CULTUR

AL
COMPLEX
AN
EXTENSI
ON OF
ART
COUNCIL
FAISLABA
D
Thesis Research data

SHAHLA
JBIN

CULTURAL COMPLEX

AN EXTENSION OF FAISLABAD ART COUNCIL

ABSTRACT
A craft is a branch of profession that requires some particular kind of skilled work. In historical sense,
particularly as pertinent to the Medieval history and earlier, the term are usually applied towards
people occupied in small-scale production of goods. The meaning of craft, its values are ever-changing
with development of new techniques and methods. Cultural complex is a one-stop destination which
offers visitors a unique variety of culture-related activities and programs. It is intended to be a Must visit"
tourists destination. In this complex, visitors will learn about handicrafts of the Faisalabad region and its
surroundings through craft demonstrations & hands-on interactive sessions and also performing art of this region
with all its cultural beauties.
The art and craft gallery housed in its premises displays wide collections of handicrafts products/art effects
based on time - honored Pakistani craft traditions.
The core concept of the Craft gallery is education and highlights the craft heritage of Pakistan
and local handicraft production technologies. They are private, semi-government and government
agency with different scope and scale. But they lack adequate space which truly acknowledges
the production, promotion and display of crafts. The project has opted for traditional principles in
architectural design character of a traditional settlement.

METHODOLOGY
Essential academic steps conducted during
the study are simply pointed out as shown
below.
Preliminary stages

Collection of data and information

relevant to the project.

From various government and non-government authorities.

References from library and Internet.

Interview with the craftsmen.

Visit proposed site.

Site analysis.

Site parameters/ field visits and study

Data required for site planning shall be recorded diligently.

Functional parameters relevant to the design according to the user requirement i.e.,
external and internal communication.

Planning and design parameter deals with planning code and design code.

Climatic analysis

Traffic flow analysis

Thermal and sound insulation

Field case study

Library case study

Internet case study after collecting all the data from the preliminary stage, the proposed
requirement of the design was formulated based on all above studies. From the above
preliminary

Why Cultural Complex?

The desire to be a spectator to an art of wonder is so innately human that it can be
mistaken to an instinct. The arena. The stage. Has always been platform to quench this
desire over the ages. Today the performances have taken much form and the recent boom
in the private production has given an air of healthy competitions. In the light of these
facts a performing arts Centre is proposed that will house vibrant culture activities acting
as the torch bearer for the generation for come a Centre will provide a breath of fresh air
to the citizen away from the daily and hectic routine. The idea is to portray the activities
at the massive level not just to the intimate audience present there, but to the whole world
the performing art center will not only express our culture, but will provide the platform
for the foreign delegates to come and perform in front of our audience, creating
opportunities for the exchange of the knowledge and better understanding of the nation of
the world.
This project is especially important to the present scenario when our motherland is
falsely blamed to be a home of terrorists. Its also provide the plat form for the fore
THUS, THERE IS A STRONG NEED TO MAKE OUR CULTURE SHINE IN THE
INTERNATIONAL SCENARIO.

Poverty Level in Pakistan

Pakistan is suffering for serious drawbacks and poverty is one of the major one. We have not
been able to
uplift Pakistan and
provide even
basic requirements
for our
people. The poverty
level in
Pakistan is
increasing
day by day and more
than 40 %
people with in the
country are
living their lives
below the
poverty line. This
project will
not only uplift the
lives of the
craftsman but also
generate
income.

Formal Way of
Training for

artisans:

We possess artists renowned in the world for their crafts, & art work but still they lack a formal
way of training and a platform for information dissemination / publicity of their skills. Although
produced in households, some handicraft products have taken the shape of small industry.

 Working environment
As most of the handicraft production is done in household scale, the working condition is not
ideal. In urban areas, space at household scale is felt inadequate to expand production.

Handicraft industrys problems

Due to lower scale of economy, handicraft industry faces the problem of low productivity, high
cost of production, inconsistent quality and inadequate volume of production. Each product has
its own specific problems too. Absence of proper infrastructure has been major problem in the
areas of production, processing and marketing of handicraft goods.

Contribution in the employment

Handicraft sector contributes around 9% in the total employment of the country According to
2014 Pakistan employment report. Moreover, it has been a solid base for self-employment. Craft
industry is taking a developing route which must be preserved for its sustainability. As said
earlier a good designed environment is provided for creation, workshop, exhibition and
presentation. It employs and trains the people living in a society which in turn will also promote
the national craft to the world. If there is any such medium to grasp their creative ingenuity then
the present situation of poverty and brain-drain may come to a steep decrease. Further it will be
an asset for tourism industry in which tourists can perceive Punjab & Faisalabad in form of its
textile beauty and also in terms of its culture.

Why Cultural Complex in Faisalabad?

Faisalabad formerly Lyallpur, is the third most populous city in Pakistan .It is the
second largest city in the province of Punjab and a major industrial center. It was one of
the first planned cities within British India. The city is also referred to as the "Manchester
of Pakistan".
Culture represents the behavioral patterns of a society thats includes tradition, art and
crafts. Faisalabad is the second metropolitan city of Pakistan. Its culture is diverse
because it is an industrial area. People from all over Pakistan work here, but there is no

any cultural and craft center which promotes the city diversified culture, the city rich in
textile industry has different textile universities but not any place which gives visitors
knowledge about its culture and industry at one platform, to bring tourists, people of
Faisalabad & art of Punjab at one place we need a cultural complex.
At this cultural complex I want to present the art and craft work of local artisans and from
other regions of Punjab which present their culture. By doing this I just want to preserve
and promote the culture and artisans and their work as a learning process for the next
generation.
The project will be a place of amalgamation of various trade guilds and provide a
platform for creative learning for people interested in craft, art & cultural sector in
Faisalabad. This will also act as a community center to promote tourism as there will be a
collection of cultural traits.

OBJECTIVE

The main objective of this project would be to share crafts information through workshops,
gallery and exhibitions, and provide innovative craft design classes through latest technology.
The project at end will be a place of amalgamation of various trade guilds and provide a platform
for creative learning for people interested in craft sector. This will also act as a community center
to promote tourism as there will be a collection of cultural traits.
The first would be an employment / facility centre.
The second one would be the tourist related functions such as viewpoint and view decks, and
third one would be common for community and for tourists such as bank, information centre,
etc.
So the main objectives are as follows:

Social
an interaction place for craftsmen.

 To provide a good working environment for the creation, workshop, exhibition

and presentation.
To fulfill the solitude environment required by artists and craftsmen, coherent with their way
of living and working style.
As a social ground for craftsmen.
Cultural
To promote Faisalabad culture through crafts.
A cultural center that justifies the Faisalabad lifestyle.
To blend with the culture of different generations.
Physical
To provide an adequate, controlled and ideal environment for craftsmen.
To promote Faisalabad handicraft, both within inside and outside Pakistan.
To provide space for seminars and exhibitions, for exchange of their views and ideas.
To create a new attraction for tourists.
Economical objectives
To enable people to understand the relationship between economics, culture and aesthetics
the place maybe developed as a part of tourist spots in the Faisalabad that would in turn help
in generating certain revenue
Resource for employment.

Scope of project
The project basically comprises of Crafts which are contextual to Punjab & Faisalabad. Pakistan
is diversified nation and so is its crafts industry. Thus all of the crafts are impossible to be
accommodated in a single complex. Thus taking this into account, crafts such as.

Case study
Khalsa Heritage Complex
Location: Anadpur Sahib, Punjab, India.

Associate Architects: Ashok Dhawan, New Delhi, India

Client: Anandpur sahib foundation
Public opening: fall 2011
Total area: 250,000 square feet
Site area: 75 acres
Total Area: 23,225 square meters

Moshe Safdie was commissioned to design the Khalsa Heritage Center in 1997, after the
chief minister of the Punjab visited the Childrens Holocaust Memorial at Yad Vashem,
the Safdie-designed Holocaust memorial museum in Jerusalem.
As the Centre evolved, Safdie was able to renew a long, close relationship with India that
had begun in the 1960s with his work on Louis Kahns Indian Institute of Management
school at Ahmedabad, Gujarat.
Khalsa Heritage Centre is one of four major
projects designed by Moshe Safdie that have been
completed in 2011.
Safdie and his associate architect, Ashok Dhawan
of New Delhi, worked closely with the exhibition
designer, Amardeep Behl of Design Habit in New
Delhi, to achieve a successful integration of
architecture and display.
Khalsa heritage centre has been concived with
multimedia and state of the art communication
facilities, which act as a setting for unfolding the
drama of the Sikh heritage.
For the non-Sikh, it will be an inspiring journey
into a spirited culture, providing a fascinating
insight into Sikhism.
Deeply rooted in the surrounding landscape and
resonating with regional architecture, the Centre
seemingly rises from nearby sand cliffs.

 The museum gives an insight to the events that

took place in Punjab five hundred years ago
which gave birth to Sikhism and finally the
Khalsa Panth. The museum will throw light on
the vision of the Gurus, the eternal message of
peace and brotherhood which they delivered to
the whole mankind and the rich culture and
heritage of Punjab. The museum is intended to
commemorate 500 years of Sikh history and the
300th anniversary of the Khalsa, the scriptures
written by the 10th and last Guru of Sikhism,
Guru Gobind Singh, founder of modern Sikhism.
Clad with local sandstone and evoking the
fortress cities of Rajasthan, Gwalior, and Punjab, the Centre acknowledges the Sikhs
history as celebrated warriors.
The upwardly curving roofs of the museums tower like galleries are covered in stainless
steel, These dramatic peaked roofs, reflect the sky and direct light towards the town and
are inspired by the nearby Himalayan mountains. The roofs were also designed in
counterpoint to the rich tradition of gold domes that crown sacred Sikh buildings such as
the Golden Temple in Amritsar.
The entire complex is conceived as two spaces, one on the east and another on the west
It has a 400 seat auditorium.
In groups of five, the galleries reference the Five Virtues, a central tenet of the Sikh faith.
The symbolic themes of Earth and Sky, Mass and Lightness, and Depth are
represented by the museums sandstone towers and reflective silver roofs.
A two-level library centered on grand reading room that overlooks water gardens.
The eastern complex is accessed through a
pedestrian bridge which is 540-foot.
The eastern complex houses the Khalsa Heritage
Museum, which houses the permanent exhibition
gallery on 500 years of Sikh heritage.

 The two complexes are separated by a series of reflecting pools which create a 7 acre
water body, which floods the valley into a series of water gardens and link it to the fort
and to the town.

CONCLUSION
The project explains the history and culture of Sikhism and the two cities of India. The
museum is the first Indian cultural and historical museum which evoke the Sikhism sect as
well as the Punjabs cities culture.

NATIONAL CRAFT MUSEUM

Location:
Pragati Maidan, Delhi.
Architect: Charles Correa Built
up area:- 6800 sq. m
Introduction
The craft museum- set up in 1956 by the all India handicrafts board.
The museum is mainly divided into three sections:
Display gallery and store Village complex Crafts Demonstration area
It is organized around a central pathway, going from VILLAGE to TEMPLE to PALACE, a metaphor
for the Indian street.
Objective to collect and display finest specimen of Indian crafts.
Functions contained in the complex Museum for a large permanent collection of folk art Workshop
area for the craftsmen Shop and sales area for the crafts Library Amphitheatre Administration
Services
Planning Concept
Galleries, store, administrative areas and library situated around a series of open to sky courts.
Unique rustic ambience coupled with modern functionality
Analysis

Functions held in the complex:

Research and Documentation: The Museum has a specialized library of more than 10,000 books and
periodicals pertaining to Indian arts and crafts. Filed research is commissioned with research scholars to
document the living arts and crafts. Educational Program: Thousands of schools children and students
of art colleges visit the Museum for general exposure to India's rural artistic heritage or for more exercises
such as onthe-spot painting or participating in 'Creativity Workshops'.

Committee room: capacity

of 35 persons holds official
seminars, conferences.
Reference library: The
reference library in the
museum, houses approximately
10000-books/journals on Art
and Culture with 35 seating
capacity.
Conservation Laboratory
looks after the preservation of
the Museum's collection.
Auditorium: Museum has an
air-conditioned auditorium, for
screening of educational films,
holding of lectures, seminars
and conferences. It has a
seating capacity of 180 persons.
Exhibition Hall: for holding
temporary exhibitions by the
Artists.
Crafts Museum Shop: The
museum shop sells books and a
whole range of exquisite
handicrafts. The objective of
the Shop is to sell original
creations of the finest Indian
craft persons and not to market
mechanically replicated
'souvenirs'
Cafeteria: Museum has an
open air cafeteria in its vicinity,
where the visitor can relax in
the rustic rural ambience.

Conclusion:
The Craft Museum has stated a good example by preserving and conserving the tradition or art and
culture in a modern way. The skill full art, the lost tradition must be preserved as they are our identity; we
need not go out and search for our identity if it is preserved. The craft museum serves and preserves the
spirit of art, making awareness. The thoughtful space planning, the human scale, the tribal and rural
display all gives a sense of belonging.

SYDNEY OPERA HOUSE

The Sydney Opera House is the busiest performing arts centre
in the world.
Since its opening in 1973, it has brought countless hours of
entertainment to millions of people and has continued to attract
the best in world class talent year after year.
BACK GROUND
An international competition was organised for the design of a
performing arts complex, and although this was well known, the
misnomer "Opera House" caught on. the competition called for
a structure that contained two theatres within it - a large hall for
opera, ballet, and large scale symphony concerts capable of
seating 3,000-3,500 people, and a smaller hall for drama,
chamber music and recitals, capable of seating
The winner of the competition, announced in January 1957, was the Danish architect Jorn Utzon
(born in 1918).
The first performance in the complex, in
Theatre on 28 September 1973, was The
Opera's production of War and Peace by
Sydney Opera House was officially
Majesty Queen Elizabeth II on 20 October

the Opera
Australian
Prokofiev. The
opened by Her
1973.

ABOUT BUILDING
There are nearly 1000 rooms in the Opera House including the five main
auditoria.
There is also a Reception Hall, five rehearsal studios,four restaurants,six
theatre bars, extensive foyer and lounge areas, sixty dressing rooms and
suites, library, an artists' lounge and canteen known as the "Green Room",
administrative offices and extensive plant and machinery areas.

The building covers about 1.8 hectares (4.5 acres) of its

2.2 hectare (5.5 acre) site. It has about 4.5 hectares (11
acres) of usable floor space.
The roofs are made up of 2,194 pre-cast
concrete sections.
THE CONCERT HALL:
The largest hall is the Concert Hall, which seats 2,679.
It is used for a wide variety of performances including symphony
concerts, chamber music, opera, dance, choral concerts, pop, jazz
and folk concerts, variety shows and conventions.
THE OPERA THEATER
The Opera Theatre, seating 1,547, is mainly used for
performances of opera, ballet and dance.
The auditorium, like the Concert Hall, is paneled in wood for
acoustic reasons, but the ceiling and walls are painted black to allow the audience to focus its
attention upon the stage.
DRAMA THEATER
The Drama Theatre accommodates performances of drama and dance.
It seats 544.
This auditorium, like the Opera Theatre, is black but the rather low ceiling is made of
refrigerated aluminum panels .which help to create an even temperature without a draught.
PLAY HOUSE STUDIO, RECEPTION HALL

Seating 398, the Playhouse is used for small cast plays, lectures and seminars. It is also a fully
equipped cinema. Originally designed for chamber
music as well, the Playhouse is paneled with the white
birch plywood.
A new venue, The Studio (created by redesigning some
of the interior spaces) was opened in March 1999. This
is designed for "contemporary" and modern performing
arts, and depending on the seating layout, can seat up to
364 people.
The Reception Hall and the large northern foyers of the
Concert Hall and the Opera Theatre, all with
spectacular views overlooking Sydney Harbor, can be
hired for a wide variety of functions including meetings
and conferences, wedding receptions, lunches, dinners
and parties. There are also four restaurants as well as
bars in all the foyers.
CONCLUSION
Form follows function.
Merge in the envoirment

Allhamra cultural complex:

Introduction:

Situated on ferozpur , Lahore

Multipurpose cultural complex.
Hosting main cultural activities.
Complex has a circular plan.
Exterior material is gutka.
Most prestigious government organization, to
promote art and culture.
Located on mall road, Lahore
Architect : NAYYER ALI DAD (1979)
Agha khan award winning project.
Three main halls.
Four art galleries
Literary lounge
Class rooms
Administration
Coffee shop
Lawns and parking
Theme Mughal architecture.
Octagonal shapes.
Materials, brick.

The main components are:

Hall 1 (seating capacity=850)

Hall 2 (seating capacity=250)
Hall 3 (seating capacity=100)
Art galleries
Lawn
Main components:
Hall 1 (seating capacity=350)
Hall 2 (seating capacity=135)
Open air theater(seating capacity=6000)
Art gallery
Backstage areas(green rooms, dressing rooms, makeup rooms, etc)

Positive points:
The approach to the theater is linear, enhancing the building structure when one is reach
there.
Large offset from the road gives a better view of the complex reducing the angle of
repose.
There is segregation in public and participants parking.
The recessed entrances of provide shelter and prepare the audience to be seated.
Due to circular path, the vistas changing gradually while traversing around the complex.
All the seats in the halls get the optimum view of the stage.
Lawn provides a calm space for arranging outdoor seating.
The storage spaces are well designed.
Makeup rooms are spacious
The arrangement to fly the scenery, horizontally and vertically is well designed.
The tapered walls bring dynamism to the structure and mark the influence of Islamic
architecture.
Red bricks give a good insulation in the hot weather of Lahore.
Light shaft in the ceiling are provided to give light levels in galleries.
Octagonal shapes are best for acoustics purposes.

Negative points:
There is no wardrobe facility.
No recording and broadcasting facility is present.

 Dressing & makeup room are insufficient in number and the artists have to wait for their
turn, increasing the time to get ready.
The green rooms are insufficient in numbers and are not equipped.
The amphitheater cannot be fully utilized at one time because of its octagonal seating
No ramp for handicapped & old people.
The form of the hall does not provide the optimum view to all seats.
Exterior lighting if the site is dim & is not adequate for evening performances.
Leaking roofs & underground water seepage is problem in some parts of the project.
Use of simple material requires some maintainece.
No facility to record and broadcast
No parking space is insufficient.

SITE PLAN

LITERATURE REVIEW

A literature review is an evaluative report of information found in the literature

related to your selected area of study. The review should describe, summarize,
evaluate and clarify this literature. It should give a theoretical base for the research
and help you (the author) determine the nature of your research. Works which are
irrelevant should be discarded and those which are peripheral should be looked at
critically ( Dr Barbara Webster, 2000) A literature review is an account of
understanding particular topic or a preface to and rationale for engaging in primary
research. Generally a literature review is done to identify the general topic, issue or
area of concerns. For proceeding any project, proper and adequate knowledge is a
must. Almost theoretical knowledge for proper understanding of the project is
gained through study of literature such as books, journals, reports, articles and so
on.
Objective of the study
To collect required data on various aspect Analysis of requirements and
developing concepts Theoretical standards for general requirement Theory based
on experience and researches, giving guidelines.
INTRODUCTION
The general idea behind the production of craft related items is the production,
display, sales. Thus related studies were undertaken to understand these aspects.
Various layouts and working environment were studied thereafter to get knowledge
about craft related works. Following studies were done to understand and review
basic design space and consideration for specific purposes.
1. General Considerations
2. Design of Multifield workspace
3. Display Spaces

GENERAL CONSIDERATION
The following gives guidelines to designing and
maintain relation with other activities: Freedom
and Flexibility of Space:
As most of the handicraft production is done in
household scale, the working environment is not ideal. In urban areas, space at
household scale is felt inadequate to expand production. Hence, for ideal working
condition - large ventilated rooms, with high ceiling and transitional areas such as
courtyard, or open to sky spaces should be well appreciated in the studios and work
areas. The link between indoor and outdoor space should be maintained as far as
possible.

Visual Environments:
Studios must have good amount of natural daylight, with high level windows equal
to at least 25-30% of the floor area. Roof lighting is also preferred. All windows
should have some sort of daylight control. Artificial light comes into use in absence
of natural light, where detail work and displayed images are to be focused. Lighting
should be such that it does not produce any glare, less maintenance, much saving
of wall and ceiling space.

It

Buffer
Zones:
is possible
that noise
producing

workspace can affect the other. So buffers

can be created by additions of walls or
vegetations.

Locating space with respective to activities:

Spaces should be provided according to
functional requirement. Work which requires
huge machinery or supply of materials should
be placed on the ground floor.

Safety measures:
Fire hazardous activities should be separated and isolated from other activities.

Thermal comfort:
A workspace should be thermally, mentally and physically comfortable. Thermal
comforts can be gained by application of passive techniques. It is quite difficult to
maintain the thermal environment in a workspace. As there is frequent opening for
supply of raw materials, heat produced by machine and vibration, heat gain and
loss are frequent. Use of proper ventilation, growing vegetation as shading devices,
using double glazing can be the solutions.

Space inter-relation:
Spaces created should be inter-related- studios, gallery, caf, outdoor space should
be interesting and inter-related. One cannot sit alone or isolated for longer time, it
needs
communication and
transition of space
DESIGN OF
MULTIFIELD
WORKSPACE:
Generally a
multifield
workspace includes
basic units of

three
accommodation:
Workspace area which includes various workspace such as machine room,
planning and designing.
Storage area for raw material, finished work, storage space for tools and small,
moveable equipments, workers belonging
Services & amenities such as staff room, locker room, wash room. The flow
sequence should be uninterrupted and carefully arranged such as in and out of the
raw material from store, to the workspace, to the finished store and out. The space
provided should have comfortable working environment in respect with illumination,

thermal comfort, scale of furniture and fittings. There should be provision for
services so as any possible user are adaptable and comfortable. As workspace
mainly deals with machinery items, the construction of the building should be such
as to allow admission of any sorts of machinery.
Workspace for individual and group work: General considerations should be:a. Peaceful environment
b. Feeling of freedom
c. Outdoor setting
d. Space arrangement
e. Protective equipment / measure
f. Locating workspace with respect to activities
g. Buffer zone between workspace
h. Lighting Generally a work space required to be designed is calculated
as per place area.
The calculation is based on common combination of fields of study. Per place work
space calculation for any field of activity will have to take an account on:
Individual workspace area plus circulation about the area
The areas for common activities plus the associated circulation areas
An area near one of the individual or other work spaces for tools and temporary
work store and an area for work space.
Technical requirements are: Mechanical exhaust
Dust removal system
Step by step progress
Related areas should be nearby
Sound absorbents
Furnishing equipments

GENERAL REQUIREMENT OF
STUDIOS
The workshops for each craftwork are
likely to have sufficient number of
students to justify separate
accommodation. One lecture hall is
usually adequate except for the large
departments.
Craft workshops do not need true north
light and since many involve noise in
their use, they may be placed on the
noisier part of the site. The control of
noise emanating from craft room must
be carefully considered in order to prevent disturbance in other rooms. Various craft

rooms are better to be grouped together to facilitate the concentration and

distribution of services.
General foundation level studios require floor area of about 50 sq.ft. per person
and height about 3.8m. If really good side light is available, top light may be
omitted but when circumstances permit, some top light should be provided.
Although large windows are essential, blinds for the control of lights should also be
installed. For windows, the blinds should be arranged to lift from sill in preference to
being pulled down from the window head. Sink is another integral part in any studio
and workshop. As an alternative to the sink in the studio itself, it is advantageous to
have a small sink room adjoining the studio and entered from it so that all the water
and untidiness may be kept away from the studio itself.
A store for works- both finished and in progress- may be planned adjoining each
studio. In ceramics studio, the whole space for sink room should be given to sink
and clay bins. The amount of top light should be 1/3rd of the floor area. The
windows on the side wall should have a sill height of about 3.Blind boxes in studios

should be sixed at sill level and the blinds made to draw upwards.

The Project:
PROGRAMME:

Administration: overall management and supervision of activities

Workshops: demo rooms/Studios on prototype designs
Art and Craft gallery: craft display, exhibitions
Exhibit, Sales and promotion: showrooms, shops
Supporting units: To manage the complex an administrative body is
required.
Performing art theaters:

Cultural school: academic studios and labs, library

Facilities and recreation: Such as restaurants, parks, parking and rest
rooms.
Cultural museum

The performing arts Centre consists of different sections, which work in collaboration with each
other.
There are two major divisions of the complex, the front of the house i.e.

Administration
Broadcast and
The studio

The front of the complex

Following are the components of the complex involving public activity.
They will form the front of the complex.
Concrete Hall:
A concrete hall is a theatre with designed acoustics to hold concert and loud music shows.Special
lighting effects are used to enhance the performance along with laser lighting, water sprinklers
and pyrotechnics.
Performance Theatre:
The performance theatre presents plays. The theatre has designed lighting and acoustics to
support the performance.
Lyric Theatre:
This theatre will support soft folk music performances along with other presentations.
The back of the complex:
Back of the complex is the area in which there will be no public activity.
Only staff and talent will work there. Following are the departments form the back of the
complex
Chief executive and staff.Chief executive is responsible for the whole performing arts centre.
Administration Department:
The function of the administration department is to deal with the administration of the center.
Finance Department:
The function of the finance department is to make financial policies, program expenditure,
budget proposals to the head.

Sales and Marketing Department:

General Manager marketing is the head of sales and marketing section of the entire performing
arts center.
Program Department:
This department is one of the most important and main departments of the performing arts. Main
function of the program department is to produce dramas, music and children and dance
programs.
Planning Section:
The planning section is responsible for the scheduling of the performances in theatres and studio
and editing of productions.
Presentation Section:
It is the duty of presentation section to supervise the edited programs according to the cue sheet
prepared.
Makeup Section:
The function of the makeup section is to prepare the according to the script or the requirements
of the producer.

Design Section:
Design section takes care of clothes, sets, graphics, wardrobe, designing rooms, etc.
Graphic Section:
The graphic designers are responsible for all graphic needed in the production.
Wardrobe Section:
This section provides clothes, shoes, hats, etc. according to the script.
Dressing Rooms:
They are located next to the wardrobe
And near to the makeup room. Two dressing rooms are required one for men and other for the
women.
Property Section:
Property section provides the property to the set like curtains, lamps, crockery etc.
Purchase section:
If anything is needed by the set designer which is not available in the property section then he
makes a demand of it.

Engineering Department:
It is a backbone of the performing arts section. Main functions of these departments are:

Recording and transmission of the programs

Air conditioning of the building
Stable power supply to the whole complex
Maintenance of the technical equipment in the complex

Different sections working under the engineering department:

Technical section:

OB section
Air conditioning section
Power Substation

Studios:
Studio has the performing areas of the talents.
Types of Studios:
Small Studios: 4450 ft2
Small production studios are mainly used for small productions like small dramas etc.
Medium production: 4500-6500 ft2
Used for current affairs, sports and other medium productions.
Large production: over 6500 ft2
They are carried out in the large studios which can accommodate a number of sets for different
productions at a time.
Audience Studio: 6000 ft2 - 15000 ft2
Used for different quiz programs, musical shows, plays and other such programs.
Sound Locks:
The sound locks are the small rooms, which are used at all the entrances of a studio. Main
function of the sound-locks is to make the studios sound proof.
Engineering Store Section:

The function of the store is to provide spare

parts and accessories of the technical
equipment. It also acts as a repairing section.

CONCLUSION
Traditional crafts, arts and other forms of traditional cultural expression are closely related to the
identity, heritage and socio-cultural wellbeing of indigenous and local communities. Tradition
referring to cultural expression generally was first created a long time Ago, which have been

transmitted from generation to generation and are regarded as pertaining to a particular people or
its territory. Craft as such are a source of tradition which has been passed on from one generation
to the other. It is our duty to continue this generation of craft, a skill to be preserved and promote.
The art and cultural complex tries to achieve this continuation of generation. It will space a space
for craft as well as craft people to house different craft in a single community. It will continue the
culture of craft and inspire people to be indigenous.
Modernization has crept into scene but it is also true, that forgetting our tradition and
Culture is like losing our identity. Both should go hand in hand -preserve and develop.
Cultural center is a modern achievement but the elements provided are traditional and based on
culture and society. Thus the FAISLABAD cultural center has tried to achieve a communicable
space for craft, craftsmen and visitors.