Thesis on Craft’s Vlllage, Madhyapur Thimi (B.Arch) (2022)

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In the recent past local processing of gemstone minerals has been promoted by the governments of many African nations leading to an ever increasing number of both small-scale and large-scale gemstone processing operations in the continent. For example, in Tanzania where the gemstone industry employs more than 500,000 small-scale gemstone miners and dealers (Africa Business Magazine, 2008), the government banned the export of unprocessed Tanzanite gemstones in an effort to increase local value addition operations. This study therefore intended to find out how architecture can promote the gemstone industries of East Africa by providing appropriate natural lighting for their work spaces and promoting sustainable design strategies that may be used for the industries’ buildings. The processing of gemstones may require some artificial source of task lighting due to the ability to easily control its properties, but natural light has always been the desirable source of general and ambient lighting. This is due to the fact that natural light brings out the natural colour of gemstones, which is the most important quality of gemstones. The ability to manipulate natural light through built form so as to provide adequate and sustainable lighting in a room goes to the heart of the architectural practice. A review of previous literature to establish the design variables used when designing for daylight, and field studies that used the Case Study Method of research to collect data on natural lighting in existing gemstone processing buildings and spaces through observations and interviews were carried out. This revealed that gemstone processing required a lot more natural light in its work spaces than is usually provided for many other activities and many building designs are yet to adequately provide the appropriate visual environment for this activity. It was then established that a uniform brightly lit visual environment was most appropriate when designing for gemstone processing which necessitates both roof lighting and side lighting daylight design strategies for these rooms, which also meant that their most appropriate location is either single storied buildings or the top floors of multistory buildings.

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UNIVERSITI SAINS MALAYSIA

THE SUSTAINABILITY OF MALAY TRADITIONAL CRAFTSMANSHIP AS A TOURISM PRODUCT IN MELAKA

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Cultural heritage as a tourism product has motivated many local and international tourists to spend time at a tourism destination. Cultural heritage encompasses of tangible and intangible heritage. However, the development of cultural heritage as a tourism product has mainly concentrated on tangible heritage. Despite the fact that, craft as an element in traditional craftsmanship is seen as intangible cultural heritage which has become as a tourism product in a certain tourism destination. However, a lack of attention has been given to the skill and knowledge of these craftsmen who has produced the crafts. This study has been conducted to explore the traditional craftsmanship and therefore; Malay traditional craftsmanship in Melaka has been selected as the case study. The selection is based on the idea that Malays are synonym with traditional craftsmanship and Melaka is one of the popular cultural heritage tourism destinations in Malaysia. Hence, three objectives were developed namely to identify the Malay traditional craftsmen‘s background in Melaka, to explore the barriers faced by the Malay traditional craftsmen in Melaka for the purpose of sustaining the local tradition and to evaluate the potential of Malay traditional craftsmanship as a tourism product in Melaka. A qualitative approach has been undertaken in this study. 12 respondents were selected using purposive sampling. Data collections were based on semi-structured interview, observation and photographic documentation. The data was then analysed using framework technique and scoring system. The results from analysis have revealed that these respondents are among the few craftsmen who have good business performance in craft industry. Even though they are well established in craft industry, yet their main challenges are in search for apprentices and a competition in business. All respondents have the potential to be converted as tourism product in Melaka. Among them, the replica of Malay traditional house-maker, rattan-weaver, kompang-maker and capal-maker have high potential as a tourism product based on three aspects which have been evaluated namely tourism attraction, destination facilities, transportation and accessibility. In conclusions, the findings from this study will be beneficial for tourism industry not only in Malaysia but also in other countries as well to look forward on traditional craftsmanship as a new product in tourism. Besides, it can safeguard the skill and knowledge in craftsmanship and will encourage the young generation to learn and appreciate this legacy.

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This paper uses the analytical construct of the Jazīrat al-Maghrib to frame an investigation of contemporary cultural production in Morocco, focusing on one case study: zillij tile work. This artisanal craft form is a hallmark of Moroccan identity, yet also remains fervently appropriated by the outside world. The goal here is to flush out the complex and often competing forces in such a dynamic. Through interviews with craftsmen and a critical assessment of issues related to expertise and production, we learn that in Morocco this art form is situated in ever-widening zones of influence and investment, from a nucleus of daily production-related practices, to the professional tensions in local and regional politics, to the international presentation of zillij as cultural heritage. It is not until we investigate the assumptions and realities of the relationship between craft and religion, however, that we begin to differentiate the globalized rhetoric from a strong core of local resilience.

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