Professional Documents
Culture Documents
INITIATIVE
DEVELOPMENT OF ART & CRAFT VILLAGE
IN BANGALORE
PROJECT REPORT
Table of contents
1. Introduction ....................................................................................................... 3
1.1 Background .............................................................................................................................. 3
1.2 Objectives ................................................................................................................................ 3
1.3 Approach and Methodology .................................................................................................... 4
2. Overview.............................................................................................................. 5
2.1 Karnataka ................................................................................................................................. 5
2.2 Bangalore ................................................................................................................................. 6
2.3 Advantages of Bangalore ........................................................................................................ 8
2.4 Regional Connectivity .............................................................................................................. 8
2.5 Infrastructure Initiative............................................................................................................ 9
1. Introduction
1.1 Background
Department of Tourism (DoT) Government of Karnataka (GoK) is determined to boost
the tourism industry in the state. The Tourism Sector has been identified as one of the
key sectors propelling the countrys economic growth. Karnataka State has been
ranked as the 3rd preferred destination among domestic tourists in the tourism sector.
Karnatakas thriving economy has created many opportunities across the State in the
last decade.
For GoK, the tourism sector constitutes a real priority because it is an important sector
for the generation of employment, therefore various initiatives are been undertaken
with the involvement of all stakeholders, both public and private, that will foster a
more favourable environment for the development and consolidation of the tourism
sector. One of the initiatives in this direction is the formulation of Karnataka Tourism
Policy for 2015-20.
GoK intends to encourage the investors to invest in the tourism sector. A host of
incentives and concessions are provided to the investors in tourism sector, in the New
Tourism Policy for 2015-20. A large emphasize has been laid on enhancing hospitality
services and standards, promoting innovative developments and rejuvenation of older
tourist attractions, with the aim of offering visitors the experience that will
commensurate with higher expectations.
3
With this background, DoT has prepared a shelf of Project Reports of potential tourism
projects which could be undertaken for development along with collaboration with the
Private sector. Development of Art & Craft Village in Bangalore is one of the projects
identified for development. The idea is to showcase culture of Karnataka in Bangalore
through establishing an art & craft village in the capital of the state. Department of
Tourism, Government of Karnataka intends to develop an in Bangalore, the state
capital to showcase the talent of the local artists.
1.2 Objectives
GoK intends to develop the art and craft village in Bangalore, Karnataka to:
iii. Create a space and environment to preserve the traditional art and craft of the
state for the tourists.
iv. Attract more footfalls, encourage extended stays.
v. Promote the talents of local artists, artisans and craftsmen though giving them a
platform to exhibit their painting, art work and piece of craft via exhibition,
studio, open air theatres and stalls.
vi. Encourage entrepreneurship and livelihood opportunities for the locals.
vii. Encourage and promote Private Sector Participation in the development of
tourism sector.
4
Study of art and Financial Identify probable
craft industries Feasibility projects and its
Review the Identify projects to be locations
policies related developed Suggest project
to art and craft structure options
Determine the costs,
revenue streams, other for development
Secondary expenses and assess
Research projet viability Implementation
Structures
2. Overview
2.1 Karnataka
Karnataka State comprises of 30 districts and has been classified into four divisions
namely Bangalore, Belgaum, Gulbarga and Mysore Divisions. Karnataka has vibrant
automobile, agro, aerospace, textile & garment, biotech and heavy engineering
industries. The state has sector-specific SEZs for key industries such as IT,
biotechnology, engineering, food processing and aerospace.
Karnataka is the IT hub of India and home to the fourth largest technology cluster in
the world. As of 2014-15, total exports from the state aggregated US$ 52.02 billion,
which is approximately 13.01 per cent of India's total exports. Karnataka has 47 IT/ITeS
SEZs, three software technology villages and dedicated IT investment regions.
Karnataka boasts of a diverse flora and fauna and a 320 km natural coast line, which
makes it a nature tourist's paradise. Tourist arrivals in the state increased from 25.2
million in 2005-06 to 111.8 million in 2014-15.
5
Development of Art and Craft Village in Bangalore, Karnataka
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2.2 Bangalore
Bangalore, the capital city and the largest city of Karnataka State is popularly known as
the Silicon Valley of India and has come to be one of Asias fastest growing cities since
emergence of the IT-ITeS industry. Karnataka itself is globally known for its vibrant
economy and investment potential.
Being a major industrial and commercial center of the country, Bangalore is also the
nerve center of Indias software industry and is well connected domestically and
internationally, thus attracting people from all over the country and beyond for
meetings, seminars, conferences and exhibitions. It is home to some of the most high
tech industries, IT organizations and some of Indias premier scientific establishments.
Bangalore is one of the most ethnically diverse cities in the country, with over 62% of
the city's population comprising migrants from other parts of India. Historically a
multicultural city, Bangalore has experienced a dramatic social and cultural change
with the advent of the liberalization and expansion of the information technology and
business process outsourcing industries in India. IT companies in Bangalore employ
over 35% of India's pool of 1 million IT professionals.
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Development of Art and Craft Village in Bangalore, Karnataka
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Table 1: Overview of Bangalore City
Aspect Details
City Bangalore
Population (2011 Census) 8.52 Million
Connectivity and Linkages Air: The city has an international airport with regular
flights from & to important destinations both in India and
abroad. Bangalore International Airport started its
operations of Phase 1 in April 2008.
Road: The city is strategically located on NH-4 (Chennai-
Bangalore-Pune), NH-7 (Bangalore-Hyderabad), NH-48
(Mangalore), NH 207 (Chikaballapur), & NH-209
(Coimbatore) and State Highways to other cities in the
State.
Rail: The city has three railway stations, viz. Central,
Cantonment and Yeshwantpur. The city is well connected 7
to all major Indian cities by rail network.
Aspect Details
Apart from the industrial importance, Bangalore city also has few other characteristics
such as a cosmopolitan culture, higher spending capacity, large percentage of young
population and existence of International airport all of which together promote
Bangalore as an idyllic place to develop entertainment and amusement villages.
Developing a art and craft village will be very constructive to attract more domestic
and international tourists in the city and will also act as a weekend destination for the
city dwellers.
international airport with regular flights from & to important destinations both in
India and abroad. BIA started its operations of Phase 1 in May 2008.
Presently the State owned run buses as well as private tour operators also run buses
and luxury buses to all parts of the city and connecting Bangalore to other cities like
Bijapur, Hubli, Dharwad and Belgaum. The main bus depots are Kempegowda Bus
Station, Shantinagar Bus Depot and Shivajinagar Bus Depot. The NICE ring road which
is intended to connect Bangalore with Mysore, is also connecting the city with other
major towns namely Srirangapattana, Pandavapura, Mandya, Maddur,
Channapattana, Ramanagara, Kengeri etc. As mentioned earlier, the city is
strategically located on NH-4 (Chennai-Bangalore-Pune), NH-7 (Bangalore-Hyderabad)
and NH-48 (Mangalore). Many state highways connect the State Capital City to other
cities in the State.
The under construction NICE road is 111 km long and connects two important cities
of Karnataka i.e, Bangalore and Mysore, touching various cross sections of state and 9
national highways. The NICE road is expected to impact the city connectivity scenario
majorly as it connects Electronics City, Bannerghatta Road, Magadi Road, Madiwala
and other strategic locations. The Bangalore Mysore Infrastructure Corridor is also
getting developed along NICE and is expected to bring in various commercial and
tourism zones along it.
One of the largest infrastructure projects which will be witnessed by Bangalore city
dwellers in the upcoming years is completion of construction of Bangalore Metro and
LRT Project. This is another project which is expected to impact the city transportation
majorly. Apart from these, widening of Sarjapur Outer Ring Road connecting it to the
peripherial ring road and several elevated expressway at various junctions of the city
will definitely improve the connectivity further.
The completion of the above mentioned projects will have significant impact on the
regional and economic development of the region as well as it will induce more no. of
tourist population.
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The vast range of the States arts and crafts that now embellish royal homes of the
past, elite bungalows, and even ordinary hutments, bear testimony to the skill,
aesthetic sensibilities, and decorative abilities of the craftsperson. Many craft
traditions in Karnataka have been handed down from father to son and this continuity
has helped to support a vast variety of handicrafts with their high degrees of
perfection.
The States craftsmen received much patronage from the royalty in the past. Today,
the government has set up many agencies and design centres to encourage craft
families to continue making handicrafts and also help them to market their ware. This
has helped keep many craft traditions alive so that their practitioners can cater not
only to the local population but also to the many tourists who visit Karnataka.
Though home to the famous Nritya Gram, a center for dance and martial art forms, the
city, also known as Indias garden city lacks an cultural and ethnic focal point which
could bring together craftsmen, artisans and performers to mirror the rich heritage of
the state as well as its role in the cultural tapestry of the country.
Bangalore, the capital of the state of Karnataka boasts of a vibrant culture. Being a 10
major industrial and commercial centre of the country, Bangalore is also the nerve
centre of Indias software industry, thus attracting people from all over the country
and beyond for meetings, seminars, conferences and exhibitions.
Handicrafts are made in cottage industries by local artisans of the region, as a means
of livelihood. They are often manufactured and sold in local markets and sometimes
are also sold to the Corporation/ private retails for organized sales.
the handicrafts of the State and provide assistance in improving the economic
conditions of the artisans. The Corporation has been promoting handicrafts of the
state through a number of retail outlets popularised by the name of 'Cauvery'. All over
India, the Karnataka State Arts & Crafts Emporium, 'Cauvery', has acquired a unique
brand image for its products which is synonymous with highest quality at competitive
prices.
Craftsmen endowed with high skill levels entirely devoted to producing quality
handicrafts are part of 13 craft complexes spread across the State which provide
facilities in terms of raw materials, living cum work-sheds, common facilities centre,
design input and marketing support. The craft complexes located in Karnataka
established by KSHDC are listed below:
a. Sandal wood craft complex, Sagar
b. Sandalwood craft complex, Sirsi
c. Sandalwood craft complex, Soraba
d. Sandalwood craft complex, Kumta
e. Multi craft complex, Mysore
f. Lacquerware craft complex, Channapatna
g. Bidriware craft complex, Bidar
h. Cotton Dhurries complex, Navalgund
i. Pile carpet centre, Mundgod
j. Pottery craft complex, Ramanagar
k. Kinhal Procurement Centre, Kinhal
l. Bronze craft complex, Bangalore
11
m. Stone craft complex, Shivarapatna
As of Oct 2006, more than 6,000 people in Channapatna, working in 254 home
manufacturing units and 50 small factories, were engaged in
the making of these toys. The Karnataka Handicrafts
Development Corporation (KHDC) provides assistance with
marketing efforts. The raw-material used are halewood, Lac,
Lithophon and varieties of colour. With no proper backing or
marketing, the Channapatna toy industry faced a financial
crunch for more than a decade and was almost on the verge of 12
dying out. However, with the help of KHDC, the craft has been
revived and the artisans involved are being trained on changing trends in the industry,
to help them keep abreast of the current scenario. Prototypes designed by master
craftsmen are introduced to the local artisans, who use them to create well-designed
toys and dolls.
Bidriware is a metal handicraft that originated in Bidar, Karnataka, in the 14th century,
during the rule of the Bahamani Sultans. The term 'Bidriware' originates from the
township of Bidar, which is still the only town that manufactures the unique
metalware. Due to its striking inlay artwork, Bidriware is an important export
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handicraft of India and is prized as a symbol of wealth. The metal used is a blackened
alloy of zinc and copper inlaid with thin sheets of pure silver.
The origin of Bidriware is usually attributed to the Bahamani sultans who ruled Bidar in
the 13th 15th centuries. Abdullah bin Kaiser, a craftsman from Iran was invited by the
Sultan to work on decorating the royal palaces and courts. According to some
accounts, Kaiser joined hands with local craftsmen and gave birth to Bidriware. Since
then, the craft has been handed down succeeding generations mostly among the local
Muslim and Lingayat sects.
Bidriware is manufactured from an alloy of copper and zinc (in the ratio 1:16) by
casting. The zinc content gives the alloy a deep black color. First, a mould is formed
from soil made malleable by the addition of castor oil and resin. The molten metal is
then poured into it to obtain a cast piece which is later smoothened by filing. The
casting is now coated with a strong solution of copper sulphate to obtain a temporary
black coating over which designs are etched freehand with the help of a metal stylus.
The Bidriware is then prone to the final blackening process. Here, a special variety of
soil which is available only in the unlit portions of the Bidar fort is used. It is mixed with
ammonium chloride and water to produce a paste which is then rubbed onto a heated
bidri surface. The paste selectively darkens the body while it has no effect on the silver
inlay. The paste is then rinsed off to reveal a shiny silver design resplendent against
the black surface. As a finishing touch, oil is applied to the finished product to deepen
the matt coating. The finished product appears black with brilliant silver inlay.
The Bidri designs are usually patterns such as the Asharfi-ki-booti, stars, vine creepers
and stylized poppy plants with flowers. Traditional designs include the Persian Rose
and passages from the Quran in Arabic script.
While Bidar in Karnataka and Hyderabad in Andhra Pradesh are the most vibrant
centers, this art is also practiced in few other parts of the country like Purnia in Bihar,
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The Gudigars make some of the most exquisite pieces using simple tools like knives,
screwdrivers, hand drills and saws. They work in the verandahs of their houses. The
Karnataka Government ensures that they are given a regular supply of the wood. The
items they make are sold in Government Emporia and through licensed private
dealers.
Mysore is well known for the wooden and ivory in laid handicrafts. Craftsmen in the
14
city of Mysore have specialized in wood inlay work making exquisite articles depicting
landscapes, pastoral scenes, elephant herds, birds etc. Some of the finest examples of
the elaborate inlay work done by master artisans can be seen in the Maharajas palace
in Mysore and in the mausoleum of Tipu Sultan in Srirangapattna.
Ivory carving is another popular craft prevailing in the entire State. Articles carved
delicately without excessively ornate image adjoining the figures, mostly showcasing
the figures of god and goddess. Some of Mysore's masterpieces in ivory are now
preserved in the Heritage Museum in Russia and in the South Kensington Museum,
London.
Mysore Paintings
The process of making a Mysore painting involves many stages. The first stage is the
making of the preliminary sketch of the image on the base. The base consists of
cartridge paper pasted on a wooden base. A paste made of zinc oxide and Arabic gum
is made called "gesso paste". With the help of a thin brush all the jewellery and parts
of throne or the arch which have some relief are painted to give a slightly raised effect
of carving. This is allowed to dry. Thin gold foil is then pasted onto the surface. The
rest of the piece is then painted using watercolors. Only muted colors are used.
Kinhal has an immensely rich artistic heritage. It was once a flourishing centre for
crafts, the most well-known being exquisite carvings in wood. The famous mural
paintings in the Pampapateshwara temple, and the intricate work on the wooden 15
chariot at Hampi, are said to be the work of the ancestors of the Kinhal artisans of
today. Old paper tracings found in the ancestral house of one of the artisans further
substantiates this belief.
Kinhal toys are well-known as the painted wooden toys from the Koppal district. The
local artisans called Chitraghars mainly produce palanquins and cradles, images of
deities including other idols kept around the temple, chariots. Craftsmen from Gokak
are known to make wooden toys that look very much like the real fruits and
vegetables for the children to play with which act as educative toys.
Lightweight wood is used for the toys. The paste used for joining the various parts is
made of tamarind seeds and pebbles. Jute rags, soaked, slivered into pieces, dried,
powdered, and mixed with saw dust and tamarind seed paste is made into kitta. A
mixture of pebble powder paste with liquid gum is used for embossing the
ornamentation and jewellery on the body of the figure. Once the components of the
figure are assembled, kitta is applied by hand all over, and small pieces of cotton are
stuck on it with the tamarind paste. Pebble paste, pebble paste which forms the base
for the application of paint is applied over it.
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It is believed that the art of Kinhal painted woodenware, dates to the Vijayanagara
Empire, founded around 1500 A.D. The craft flourished due to the patronage of the
Vijayanagara rulers in whose reign many of the fine arts reached their aesthetic zenith.
The Kinhal style is a part of the painting and sculpture styles of that era, according to
art historians. After the fall of the empire, the craft received support from the Nawab
of Koppal, Desais of Kinhal and more importantly, Nawab Salar Jung of Hyderabad,
who also patronised the lacquered woodcraft. The interface between these forms and
the common patronage led to a mellow blend of Hindu and Islamic art forms that is a
signature feature of the Kinhal craft.
The Lambani embroidery is an amalgam of pattern darning, mirror work, cross stitch,
and overlaid and quilting stitches with borders of Kangura patchwork applique, done
16
on loosely woven dark blue or red handloom base fabric. The distinctiveness of the
handicraft lie in its distinctive design range, use of local mud-resist handloom fabric,
mirrors, shells and white ornamental trims (that are a traditional part of Lambani as
well as the Ilkal sarees of Dharwad-Hubli and other local fabrics).
The women continue to wear their striking traditional costumes. These are adorned
with a distinctive bold embroidery that makes use of mirrors and also other
embellishments such as shells and
buttons. Sandur combines
contemporary design with the skills
of the Lambani women to put
together products that suit urban
tastes. The Sandur Kendra is a place
that the Lambani women can come
Development of Art and Craft Village in Bangalore, Karnataka
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to work at. They are paid on piece rate basis, and also receive Provident Fund, bonus
and subsidized ration benefits.
Artisans also produce other items like Ganapthi and Ganapathi Nandi miniature
images. The concept for the art work is derived from the South Indian temples. The
bronze craft is also utilized in making brass and copper utensils, door handles, bowls,
vases, idols for temples, and other figurines in the temples. KSHDC conducts craft
exposure study tours to visit places like Dakshina Kannada, Mysore, Shivarpatna,
Bellary, Hospet (Hampi), Badami, Ajantha, Ellora, Belur, Halebeedu, Shravanabelagola,
etc. to view the most exquisite monuments so that they derive ideas/ designs for
bronze craft.
Metal works in Karnataka is not confined to any particular area or city. While some
regions are famous for bronze casting, others are known for bell metal works. Metal
work industry is significantly practiced in the State as numerous families are involved
actively in it. Many articles for religious purposes are made of metal. Karkala, famous
for Jain statues and Udupi are the major centers for such works. Mangalore is famous 17
for the bell metal works and Nagamangala is famous for bronze casting. Most
attractive pieces of bronze work are the human figures made out of it. Other
handicrafts include handicrafts made of coir, cane and banana plantain.
Development of Art and Craft Village in Bangalore, Karnataka
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4. Project Concept
Travel and tourism, the worlds largest industry, is a key driver of economic growth.
Given this background the development of appropriate infrastructure facilities for
promoting tourism would go a long way in developing the states economy. This
Section discusses the concept of establishment of art and craft village in Bangalore.
The village is a tribute to karnatakas natural beauty, richly diverse cultural heritage
and vibrant ethos. It is a place where artisans from across karnataka showcase their
individual skills in a variety of arts, crafts
and culture. From pottery to a plethora of
weaves, woodwork, jewelry, clothes and
local crafts of each region of the state, this
village is a kaleidoscope of karnatakas
colour, diversity and talent.
18
Development of Art and Craft Village in Bangalore, Karnataka
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The Project could be developed on a land parcel of approximately 2 acres. The facilities
proposed to be developed are detailed out in the table below:
To make the project financially viable for a private developer / operator, in addition to
the Art and craft village, food court, theater which showcases the various dances
forms of Karnataka.
19
Components Indicative size / area
i. Land
The minimum land requirement for the Project would be 2 acres. Availability of land is
critical for commencing the Project development activities.
ii. Location
Location of the Project and its proximity to the city is a key factor for driving footfalls
to the village. A potential site with proper connectivity, closer to the city centre needs
to be identified by DoT.
iii. Infrastructure
The physical infrastructure including roads, water supply, power, etc for the Project
site need to be in place for operationalising the Project facilities and is a key concern
for the private developer / operator as well as for the public intending to visit the
Project. DoT / GoK would need to plan for the basic infrastructure facilities at the
identified Project site prior to commencing the bid process for selection of the private
developer / operator.
v. Transportation
The base cost is as per estimations carried out for the current year i.e 2015. 21
Thus, considering all components, the total project cost is estimated to be around
Rs. 3.80 Crores.
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The number of visitors to the food court has been estimated to be the same as those visiting
the art and craft village. As the FEC and retail area proposed would also have a separate
food court, the footfalls in the FEC and retail area have not been considered to estimate the
revenue from the food court.
The assumptions for revenue from the retail area are provided in the table below:
3. Rent (Rs./sq.ft/month) 30
iv. Accomodation
The assumptions for revenue from the accomodation are provided in the table
below:
v. Other revenues
The assumptions for other revenues are provided in the table below:
1. Entry fee for art and craft village (Rs. per person per day) 20(Adult)
10(Child)
Years 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
Revenues
Hut - Lease
5 5 5 5 5 5 5 5 5 5 6 6 6 6 6
Hut - Rentals
12 12 12 12 12 13 13 13 13 13 13 13 14 14 14
Foot court - Lease
15 15 15 15 16 16 16 16 16 16 17 17 17 17 17
Foot court - Rentals
18 18 18 19 19 19 19 19 19 20 20 20 20 20 21
Retail shops - Lease
10 10 10 10 10 11 11 11 11 11 11 11 11 11 11
Retail shops - Rentals
36 36 37 37 37 38 38 39 39 39 40 40 41 41 41
Accomodation -
Rentals 15 15 15 15 16 16 16 16 16 16 17 17 17 17 17
OAT
1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
Footfalls - Gate fee
13 13 13 13 14 14 14 14 14 14 14 15 15 15 15
Total Revenue
125 126 128 129 130 131 133 134 135 137 138 139 141 142 144
25
Development of Art and Craft Village in Bangalore, Karnataka
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Years 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
Expenses
Manpower Cost
20 20 20 20 20 21 21 21 21 21 21 21 21 21 21
26
Power Cost
10 10 10 10 10 10 10 10 10 10 11 11 11 11 11
Maintainence Cost
8 8 8 8 8 8 8 8 8 8 8 8 8 8 8
Miscellaneous
5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
Marketing Expenses
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
Total Expenses
45 45 45 45 46 46 46 46 47 47 47 47 47 48 48
Profit
80 81 82 83 85 86 87 88 89 90 91 92 93 95 96
Tax
28 28 29 29 30 30 30 31 31 31 32 32 33 33 34
Net Profit
52 53 54 54 55 56 56 57 58 58 59 60 61 61 62
Development of Art and Craft Village in Bangalore, Karnataka
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This chapter sets out the salient features of the different structuring options for
undertaking the implementation of the project under a suitable PPP model and
recommendation on the most suitable structure.
A specific service (discrete and clearly defined) is contracted out by the public agency
to a private operator. Payment is usually on fee per package basis. Service contracts
are subject to frequent competition and usually last for shorter term like one year. It
is also common to give out separate contracts for different parts of the project to
more than one operator, thereby enabling comparative competition.
Under this arrangement, the private sector assumes the responsibility for core
activities such as operations and maintenance of units in a specific geographical
sector (which could comprise the whole or only a part of the entire project) or at a
defined level of responsibility. Public entities legally remain the owners of the assets.
A private company may agree to take over the responsibility for managing a service
to specified standards but using the staff, equipment, vehicles and buildings of the
public entity. In such a situation the private company would bring in its
management expertise, however is unlikely to make major capital expenditure under
such a structure.
The private operator is responsible for financing new investment in entire project
over the life of the contract. The assets are owned by the public entity; however, the
private operator takes over responsibility of managing assets, creating new assets
where required, raising finance for the new investments, providing the service,
operations and maintenance, collection of charges, if applicable. This arrangement
could apply to a specific jurisdiction or geographical area. The private operator
27
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would pay an annual fee or may receive an annual subsidy depending on the
financial circumstances of the service. Such arrangements may apply in respect of
commercial operations owned by an authority where the user charge either covers
or represents a substantial proportion of the total cost.
Based on the above available frameworks, the following structure has been analyzed
for undertaking the project:
c. Annual payments would be made by the developer to DoT against grant of the
development rights.
e. The developer would be allowed to levy and collect user charges from the users
of the project facilities
f. On expiry of the agreement period, the developer would hand back the project
site and facilities developed on ensuring that the quality and condition of all the
facilities developed are in good and working condition.
Development of Art and Craft Village in Bangalore, Karnataka
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The following diagram depicts the overall framework of the project execution:
15 Years
DoT
The risk of over-runs in construction cost and operational expenses would be borne by
the private developer.
Development of Art and Craft Village in Bangalore, Karnataka
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6.4 Recommendation
Based on the evaluation of various options for implementation and the Financial
Analysis carried out for the Project, it is recommended to adopt the concession
structure for successful implementation of the Project. The concession contract
under a Design, Build, Finance, Operate, Transfer framework would be the preferred
option, as DoT would receive higher returns from the Project, with no investment or
revenue risk of the Project.
In lieu of the land being offered by DoT along with the Development rights for the
setting up of the Art and craft village, DoT can seek a Concession Payment on
Annual/half yearly basis with an escalation of 5% every year.
The concession period, based on the Financial Analysis carried out for the
assignment, is 15 years, including the construction period of 1 year. The summary of
the financial viability carried out for the Project is presented in the next chapter.
30
Development of Art and Craft Village in Bangalore, Karnataka
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31
Development of Art and Craft Village in Bangalore, Karnataka
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The spin-off benefits from this project could be quite substantial, in terms of:
Being on the outskirts of a major city, the project has good potential to effectively
channellise tourism promotion efforts of the state. The landmark project with
appropriate encouragement from the Central and State Government could go a
long way in establishing this as not only a tourist attraction but a boon to artists
and performers giving fillip to the arts community in the country.
Based on the financial analysis carried out for the project, the project could
generate sufficient revenues, meeting the operations and maintenance costs of
the project. 32
Co-opting artists to the trust managing the art and craft village could ensure that
the development of the project would be able to meet the aspirations of the local
artists, since such a forum could provide feedback on the activities planned or
carried out by it.
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Annexures
33
Development of Art and Craft Village in Bangalore, Karnataka
GOVERNMENT OF KARNATAKA INITIATIVE
Annexure 1
Assumption Sheet
General/Macro Assumptions
Inflation Rate : 5%
Project Assumptions
Revenue Assumptions
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Tourists flow
Gate fees
Cottages
Number of cottages : 10
Annexure 2
Dilli Haat
Dilli Haat INA is open to public, 10.30 am to 10.00 pm., seven days a week, at a
nominal entrance fee, Rs. 20 for Adults, Rs.10 for Children, Rs. 50 for foreigners.
DILLI HAAT is not just a market place; it has been visualized as a showpiece of
traditional Indian culture- a forum where rural life and folk art are brought closer
to an urban clientele. It is here that the crafts persons find an opportunity to
demonstrate their artistic skills to thousands of visitors everyday.
Since its inauguration in the month of March 1994, Dilli Haat has been home to
thousands of handicraft and handloom artisans.
The complex is not only artistic, but also recreational in nature where the entire
family can have a good time.
There are stalls dishing out sumptuous delicacies from different States and Union
Territories; an Exhibition Hall; a Souvenir shop selling an assortment of small gift
items; an open stage for cultural programmes and a playing area exclusively
earmarked for children.
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The architectural features of the complex have been especially designed in the
traditional north Indian style, with brickwork jail (lattice) and stone roofs.
The small thatched roof cottages and kiosks, without any concrete structures
provide a village atmosphere.
The shops are set up on platforms, which act as a link in the Bazar design. The
courtyards between the shops are paved in
stone and interspaced with grass to retain a
visual softness.
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Development of Art and Craft Village in Bangalore, Karnataka
GOVERNMENT OF KARNATAKA INITIATIVE
Annexure 3
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Situated in the of hi-tech hub city of India, Shilparamam gives a scenic ambience of
tradition and cultural heritage. For promotion and preservation of Indian arts and crafts
and to motivate the artisans, the state government established this platform.
Development of Art and Craft Village in Bangalore, Karnataka
GOVERNMENT OF KARNATAKA INITIATIVE
Enchanting the blend of arts and artifact, epitomizing the true legacy with the diverse
natural beauty of rural India; Shilparamam is tribute to Telengana. Exhibiting the rustic
richness and creativity of Hyderabad, it has captivated the imagination of visitors.
The lush and serene environment of Shilparamam is sculpted with woodwork, jewellery,
cloths and local crafts of each region of the country. Showcasing a plethora of artistic
ethos, Shilparamam is set amidst gardens, cascading waterfalls and natural rock heights.
Villageing Available
Major Attractions:
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The Rural Museum:
The rural museum, surrounded by trees, is a miniature depiction of typical Indian village.
Over 15 life-sized huts, authentically constructed out of baked clay and thatch, depict rural
and tribal lifestyles and the life of various artisans. It provides a window to rural life for city
dwellers and those who have never visited a village before. The museum houses sculptures
and life size models depicting the day-to-day activities of the rural artisans.
Development of Art and Craft Village in Bangalore, Karnataka
GOVERNMENT OF KARNATAKA INITIATIVE
Artist Subroto Basu from Shantiniketan has fashioned a rock garden here by blending his own
rock collections with the natural and picturesque rock formations found in the village. The
natural formations stand unswayed in a scenic form in Rock Museum. This Rock Museum
adds a fantastic ecological side to Shilparamam.
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Recreation Zone:
Boating
Shilparamam has a beautiful lake which also offers the delight of boating in it. Both rowing
and paddle boats are available.
Shopping
Shilparamam has hundreds of stalls. There is a wide range of handicrafts available for
shopping, right from toys to carpets. Here visitors can buy hand made sarees and textiles of
different states. Textiles ranging from Tangail, Sambhalpur, Paithni, Kashmiri to Kanjeevaram,
Dharmavaram, Tanjavur, Madurai, Peddapuram, Bandar, Guntur and other sarees. It also has
salwaar kamiz, ghagras, kurta, carpets, etc. Here a special Artisan Bazar is also there providing
the original art forms directly from the makers.