
tear of the weaving
process.
• Stone is better in taking
the wear and tear. Ex
:-Shahabad stone
 PRODUCTS RANGE
• The end products range
from Saree to Pouches,
Dewan sets, Bedsheets,
etc.
TIME TAKEN
• Time taken for weaving a Pochampally product depends upon the
design.
• A simple ikat saree take 4 days including pre-loom process where as
complex on take over three months.

INCOME
• The average income of weaver of cotton sarees is 8500 per month
while a weaver of silk saree is 12500 per month.
 SWOT ANALYSIS
STRENGTH
• Pochampally ikat has the intellectual property right (IPR).
• Lot of schemes are provided from the government to benefit these weavers.
• Promotion od product.
• Products are high value added, and handicrafts have various applications.
WEAKNESS
• The amount paid for weavers isn't sufficient for there living.
OPPORTUNITIES
• Pochampally ikat has lot of exports.
• Fab India, Allen sonny brands are encouraging ikat and including ikat designs in there brands.
• Internet are emerged as promissory distribution channels to market and sell the craft products.
THREATS
• Health problem due to the process of spinning, weaving etc.
• Shift of occupation due to low income.
POCHAMPALLY HANDLOOM
PARK
 LOCATION

• Danthur village, Nalgonda

district, Telangana.
• URBAN CONNECTIVITY :-
54kms from Hyderabad
• RURAL CONNECTIVITY :- 8kms
from Bhoodan Pochampally
• Pochampally park is
surrounded by weaving
villages.
ABOUT POCHAMPALLY HANDLOOM PARK
• Founded in 2008 by master weavers with support of ministry of textiles, TS govt. ,
The park has been built in 24 acres of site.
• The park has 500 looms which are set-up in which only 150 looms are functional.
• From yarn stage to spinning, tie and die, weaving and conversation into garment
is done under one roof.
• The park had a Training centre for imparting training in all related staged of
weaving so as to encourage more worker to take up weaving.

NEIGHBOURHOOD
• Danthur is surrounded by Choutupall Mandal, Bibinagar Mandal, Ghatkesar
Mandal and Bhuvangiri Mandal.
 N
SITE PLAN
Entrance

Administration • The site area of

Parking
Display Center the park was 24
acres.
Training Centre
• Worker from
Processing Unit different village
come to the park
by transport
provided by the
Weaving Cluster from 20km to
VEHICULAR CIRCULATION
40km distance.
PEDESTRIAN CIRCULATION
 ADMINISTRACTION BLOCK
WAITING AREA
250 SQM
• Administration block has
the administration area, DISPLAY ROOM
waiting area and display 400 SQM
area (Retail store).
• The administration area
contains a conference ADMINSTRATION
400SQM
room and cabinets for
staff.
• The display area was the
exhibition area were sales
was done.
PROCESSING UNIT

7 8
4 6
9
3
10
2
11

13 12
1
 WEAVING CLUSTER COURTYARD
STAIRS WEAVING ROOMS
• Number of storeys :- 3
• Flooring used is concrete.
• Some of the rooms have
proper lighting.
• Corridor are used for
spinning purpose.
 TYPICAL WEAVING ROOM MODULE

• ROOM SIZE :- 5.5M * 3.3M

• LOOM WIDTH CHANGE
DEPENDING UPON THE
PRODUCT THAT IS
WEAVED.
• LOOM SIZE FOR SAREE :-
2.4M * 1.8M
• LOOM SIZE FOR
BEDSHEET :- 2.4M * 3.6M
 TRAINING CENTER
• The park had training center
COURTYARD
for imparting training in all WEAVING
related staged of weaving so ROOMS
as to encourage more STAIRS
worker to take up weaving.
• Training center is not used
presently.
• No of storeys :- 2
• The number of intake
available was 700 students.
• ROOM SIZE :- 5.5M * 3.3M
 TRAINING CENTER
• The flooring used was
concrete which might
not be suitable to take
the wear and take of
the weaving process.
• The lighting is not
sufficient enough if
they are to rooms
placed in a single room.
• Internal courtyard was
provided for proper
lighting.
 VOCATIONAL TRAINING INSTITUTE
INTRODUCTION
Vocational training, also known as Vocational Education and Training (VET)
and Career and Technical Education (CTE), provides job-specific
technical training for work in the trades. These programs generally focus on
providing students with hands-on instruction, and can lead to certification, a
diploma or certificate.
It prepares people to work in trade, craft, as a technician, or in supporting
roles such as engineering, accountancy, nursing, medicine, architecture or law.
Vocational education consists basically of practical courses through which one
gains skills and experience directly linked to a career in future.
 DESKTOP STUDY
YWCA women’s training institute

• Location : New Delhi, India

•Architects : Morphogenesis
•LEAD ARCHITECTS: Sonali Rastogi ,

Manit Rastogi
•Area : 75000.0ft2
•Project year : 2017

•Designed by Morphogenesis, the campus of YWCA

establishes a socio-educational anchor .
•It houses two distinct, but interrelated functional programs:
residential facilities for working women and academic
facilities for their vocational training.
•It addresses Morphogenesis’ core design philosophy of
sustainability that is viewed through the lens of community,
culture, environment, and economics.
•The design emerges from a fusion of a rich traditional
building knowledge-bank with contemporary architectural
intent.
• Openings have been provided to allow for natural air flow through
the building.
• The central void allows the hot air to rise, reducing the pressure
at the base of the building; this facilitates the stack effect,
helping create a microclimate.
• A series of green spaces and terraces at multiple levels act as
thermal buffers, serving different social and academic activities
and promoting outdoor learning.
• The conventional basement (lower level) has been conceived as
an ‘underbelly,’ inspired by the traditional Indian baoli
SITE PLAN
GROUND FLOOR PLAN