Indigenous Building Practices of Himachal Pradesh by DICRC

Application and Collaboration

Indigenous Building Practices of Himachal Pradesh Collaborative Projects 1

About Research Projects DICRC takes up research projects in various fields related to architecture and craft. In order to do the research it collaborates with different university or professionals. Cross-fertilization is encouraged between more experienced scholars and junior researchers working together on the same project to generate outstanding research. This area plays a strong role in development of research element of DICRCâ&#x20AC;&#x2122;s, both at programmatic and institutional level. To do research projects we identify project and appropriate funding agencies.

Indigenous Building Practices of Himachal Pradesh Application and Collaboration Research Projects

Design Innovation and Craft Resource Centre (DICRC), CEPT University, Ahmedabad, India

List of other research projects conducted: Indigenous Building Practices of Kumaon, Uttarakhand

ÂŠ 2013 Design Innovation and Craft Resource Centre (DICRC) CEPT University , Ahmedabad, India.

Contents 01) Pre - field work

Preparations

02) Fieldwork

Field work route

On-site investigation

Interaction with locals and mistris

Glimpses of places visited

03) Research and analysis

Panoramic reconstruction

3D reconstructions

04) Dissemination

Field-work report

Website

Published journals

Published articles

Presentations

Exhibition in Wunderlich gallery

Exhibition at Hutheesing gallery

Exhibition display

Press coverage

Book: Prathaa

05) Award

Zumtobel Group Award

Team Members Prof. Bharat Dave completed doctoral studies at the Swiss Federal Institute of Technology (ETH), Zurich, master’s program at the Carnegie Mellon University, Pittsburgh (USA), and undergraduate studies in architecture at the School of Architecture, Ahmedabad (India). Funded by nationally competitive grants, his research revolves around innovative spatial design practices and futures supported by digital technologies. Jay Thakkar is an A/Prof. at Faculty of Design and Head of Research at Design Innovation and Craft Resource Centre (DICRC) at CEPT University, Ahmedabad, India. He has a Masters in Visual Communication from the Birmingham Institute of Art and Design (BIAD), United Kingdom and a Diploma in Interior Design from the School of Interior Design, CEPT University. Jay Thakkar is a co-author/author and designer of two books 1. “Matra: Ways of Measuring Vernacular Built Forms of Himachal Pradesh” (2008) (co-authored with Dr. Skye Morrison) and 2. “Naqsh: The Art of Wood Carving of Traditional Houses of Gujarat – Focus on Ornamentation” (2004). Mansi Shah is a senior researcher at DICRC, CEPT University, Ahmedabad, India. She completed her Master’s degree in 2010 in Urban design at the Domus Academy (Milan, Italy), validated and awarded by the University of Wales, Cardiff, U.K. She completed her undergraduate degree in architecture from South Gujarat University, Surat (India). Her project “Beyond Green” a guerrilla idea to promote green movement was displayed during ‘Salone del mobile’, a design festival in Milan in 2010. Illustrations and fieldwork assistance Soumya Basnet, Victor Bunster, Rishi Soni, Tarang Sagara

Overview This is a research project on a distinctive traditional building technique called the kath-khuni construction prevalent in Himachal Pradesh, India. This indigenous tradition of construction reflects excellent sustainable and earthquake-resistant building techniques using local materials and human resources. The indigenous building traditions such as kath-khuni construction now face gradual erosion due to the increasing loss of local building skills and knowledge, and displacement of local natural building materials with a growing influx of non-indigenous ones that may be cheaper initially but turn out more expensive in the long run. This project aims to help preserve and sustain kath-khuni building techniques and local skills by undertaking collaborative research on existing and emerging building practices. This project is part of a planned series of research and documentation activities to disseminate knowledge about indigenous building practices and heritage of India. The research is a collaborative project and was initiated in 2011 between researchers based in DICRC (Design Innovation and Craft Resource Centre) in the Faculty of Design, CEPT University, Ahmedabad, India and in CRIDA (Critical Research in Digital Architecture) in the Faculty of Architecture, Building & Planning, The University of Melbourne, Australia. The project is supported in part by the Australia India Institute based at the University of Melbourne. Collaborations

Critical Research in Digital Architecture (CRIDA) The University of Melborne

Design Innovation & Craft Resource Centre CEPT University, Ahmedabad

Australia India Institute, Australia

Pre- Field work

Preparations To collect data in the field within a limited time, we undertook several preparatory tasks prior to embarking on the actual fieldwork.

Day

Date

21-Jun-11

22-Jun-11

23-Jun-11

24-Jun-11

25-Jun-11

26-Jun-11

27-Jun-11

28-Jun-11

29-Jun-11

30-Jun-11

1-Jul-11

12 13

2-Jul-11 3-Jul-11

Place Ahmedabad Shimla Shimla Janog Sainj Sainj Balag Ghodna Sarahn-Chopal Sarahn-Chopal Hatkoti Devidhar Gawas Hatkoti Pujarli 4 Jubbal Harkoti Hatkoti Summerkot Pujarli 7 Rampur Rampur Sangla Kamru Chitkul Sangla Nirmand Nirath Nirath Shimla Shimla Ahmedabad

Alt.Â (mts) 49 2205 2205 1980 1412 1412 1340 1290 2165 2165 1400 2267 1400 1948 2084 1400 1400 2103 2100 1041 1041 2680 2800 3460 2680 1534 945 945 2205 2205 49

Itinerary Tentative itinerary based on locations of interest were identified in our background research. The itinerary, in turn, helped identify specific information about topography and landscape including distances that were expected to be travelled and sites to be visited.

Maps We carried several different maps at various scales of Himachal Pradesh sourced from books, travel shops and government agencies. However, detailed and reliable village level maps of many parts of this mountainous landscape are not yet available. Quite often during our fieldwork, the way to reach a destination was identified or sketched out with the help of local people as we travelled on the road. 2

Fieldwork equipment A kit of tools was assembled to carry out the documentation process. Key tools and gadgets included different sizes of measure tapes, graph papers, stationary, still and video cameras with accessories, dictaphone, distance laser meter, panoramic tripod, flashlight, and digital media for daily data backup.

Field-work planning diary To familiarize and prepare ourselves for fieldwork data collection, the following field-work diary was compiled. It contains information drawn from sources at hand. Inevitably, some of the information turned out to be not so accurate. Even our travel route changed while on the field

Fieldwork

Fieldwork route In order to understand and document the multifaceted aspects of indigenous building practices in Himachal Pradesh, the research was carried in a number of sites in an arc from Shimla to Chitkul in Kinnaur district, in the south-east corner of Himachal Pradesh. Fieldwork route and the places visited. Jeori

Sara

(1041 mts)

Rampur 14

Nirmand 18

(1534 mts)

Sarmali

Pujarli 7 (2

Nirath

(945 mts)

12 Summer

10 80

(1948 mts)

Pujarli 4

Janog

(2205 mts)

Shimla 1

Balag

(1340 mts) 4

Rohru 11

Theog

Jubbal

Kotkhai

(2084 mts)

3 Sainj (1412 mts)

Devi

(2103 mts)

Narkanda

(1980 mts)

7 Hatkoti ( 20

Ghodna 5 (1290 mts)

Chopal 11

Sarahan (2165 mts)

110

Tiu

100

Nichar

ahan

Karchham

Kamru (2800 mts) 16 2

Sangla

(2680 mts)

2100 mts)

Chitkul

rkot

Chirgaon

(3460 mts)

idhar 8

Bhatiyara 15

Dhum ghat Bhatvadi Hingvada

9 Gawas (2267 mts)

(1400 mts)

Kuddu

uni

On-site investigation During research fieldwork, diverse data were collected which included images, video and audio recordings, sketches, panoramic images, and recorded conversations with master carpenters and craftspeople, temple priests, inhabitants, academic scholars and others.

Audio- video recordings On-site investigation involved audio-video documentation of on-site construction, interaction with craftspeople, overall villages, landscapes and details.

Photographic and panoramic documentation Setting up photographic equipment for panoramic documentation of the Kamru fort and surroundings.

Discussions and notes Engaging discussions with native Himachali people on life, construction, building techniques, traditions and more.

Sketches Sketches from the fieldwork diary show recorded observations, village maps, on site study of construction system and smaller details.

Interaction with locals and mistris

B. S. Malhans (Shimla)

Raja Yogender Chand of Jubbal, Rajkumari Aditya Kumari and Tikka Anirudh Chand

Prof. Laxman Thakur (Shimla)

Dr. O.C. Handa (Shimla)

Rajaji of Ghodna, Ghodna

Pujari Nandlal Sharma (Janog)

Tikka Kirti Chand (Sainj)

Kunwar Anshuman Singh (Sainj)

Chenu Devi (Balag)

Jay Lal Vishwakarma (Sarahan-Chopal)

Charander Singh (Devidhar),

Kahanchandji (Devidhar)

Rajendra Singh (Devidhar)

Uday Singh (Gavas)

People of Gavas

Lekhraj Chauhan (Summerkot)

K.C Kaith (Pujarli7)

People of Pujarli 7

Weaver Manisukhji (Sangla)

Vidyaratan (Kamru)

Pitambar Negi (Kamru)

People of Sangla

K. C. Kaith (Pujarli 7)

Resident (Janog)

People of Chitkul

Artisan, Chitkul

Artisan (Chitkul)

Resident (Chitkul)

Children (Sangla)

People of Pujarli 7

Team at Sangla

People at Kamru

Team members at Nirath

Team members at Kamru fort

Himachali life and culture The people of Himachal Pradesh have a rich culture which is very much apparent in their day to day lives. The practice of weaving, intricate wood-work, painting, rituals are so closely interwoven with their life.

Glimpses of places visited

Janog A few kilometers east of Shimla toward Sainj in the Sutlej valley, a fork in the road ends up at Janog. It houses the distinctive Chikhadeshwara tower temple. It is located in a corner of an enclosed courtyard surrounded by an upper floor ringed with beautifully carved wooden panels.

Sainj Strategically located along a gentle bend of the river in the middle of this landscape is the imposing darbargarh of the rajah of Theog. Built in the traditional kath-khuni style, the building rises up on a rocky base with steps leading up to a platform that is ringed overhead with sacrificial horns. An interior courtyard reveals a very porous interior spatial fabric. The rough and rocky materials on the outside are replaced by fine woodwork inside.

Balag Located on a hill, Balag is home to a beautiful traditional tower temple. After making way through narrow winding streets, the tower suddenly bursts into view, looming large against the farmland behind it. Very close to the tower temple is located what must be an even older temple seat. Located inside an open courtyard are shikhara-style stone temples, one of which has been added on one side with a traditional roof. 12

Godhna Sweeping around a hill-side road, a small climb brings into view a sprawling compound of Ghodnaâ&#x20AC;&#x2122;s darbargarh with an adjoining stretch of temple grounds. What remains of the panels and frames along the main wooden door entrance shows an amazing level of wood carving. The darbargarh, on the other hand, is a curious hybrid of traditional and colonial motifs and materials.

Sarahan (Chopal) The village of Sarahan Chopal though tiny in size makes up in terms of what it has to offer. One famous trek that goes up to the hill. Another one winds through the village and a patch of pricey weeds continues to the distinctive and rare double towers of the Bijjat Devata Temple. The main entrance leads into an inner courtyard. The tower on the right with the wooden log with stepped notches is the older one, the other one is the latter addition to the complex.

Devidhar The old temple (left) Sahav Khantu Devata Temple is built in the traditional kath-khuni style topped up with a tower. The new temple under construction sits on a stepped base on a hill and faces a beautiful deodar tree. It is a treasure house for seeing, hearing and understanding ancient building practices with most welcoming crew at work on the temple site.

Gavas The village of Gavas seems to appear out of nowhere with what must have been a vibrant and living community. It has spacious wooden houses with beautiful carvings visible even now. At the end of a winding street is a doorway that leads into a majestic complex of temples (Gudaru Devata Temple complex) and supporting structures. Parts of this complex are intact, others appear quite worn out adding to mysterious sense that envelopes the place.

Jubbal Slightly aloof among the rapidly growing urban fabric sits the Darbargarh of the rajah of Jubbal. Its position and size makes it hard to miss from almost any vantage point in the valley. Sporting a distinct palette of colors and forms, the kot opens out on a terrace towards views of the gently rolling hills beyond. The kot has grown incrementally over time in layers. With a bank of rooms on multiple levels all around, the central courtyard houses a spartan tower temple, its presence is never far away from any corner inside. The lower terrace with its gardens and fragments of structures that survived still evoke shadows from another time.

Pujarli 4 Turns out that there are seven different villages that share the name Pujarli. Among these, Pujarli 4 houses a famous Rudra Devata Temple complex that appears quite old and continues some of the mystic rituals including divine consultations. The temple sits on one side of an approach courtyard and faces the distant hills and mountains on other sides.

Hatkoti The temples of Hatkoti come into view from the approach roads as we descend into the valley. The temple compound is relatively large, houses two main temples in the traditional Himachali style located on either side of the bhandar building in the middle. Five shikhara-style stone temples are located along one of the edges of the compound.

Summerkot Against the backdrop of low buildings, roofs and mountains in the distance, the tower temple of Summerkot stands out in the landscape. A series of steps through a gate rise up to a platform on which the tower stands. The surrounding terrace with wildly sprouting shrubs carry a sense of abandonment and neglect. However that is just surface reading- the fact that the building is now in the care of ASI suggests there is more to this tower partly reflected in the carefully restored external elements.

Pujarli 7 Some distance away from Summerkot on a hill lies another tower temple undergoing renovations. It has the looks, materials and building components that are clearly weathered. The multiple personas of such tower structures become visible here: a temple, a watchtower, a defense post, a fort â&#x20AC;Ś If local folklore are to be believed, there is much that hides in various levels inside the temple and among ruins scattered around Summerkot including water wells.

Rampur In a narrow valley lies Rampur- a busy urban center with a palace on a sprawling ground that is slightly elevated from the national highway that just skirts around it. The Padam Palace is a curious mix of traditional and foreign motifs and materials.

Sangla The approach to Sangla brings into view a terrace edged with modern shops and buildings that could be almost anywhere in a small town in India. The real village of Sangla though hides behind those shops along the slopes going down to the river. This is the place where very fine wood carvers are to be found carrying on generational traditions and craftsmanship. In between wooden buildings of Sangla lies a remarkable temple of Nag Devata.

Kamru Visible from Sangla and higher up along the slopes is the famed village of Kamru. The steep climb opens out into a remarkable courtyard that is flanked on one side by the Hindu temple and on the two side by the Buddhist temple structures. The religious space is freely shared here signified by the central pavilion with beautiful carvings. A small narrow path winds up the hill to the old fort of Kamru. The high terrace on which the fort stands offers views along almost all the directions. The temples and buildings inside the fort grounds are quite aged, some undergoing renovations now.

Chitkul The road east from Sangla continues along the old India Tibetan Highway leading to Chitkul, the last village of India along this highway. For a village that remains inaccessible during winter, Chitkul reflects a meeting ground of sorts of different cultures that cohabit these heights. The Hindu and Buddhist motifs overlap here, literally and figuratively.

Nirmand A fork off the national highway winds up the mountains to the famed town of Nirmand. The first glimpses of the place are deceptive as there is a much older history to this place. A famed copper plate inscription, the legend of a warrior Brahmin Parashuram, and surviving fragments of wooden houses all conjure up a place with urban character. The few stone fragments and scale of houses suggests a vibrant settlement that existed at one point here that clearly outgrew the rural or mountain worldviews.

Nirath Nirath is a tiny dot on the map along the national highway and is home to one of the very few temples dedicated to the Sun. The external walls of the stone temple feature some of the most intricate and beautiful sculptures. The motifs and faces that grace these walls suggest contemporaneity with the classical Indian canons and times. The inner courtyard contains many smaller shrines and fragments of stone and wooden carvings. A mandapa-like structure occupies one corner of the compound with beautifully carved wooded columns. A similar pavilionslike structure lies some distance away from the temple precinct.

Research and analysis

Panoramic Reconstruction A series of images acquired by rotating camera by 15 degrees were taken to generate 360 degrees panorama.

Equipment set-up at Pujarli 4

Image tiles

Overlaid images

Blended image 20

Kamakshi Devi Temple/ Fort, Kamru

Bijjat Devata Twin Tower Temple, Sarahan

Interior of New temple contortion at Devidhar

Barakila Tower Temple, Chitkul

3D Reconstructions Based on images gathered in the field, 3D reconstructions of objects and buildings were developed. These are examples of extracting 3D geometry with textures for Balag temple, another small temple, and volumetric model of Sainj durbargarh.

Kath-khuni building images from multiple view points.

This is the example of 3D model with texture-mapped on all surfaces from the images taken. 22

Theog darbargadh at Sainj

Tower Temple at Pujarli 7

Kamakshi Devi Temple/Fort at Kamru Interactive 3D Models Using image-based reconstruction techniques, visible surfaces of built volumes were extracted. This data was extrapolated to develop 3D geometry of buildings.

Temple at Chopal (Sarahan)

Padam Palace, Rampur

Tower Temple at Summerkot

Dissemination

Fieldwork Report The research carried out in this project has been developed into a working report which has detailed information and photographs of all villages. The report is available to download on http://himachal. crida.net/flip/field-report/HTML/

Balag

Temple and Details Shiva temple, Tower temple There are three temples in Balag, a small village in the sub-division of Theog. Two are of the rock-cut variety and one built in the old “devra” style. 1 Shiva Temple ... As with many temples in Himachal, this temple too has legends connected with the famous Hindu epic, the Mahabharata. What is more interesting is that in Balag, mythology surrounding the Hindu deity Shiva has got inextricably linked to the allegories related to Mahabharata. ... The most important temple is dedicated to the divine destroyer, Shiva. The temple displays all the motifs and symbols connected to his apologue. Nandi, the divine bull, guards the entrance to the temple. The shikhara, the rising tower which covers the sanctum sanctorum, is bedizened with his emblems, weird animals and grinning ganas, his attendants or ghostly hosts, on account of their nature. These are supposed to be of ghostly origin and generally benign except when someone transgresses against their Lord. [... One] temple is dedicated to Nakul, one of the five Pandava brothers and twin brother of Sahdeva. It is embellished most attractively on the face of its little “shikhara” (temple dome) with the face of a figure not unlike that of Pashupatinath (“Lord of Animal-like Beings”). Surrounding this are gorgeous floral and lacy patterns, wrought delicately in stone. 1

Temple with wooden mandapa

Tower temple and a steep ladder to reach the upper level

Back view of the Tower temple

Cantilevered entrance structure to the bhandar

Wooden dowels

Bhandar and roof of the temple with kurud covered in sheet metal

Cantilevered entrance to the bhandar

Tower temple This is the oldest devra of Balag, which, while not de-consecrated, no longer sees regular worship. As can be seen, it looks to be of an entirely different age and design than the other two temples. 1

References

Design Innovation and Craft Resource Centre (DICRC) CEPT University Kasturbhai Lalbhai Campus, University Road Ahmedabad-380009, Gujarat, India Phone: +91-79-26302740 Ext: 316, 317, 319 dicrc@cept.ac.in, www.cept.ac.in

Shimla Gallimaufry, http://olio-gallimaufry. blogspot.com/2010/03/some-lovely-templetenantless.htmll

The University of Melbourne Faculty of Architecture, Building & Planning Grattan Street Parkville VIC 3010, Australia Phone +61-3-83447259 b.dave@unimelb.edu.au

Indigenous Architecture and Building Practices in Himachal Pradesh, India

Pages from the fieldwork report

Jubbal

Kamru

Overview

Fort architecture and Details

Altitude: 2084 meters Map

Placed over a packing of dressed stone that acts like a pedestal for an exalted piece of art, the tower-like temple of Kamru rises five storey high. Here is an exemplary piece belonging to an architectural genre unique to this part of the world. A series of thick sleepers of deodar wood are horizontally placed, one atop the other. The mesh, thus, created has an infill of finely-dressed stone neatly slotted in without the use of mortar. The presence of forests of deodar, has played a major part in the evolution of this building style. The wood, like teak, is termite-proof and weather resistant, and although untreated, has withstood the vagaries of weather through the centuries. Kamru temple-cum-castle is a glorious example of how local craftsmen, using local materials, created a highly evolved style of traditional architecture.

Location and Approach Jubbal is located at an average elevation of 2084 metres. A small beautiful hill town, it is famous for its apple orchards and the Jubbal Palace. The place is associated with history of the royal family of the Rana Karam Chand (1835-1877) who was the ﬁrst Raja of Jubbal.

The castle-like temple has an image of Kamakhya (Kamakshi) Devi. This is said to have been brought here centuries ago from Assam. The castle at Kamru belongs to the thakurai period, when the residences for the thakurs and the protective goddess were provided in the same high-rising tower. The tower measuring 11 meters square on the ground, was designed as a defensive citadel and adequately garrisoned against attack. It was with that consideration that the ﬁve-storeyed tower had been planned as a multifunctional structure on a one storey high plinth. To reach the ground ﬂoor, a portable ladder must have been provided. It could be lifted up conveniently into the building when required. Such provision may also be found at Chaini tower temple in the Outer Saraj of Kullu.

Brief about the Palace Jubbal Palace was the regal dwelling of the erstwhile Jubbal rulers of this hill station. An amazing citadel, which reminds of a fairy tale palace, Jubbal Palace is placed very prettily in the midst of hills. The Rana’s abode is built in partially Chinese style, the lower portion consisting of sandstone, whereas the greater half is banded round with impressive colonnades capped by suspended attics. The palace is noteworthy for the vast stacks of deodar timber used in its structure. Designed by a French architect, the modern wing of the palace displays a curious blend of Indo and European styles. Its convoluted wooden ceilings are simply superb. Another imposing allure is the stunning display of ancient artilleries used by the royal families of Jubbal. 2

Jubbal Palace

References 1 Mark Brentnall, The Princely and Noble Families of the Former Indian Empire Vol. 1: Himachal Pradesh, Indus Publishing Company, 2004, P. 171. 2 http://www.mustseeindia.com/Jubbal-JubbalPalace/attraction/12099

Panoramic view of the fort and temple complex

The Kamru temple-cum-castle, as it stands today, is an elaborate structure of wood-n-stone four walls. This structure might have undergone extensive modiﬁcations and additions after it was held by the early rulers of the Bushahr kingdom. The balcony-like canopy in front of the main door on the plinth and the enclosed projections on the two top ﬂoors are such additions. 1

References Mian Goverdhan Singh, Wooden Temples of Himachal Pradesh. M.L Gidwani, Indus Publishing Company, 1999, P. 137-139

Jubbal Village

Indigenous Architecture and Building Practices in Himachal Pradesh, India

The fort of Kamru with a temple dedicated to Kamakshi Devi

Serving to heighten the character of the visage, an elegant wooden balcony provides ingress to the tower. As if that were not enough, like a crown adorning a noble face, the upper two ﬂoors of the tower expand laterally and comprise elaborate wood work.

Jubbal “ ... nestles at the end of the Bishkalti valley, and is dominated by the Raja’s palace, which stands high on fortiﬁed walls above the river Bishkalti. The palace itself is largely a timber construction, built around a central courtyard, painted blue and cream, topped by a red roof.” 1

Fort base rises off a high pedestal

Carving on the entrance door of Kamru fort

Detail of the carving

Carving detail of the gable above the Geometrical carving on the gable entrance door

Embossed metal of the temple doors.

Indigenous Architecture and Building Practices in Himachal Pradesh, India

Website An online website (http://himachal.crida.net/) that includes representative sample of data (i.e. images of sites, buildings, details, and their construction; audio and video clips of interviews; 360 degree panoramic reconstructions of sites; and three dimensional reconstruction of selected buildings). It is intended as a repository of documents and knowledge about vernacular architecture and building practices in Himachal Pradesh.

In one year we had a papers published in INTACH, CONTEXT, ABACUS and ARCHITHESE and articles in Domus and IA & B.

Published Journals ABACUS (Monsoon 2011, Vol 6, No. 2, pp.14â&#x20AC;?20): Indigenous Building Traditions of Himachal Pradesh Abstract The traditional construction in Himachal Pradesh is a natural response to the availability of materials and local tools, guided by knowledge of forbidding geography, harsh climatic conditions and deeply embedded cultural practices of the region. The architecture that has evolved over a long period of time demonstrates profound understanding of constraints, local resources and the building science. The paper, on the basis of collaborative research and field work in Himachal Pradesh, highlights the native sensibility of the local builders, materials, traditional method of construction and subtle process of cultural transmission. This process exhibits simple yet satisfying ways in which locals and craftspeople of Himachal Pradesh have evolved vernacular architecture using a venerable building method called kath-khuni that is aesthetically pleasing, seismically sound and sustainable. CONTEXT (Spring 2011, Volume IX, Issue 1, pp.5â&#x20AC;?17): Details of Resistance: Indigenous Construction Systems in Himachal Pradesh Abstract A vernacular building technique called kath-khuni construction is widely encountered in the hills of Himachal Pradesh. It provides an effective mechanism for buildings to resist frequent seismic tremors that rock the landscape of Himachal Pradesh. This method of construction has been practiced and perfected with empirical knowledge over a long period time. This article describes various construction elements, materials and joinery details in the traditional kath-khuni construction and the resulting compositional richness in the making 29

of walls, openings, and corners. The paper highlights various sustainability and environmental responses embedded in this traditional building practice. INTACH Architectural and Cultural Dimensions of the Sacred: Wood‐and‐stone Temples of the Western Himalaya Publisher: INTACH, New Delhi Language: English ISBN: 978-93-82343-09-7 Abstract Himachal Pradesh is known also as the ‘land of divine’ or ‘dev bhoomi’. With its relative isolation and demanding climate, it fostered pockets of vibrant and distinctive cultural zones. The architecture of indigenous hill temples occupies a special place– both materially and spiritually, in the hills and is evident in a large number spread across the state. This paper focuses on indigenous hill temples of the western Himalayas especially hill temples. Their architecture is imbued with the character of hills and built by traditional craftspeople using local materials (timber and stone) and a technique known as kath-khuni (cator and cribbage) construction. This particular style of construction has evolved over a long period, handed down from generation to generation via oral lore and material practice. The tower temples reflect a profound synthesis of empirical building knowledge, rituals and space making craft skills resulting in fascinating architectural exemplars. This paper describes different facets of hill temples including construction techniques and their details, materials, associated beliefs and rituals, and special place of wood carving craft as an integral component of indigenous building knowledge and techniques.

ARCHITHESE (Monsoon 2011, Vol 6, No. 2, pp.14â&#x20AC;?20): Being and Belonging in the Mountains: Indigenous Architecture of Himachal Pradesh, India Abstract A distinctive legacy of indigenous building practices and associated crafts survives in the Himalayan hills in India. These traditions, on the one hand, represent specific material expressions and, on the other hand, encode specific symbolic and cultural associations. The assemblage of indigenous buildings and their making while discrete in material terms and finite in temporal terms reflects at a deeper level cultural choices about being and belonging in a particular landscape. Based on our fieldwork documentation of building practices in Himachal Pradesh, India, we discuss how indigenous architecture and associated crafts are underpinned by mutually reinforcing material conditions and practices, social and cultural beliefs, and permeability to external influences.that is aesthetically pleasing, seismically sound and sustainable.

Published articles

CEPT E-News Magazine Volume 2.

Getting to the root of it, IA&B 26 (5), January 2013, 112-121.

Prathaa: Kath-khuni architecture of Himachal Pradesh, Domus â&#x20AC;&#x201C; India 16 (2), 5 March 2013, 17-18.

No. 2, FEBRUARY 2013

Roots'13: CEPT was delighted to have with them a group of five Sufi musicians from Bikaner, who lovingly sat with the student musicians in the SA Basement for four days, teaching them theories and ragas of Sufi music, on a Tabla and a Harmonium.

Prathaa: Exhibition, CEPT E-news magazine Vol. 2. No. 2, February 2013, 05

Gujarat Journal, Vol 6 No. 5, 15 February 2013, 29-30

Presentations 1) Presentation: Indigenous Building Traditions of Himachal Pradesh: Bharat Dave, Tiffin Talks series, Australia India Institute, University of Melbourne, 26 August 2011. 2) Lecture: Approaches to Digital Documentation of Spatial Environmentsâ&#x20AC;&#x2122;: Bharat Dave, DICRC, Hutheessing Galery, CEPT University, Ahmedabad, 30th January 2011

Exhibition in Wunderlich Gallery Exhibition â&#x20AC;&#x2DC;Indigenous Building Practices in Himachal Pradesh, Indiaâ&#x20AC;&#x2122; demonstrating the distinctive building technique, kath-khuni construction prevalent in Himachal Pradesh, India was held in the Wunderlich Gallery, Ground Floor, Architecture Building from the 13 - 31 August 2012.

Exhibition display and interactive videos

Exhibition & book launch at Hutheesing Gallery Prathaa: Kath-khuni architecture of Himachal Pradesh The exhibition and book launch was held at Hutheesing Visual Art Centre, CEPT University, Ahmedabad, 29-31 January 2013 The three‐day exhibition of “Prathaa: Kath-khuni architecture of Himachal Pradesh’ included illustrative panels, video and interactive media. On Tuesday, 29th of January, architect Nimesh Patel inaugurated the book and Prof. Krishna Shastri (Dean, Faculty of Design, CEPT University) opened the exhibition.

Talk by Authors Prof. Bharat Dave, A/Prof. Jay Thakkar and Mansi Shah talk about their journey and documentation of Himachal Pradesh architecture.

Chief guest for the evening On Tuesday, 29th of January 2013, Architect Nimish Patel inaugurated the book at the Hutheesing gallery, CEPT University

Inauguration Exhibition opening by Prof. Krishna Shastri, Dean, Faculty of Design, CEPT University

Exhibition display The three‐day exhibition of “Prathaa: Kath-khuni architecture of Himachal Pradesh’ included illustrative panels, video and interactive media.

Panels The panels were nailed on boards that assembled into an impressive exhibition unit. Each unit displayed panels on architecture of Himachal as well as interactive videos.

Fieldwork Video glimpse at the exhibition 'A walk in the mountains' is a small movie which presents a glimpse into the life of people living in Himachal Pradesh and showcasing the treasure of indigenous architecture. The video has been shot in the villages in Shimla and Kinnaur districts. We thank all the wonderful people and artisans for sharing their knowledge and moments with us.

Exhibition display

Display Panels The exhibit material included panels. These 27 panels (59 cm x 59 cm) are informative panels on 17 different villages which were visited during the field trip to Himchal Pradesh.

Display Panels These set 12 panels (84 cm x 84 cm) are composed of construction set, field-route map, panoramic reconstructions, about the project, details, etc.

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City Bhaskar/ Divya Bhaskar 29 January 2013: 3. Print 42

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“Constructing history” Ahmedabad Mirror 30 January 2013: 9. Print

City Bhaskar/ Divya Bhaskar 30 January 2013: 4. Print

Bhagat, Chaitali. City Bhaskar/Divya Bhaskar 3 February 2013: 3. Print

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Book on architectural practice launched

snapped

Pics: Piyush Patel. DNA

Book launch, Tuesday, ahmedaBad

A Pics: Piyush Patel. DNA

3-day exhibition and book launch of ‘Prathaa: Kathkhuni architecture of Himachal Pradesh’ was held on Tuesday at Hutheesing visual art centre. The book, which captures the details of indigenous building tech-

niques for sustainable structures was launched by well-known architect Nimesh Patel. An exhibition presenting an overview on distinctive building technique was opened by Prof Krishna Shastri, Dean, Faculty of Design, Cept. Prof Bharat Dave from the University of Melbourne, Asst Prof Jay Thakkar and Researcher Mansi Shah has authored the book. The project aims to help preserve & sustain kath-khuni building techniques & local skills by undertaking collaborative research on existing and emerging building practices.

On the occasion of Gandhi Nirvana Din, senior artists and a Gandhian Manhar Kapadia presented a series of paintings inspired from the life and events of Gandhi. The divine virtues and philosophy of Bapu are captured in 22 paintings which are on display at Amdavad ni Gufa until Feb 3

Diana Penty at the launch of a magazine

“Book on architectural practice Miley Cyrus poses Bradley’s launched” DNA 30 January 2013: 4. next A Print

‘nearly topless’ M

iley Cyrus has gone nearly topless in her new photoshoot for the March cover of Cosmopolitan magazine. The 20-year-old former child star, who steams up the women magazine’s upcoming issue, can be seen wearing a white blazer, teamed up with low-slung white pants, US magazine reported. In an interview with magazine’s writer Kyle Buchanan, the former Hannah Montana star asserted that one of the things she is happiest about is her relationship with fiance Liam -- ANI Hemsworth.

Playing the part: Bradley Cooper

ctor Bradley Cooper has formally been approached by director JJ Abrams to star in a biopic on cyclist Lance Armstrong’s rise and fall from grace. Cooper previously expressed his desire to portray the disgraced cyclist after he was stripped of his titles between 1999 and 2005 when it was revealed that he had taken performance-enhancing drugs. Abrams confirmedthat he is considering Cooper for the role

a biopic?

years ago,” he had said in an interview. Abrams and his Paramount Pictures partner Bryan Burk recently snapped up the screen rights for Cycle of Lies: The Fall of Lance Armstrong, a new book by sportswriter Juliet Macur, who has covered the drugs cheat for over a decade. Damon and Matthew McConaughey are also contenders to play the infamous cyclist in the project.

Gujarat Samachar 30 January 2013: 3. Print —IANS

Shakira headed

home

C Unhappy: Mila Kunis

Kanye gifts gold bracelets to Kim Kardashian K

Gifts galore: Kim Kardashian and Kanye West

Govinda at the press meet of Deewana Main Deewana

west view

after the latter reached out to him via e-mail. “Cooper sent me an e-mail and we have been talking,” contactmusic.com quoted Abrams as saying. Some time back Cooper had expressed his keeness to play the disgraced cyclist. “I would be interested in playing Armstrong. I think he is fascinating. What a fascinating character. I remember Matt Damon was going to do his autobiography at one point

Mila never wanted Fifty Shades Of Grey role ctress Mila Kunis is not eager to star in an upcoming adaptation of Fifty Shades of Grey and reports suggesting so are unsubstantiated. A source told eonline.com that Kunis never gave an interview that claimed she wanted the role of Anastasia Steele. However, Kunis hasn’t come forward to deny the reports, so there was still hope, the source said. Several famous actresses have been linked to the role, including Emma Watson, Anna Kendrick and Alexis Bledel. As for the role of Christian Grey, actors who have expressed interest include Ian Somerhalder and The Canyon actor James Deen, who also happens to be a porn star. — IANS

Mallika Sherawat at the promotion of Dirty Politics

anye West has splurged 65,000 dollars on jewellery for pregnant girlfriend Kim Kardashian during a recent shopping extravaganza at the Cartier store in Paris. The 32-year-old Kardashian, who posted an Instagram snapshot revealing her wrist with five gold bracelets from the luxe, captioned the picture as “The Don strikes again!!!” US magazine reported. According to ETOnline, the jewellery package includes the Cartier Panthere Bracelet, which is embedded with diamonds, a yellow gold Cartier Love Bracelet with diamonds, the Cartier Juste un Clou and two animal print bracelets — with an estimated total of 65,000 dollars.

olombian singer Shakira was released on Sunday from the clinic in the northeastern Spanish city of Barcelona where she gave birth last week to her first child, Milan Pique Mebarak, clinic spokesmen told a news agency. The singer, boyfriend and F.C. Barcelona player Gerard Pique, and the child left the clinic in the early afternoon in an SUV with tinted windows driven by one of Shakira’s brothers. The singer did not stop to take questions from reporters, heading straight for Pique’s residence in Cabrils, a town some 25 km from Barcelona, where the couple will be living until construction is completed on their new house in Ciudad Condal. No photos of the baby’s face have been released, with the only image made public being a photograph posted by Pique on Twitter of the child’s legs. Milan weighed almost 3 kg at his birth by Caesarean section last — IANS Tuesday.

Nainani,Hina “Promoting indigenous building practices” DNA 29 January 2013: 3. Print Being mom: Shakira

— ANI

Sandesh TV (video): 31 Jan 2013

Book: Prathaa Prathaa: Kath-khuni architecture of Himachal Pradesh Authors: Bharat Dave, Jay Thakkar, Mansi Shah Publisher: SID Research Cell, CEPT University, Ahmedabad, 2013 ISBN: 9788190409681 ISBN-13: 978-8190409681 Paperback: 156 pages Language: English The book is available to purchase on Amazon.com This book documents an indigenous building technique called the kath-khuni construction prevalent in Himachal Pradesh, India. The relative isolation of the hills and the demanding environment fostered development and persistence of distinctive prathaa, i.e., traditions practiced for centuries. These indigenous building traditions reflect synthesis of material and environmental constraints with social and cultural beliefs and rituals. This book illustrates the role of indigenous building traditions in a dual sense: architecture as an outcome of specific material assemblies to fulfil specific functional purposes and architecture as a process to bind together people, places and resources in order to sustain particular cultural norms, beliefs and values.

prathaa

Prathaa: Tradition that is practiced for centuries.

Kath-khuni Architecture of Himachal Pradesh

This book documents an indigenous building technique called the kath-khuni construction prevalent in Himachal Pradesh, India. The relative isolation of the hills and the demanding environment fostered development and persistence of distinctive prathaa, i.e., traditions practiced for centuries. These building practices reflect synthesis of material and environmental constraints with social and cultural beliefs and rituals. This book illustrates the role of indigenous building traditions in a dual sense: architecture as an outcome of specific material assemblies to fulfil specific functional purposes and architecture as a process to bind together people, places and resources in order to sustain particular cultural norms, beliefs and values.

prathaa Kath-khuni Architecture of Himachal Pradesh Bharat Dave | Jay Thakkar | Mansi Shah

| Bharat Dave | Jay Thakkar | Mansi Shah

SID Research Cell School of Interior Design CEPT University Ahmedabad, India

102(a-c).102(a-c). Wall construction. Wall construction. a. Carpenter a. Carpenter fixing a wooden fixing a wooden log in the logwall in the construction wall construction in a house in aathouse Devidhar; at Devidhar; b. Two parallel b. Two crossbeams parallel crossbeams are heldare in place held in byplace a dovetailed by a dovetailed woodenwooden membermember called maanvi. called maanvi. The gapThe between gap between the beams theisbeams filled with is filled stone with rubble stonewhich rubbleacts which as insulation acts as insulation and gives and mass gives to mass the wall; to the c. Side wall;view c. Side of the view temple of thewall temple under wall under construction. construction.

Maanvi (dovetailed Maanvi (dovetailed joint) joint)

CoursesCourses 2,4,6 2,4,6

s cm 45

101. Kath-khuni 101. Kath-khuni wall construction. wall construction. Dry masonry Dry masonry wood-and-stone wood-and-stone wall of awall temple of aunder templeconstruction under construction in Devidhar. in Devidhar. This infillThis is filled infillwith is filled stone with rubble. stone rubble.

pins. The pins. outer The faces outerof faces the of wall theaswall wellasaswell the as corner the corner often have often have the wood the wood beamsbeams stacked stacked on toponoftop each of other each with otheran with upper an upper specially specially shapedshaped large stone large pieces stone pieces at the corner. at the corner. This piece Thisapart piece apart wooden wooden structure. structure. from protecting from protecting the wood the wood also, according also, according to localtobeliefs, local beliefs, helps helps to ward tooff ward evil.off When evil. When the solid theload solidbearing load bearing walls are walls built areabove built above The framework The framework of thisof wood-and-stone this wood-and-stone wall iswalltheis key the key level, the stone are arranged in an alternating characteristic the plinth the plinth level, the stone piecespieces are arranged in an alternating characteristic of kath-khuni of kath-khuni construction. construction. This method This method of of manner strengthening the corners with staggered joints, joints, both both non-rigid non-rigid framework framework and dry andmasonry dry masonry construction construction helps helps in in manner strengthening the corners with staggered diagonally and laterally imparting strength. As theAs wall dissipating energyenergy duringduring earthquake earthquake and ground and ground movements. movements. diagonally and laterally imparting strength. therises wallup, rises up, dissipating the height of the of stone layer decreases and ultimately it is only the height the stone layer decreases and ultimately it is only 76

Kadil (wooden Kadil (wooden nail) nail) 16 cm

CoursesCourses 1,3,5 1,3,5

16 cm 14 14 cm cm 16 16 cm cm

103. Wall 103. courses. Wall courses. The corner The of corner the wall of the is constructed wall is constructed in alternate in alternate courses courses of of 104. Wall 104. corner. Wall corner. The perpendicular The perpendicular woodenwooden members members are pinned are in pinned position in position with with wood-and-stone. wood-and-stone. The space Thebetween space between two wooden two wooden members members is filled with is filled rubble with rubble a kadil (wooden a kadil (wooden nail), well nail), interlocked well interlocked at the corners at the corners allowingallowing flexibilityflexibility for somefor some and edge and is secured edge is secured by kadil by (wooden kadil (wooden nail). nail). movement movement during earthquake. during earthquake.

Construction processes

43(a-c). Gavas. a. Densely forested landscape around Gavas; b. Fragment of the carved facade of a kath-khuni house; c. A small wooden house perches on the rugged landscape.

Gavas

Gudaru Devata Temple

Gavas is one of the villages in the Chauhara Mandal in the Shimla District. It is a village rich with many wooden structures and lies in a remote part of the mountains. Due to its relative isolation, the houses here still reflect, authentic building traditions, which remain unchanged unlike many other smaller hamlets where changes due to external contacts and exposure have seeped in.

This isolated village houses one of the most beautiful and profusely carved complexes of wood-and-stone temple. The detail, execution and quality of woodcarving found here are highly dexterous in expression and execution.

Gavas has a number of magnificent houses built using typical kath-khuni construction techniques. Some houses are very old and have arched facades that are profusely carved. Most of the houses are two storey structures. The lower level is typically used as gaushala (animal shed) and the upper level is used mainly for living spaces usually accessible via a separate entry. The upper level is cantilevered about a meter and a half with a semi-covered gallery that encircles the living spaces. This transition space between public and private areas is typically finished with carved wooden panels and arched openings.

45. The main temple building of Gudaru Devata. The temple is layered with various smaller structures articulated in informal fashion over a period of time They all exhibit exquisite wood work and carvings.

44. Gudaru Devata Temple. Panoramic view of the temple complex showing various types of buildings; all employing kath-khuni construction technique.

Detail of the village - Gavas Construction sequence of a typical kath-khuni tower temple

Wooden lintel

Maanvi (Wooden double end dovetailed piece)

Dry stone masonry

Stone rubble infill Wooden wall beam Vertically placed wooden dowel Wall beams

Wooden floor planks

Stone slab

Joinery detail

Wooden beam Dry stone masonry

Door panel Inner frame Stone slab wall Thick wooden frame

First Corner stone Protruding wooden beam

Wooden threshold

Wooden floor beam Wall and floor construction

Kath-khuni wall junction

Typical door detail

Trench and dry stone foundation A foundation almost 5 to 7 meters in depth is dug in a space (10 by 7 meters) for a structure almost seven floors high around 20 meters. The structure height and shape are predefined, site is selected and puja is performed before construction is commenced.

Plinth level The temple has a solid stone base (2 meters high) and can be approached through large stone steps. The total number of steps are odd in number as it is considered auspicious for a temple. The first wooden member and corner stone are installed.

The lower floor is generally used for storage. The door is a sacred element and is highly carved. A ritual is performed during its installation. The kath-khuni wall is continued rhythmically till the top floor.

Ground floor

Floor beam Wooden railing Wooden side boards Wooden tread and riser Floor beam Wooden flooring

Details of stairs

First floor The floor heights are kept low and retractable staircase connects each floor to the other. The cut out in the flooring is kept to go to the other floor. Some of the floors also house other deities.

100

101

Construction sequence of Typical Kath-khuni Tower Temple

Award

Zumtobel Group Award 2012 This research project has been recently recognized by the international Zumtobel Group Awards 2012 in Research and Special Initiatives category with a prize and honourable mention.

Presentation ceremony The presentation ceremony was held in Berlin/ Dornbirn, Germany on 16th November, 2012. We thank Rudrapal Solanki who received the award on behalf of the project team.

Panel display The award â&#x20AC;&#x2DC;Research and Initiativeâ&#x20AC;&#x2122; was dedicated to emphasize innovative current research project in architecture and built environment.

Award ceremony and exhibition Prominent international experts from a variety of disciplines make up the jury.

For more information visit www.dicrc.in

Design Innovation and Craft Resource Centre (DICRC), CEPT University, Ahmedabad Contact :+079-26302470 Ext- 380, 381 , email: dicrc@cept.ac.in 52