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Contents
1. Introduction ………………………………………………………………………. 4 2. Blessing of the Land …………………………. (Plates 1 – 6) ………………..…… 8 3. Stages in the construction process …………… (Plates 7 – 87) ………………….12 3. Examples of rural houses ………………………(Plates 88 – 97) …………………62 4. Extract of “Nomenclature of Traditional Bhutanese Building” …....…………….67 4. References …………………………………………………………………...…….68 5. About the author …………………………………………………………………..69
Photo credits: © David Barker 2012. Please acknowledge source when reproducing or transmitting through electronic media.
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Cover design: Pema T. Domingo-Barker
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Once construction has been completed, the painting and decoration commences
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Introduction: a people’s sanctuary The highly respected and centuriesold principles of traditional Bhutanese aesthetics are the major focus for the entire spectrum of social, economic and religious life. Expressiveness, moral worth and purity in daily life also prevail. The population’s whole-hearted adherence to these principles sets Bhutan specially apart from any other culture in this modern day world. A traditional Bhutanese residence or farmhouse shows strong and enduring evidence of respect and conforming to these principles whether constructed and completed yesterday, or during Europe’s Renaissance period. The house’s overall form, dimensions, size, proportions and tradition historically emanate from, or influenced by neighbouring Tibet, also a deeply insightful culture rooted in Buddhist precepts. A significant external difference exists however, between the Tibetan flat roof and the Bhutanese sloping roof. Bhutan’s residential houses have a strong impact on the senses. Each Bhutanese house possesses its own character with adjacent landscape included as part of the interior. They are superbly crafted in a truly national form, distinct from those in other adjacent Himalayan countries definitely creating an aura of special dignity, strength and charm. Each individual house appears to be solid, spacious, airy and truly serves as a “people’s sanctuary.” A high level of natural light filtering throughout the interior is a special feature and contributes considerably to household energy efficiency. Often built in groups or clusters rather than in terraced rows, this is attributed to the features of the rugged mountain or contours of the valley terrain, and the social structure 4
of the local community. Each house is built for strength and is expected to provide living space for generations and descendants. Viewed from a distance, the perspective offered from the cluster of traditional Bhutanese homes appears to be similar to rustic alpine Tyrolean dwellings, set against a photogenic backdrop of mountain peaks, passes, vales, rivers, rolling green hills and animals at pasture. In traditional Bhutanese architecture, the roof features and associated elements signify a hierarchical order and one’s status in society. The position of the house on the land is determined by adherence to traditional precepts, prevailing winds, position relative to the movement of the sun, light, and ground slope for drainage. Monks and elders are consulted on the auspicious positioning of the house and the convenient dates and hours for construction. Astrological perceptions, tradition, beliefs and dogmas are considered. Appropriate markings and flags are then positioned accordingly. Prior to the commencement of construction, the property and the future work receive a Buddhist blessing in a joyous ceremony performed by a monk. Laying of foundation stones, placing of entrance doorframes, erection of the walls and roof are closely associated to certain rituals. It is noted that according to traditional inheritance law, the women are often the proprietors of buildings and land. Scheduling of construction is also taken into account so that there is little conflict with the labour needs of the clearing, planting and harvesting cycle, or the herding of farm animals into higher drier or greener pastures.
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Building material is almost totally dependent on the availability of the forest’s bounty and includes timber, straw, rubble stone, river pebbles, common soil, clay, stiffened-clay (empese) and sometimes adobe brick. Cement and other manufactured binders are not used. Their organic nature gives these houses a stable continuity throughout its generational use. Renovations and replacement of worn sections are rendered easier when such materials are within reach. Whitewashed plaster facings and the absence of metals for nails or hinges also contribute to the unique features of these dwellings. A recent observation indicates that occasionally metal rods are used for the trefoil windows. Typical house construction consists of three floors, rectangular in form and beautifully proportioned. Building commences with river stones and boulders hauled from nearby riversides and placed in a trench and built to a height of approximately 50 cm above ground to form the foundation. Then the floors and walls take shape, from cleaned mud compacted into place with stout wooden clubs by a team of singing and jocular people in a pleasant rhythm, often women. As a binding agent, dried and chopped straw is added by the handful to the clay mixture while the musical rhythm remains unbroken. After brushing and leveling, final smoothing is done with wet hands. Such walls are built to roof height. Ground floor windows are usually smaller in scale than those on the upper floors. A trefoil motif (horzhing) is characteristic of windows in Bhutan. Walls are constructed according to a post and beam method. The structural elements remain exposed so that the structural
pattern remains apparent. The architectural principle of ‘skin and skeleton’ satisfies the need for economical and rational building. This also distinguishes the clear distinction between load bearing, partition and service elements. An ample height (shambarnang) sufficient for standing is usually created between the upper floor of hard-packed earth of approximately 10 cm in depth, and the roof. With an easy air interflow under the exposed roofing rafters, wooden casks or storage bins, baskets, drying animal skins and meat, hay, harvest grains and produce are properly ventilated, dried, cured and stored. The lowpitched, timber-shingled and slightly sloped roof of between 12 and 15 degrees is weighted with large, smooth river stones to firmly hold the shingles and for anchoring during storms and strong winds. The rooftop stones also break the accumulation of heavy ice and snow. The ground floor of a three-storey house, being the coolest part of the house, is used for storage of implements and farmhouse functions such as the nocturnal housing and sheltering of farm animals: cows, goats, roosting poultry and other domesticated animals. Normally, the interior mud walls on this ground floor are un-faced and unadorned. Often, an adjacent roofed area with an earthen floor is allocated adequate space to contain a back-strap loom, spinning wheel and other weaving needs, for the home-woven fabric needs of the household. The positioning of this area often takes into account the maximum daylight possible to enable the weavers, females of the household, to work as many hours as possible. 5
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The second floor provides additional living space and storage for fuel, wool, food, grain and animal fodder, ensuring supply availability and dry conditions off the ground during the long, cold monsoon and winter seasons. The next level is allocated to living and dwelling space. It includes the all-important personal chapel or Buddhist shrine with painted murals. This sacred area often contains an altar of decorated wood, numerous statues, reliquaries, butter lamps, candle and incense burners, painted religious scrolls (thangkas) and the holy leaf-books needed for prayer, meditation, contemplation and other devotional rituals. Family members usually occupy the top floor that has the most incoming natural sunlight. This floor is often divided into separate spaces with decorated wooden screens, or drapes adorned with Buddhist emblems. These dividers also ensure that heat is retained in each room by keeping drafts to a minimum. To connect the floors, an external stair is often created from a narrow but strong tree trunk simply carved with steps and finger holds on the reverse. An internal stair may also be of similar construction. A formal wooden staircase may also be included as a modern-day concession. Glass is not normally used for windows but sliding wooden panels, fitted on the inside, allow for opening and closing. Windowsills are kept low or at floor level to facilitate the favoured local custom of sitting on the floor and still having an outside view.
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Cornices with their strength and stability bear the heavy load of the hardwood trusses that permit flexibility when natural land movements occur. They equally absorb and distribute the strong wind and earthquake forces throughout the building. Internal walls are custom prepared by hand span or string measurement, using panel elements (shamig, ekra) that are traditionally built to size, with mud plaster over a bamboo mat and inserted between the timber frames for strength and bonding. Each house is normally surrounded on all sides by a garden where vegetables, corn, fruit trees, herbs and kitchen requirements are grown. Once the basic structure has been constructed, the specialized craftsmen-artists and monks are invited to bring in their skill sets to elaborately and colourfully embellish the whitewashed stucco walls and wood frames with animal, floral, geometric and religious symbols or motifs. This is also purposeful in gaining additional merit to interpret religious themes, as wall and ceiling paintings are prepared accompanied by soft chanting for invocation of good spirits to dwell in the house. Common patterns include the eight auspicious signs of Mahayana Buddhism and traditional designs and shapes that are considered lucky. Such art skillfully mirrors the Bhutanese living appreciation and conveyance of story-like and genuine folk-life experiences. Many centuries of designs are handed down where size, shape, design, colour and form are imprinted from memory to mural, often unaided with plans, blueprints or other documentation.
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The whitewashed stucco exterior walls also receive decorative treatment with painting sizes dictated by the dimensions of unadorned areas. The pleasing façade is further enhanced by these colour intense areas set against the stark whitewashed walls.
relatives, friends and neighbours on a mutually beneficial basis. This is akin to the “barnraising” spirit of the Amish and Mennonite communities in North America. Occasionally, daily labour supplements the construction process, mostly bartered with produce.
To perpetually guard against evil, carved wooden phallus figures are placed at the four corners of the house, or phallus paintings predominately adorn selected parts of the house. Prayer flags believed to convey merit, prayers and supplications to spiritual beings wave gracefully, accentuating the movement of the wind above rooftops and around homes.
The overall effect of this unique and pleasing architecture of Bhutanese traditional homes truly creates a strong and harmonious bond with the country’s natural and spectacular landscape. No doubt it is a positive response and in balance with the mighty but fragile Himalayan environment. The process of harmonious construction with Nature’s materials, the steps taken to insulate and ward off cold winds as much as possible, the artistic inputs of the artist-craftsmen and monks, consideration of the well-being of farm animals, the community bonding, and finally the creation of a most-pleasing dwelling for each family to enjoy, certainly would count as true and living indicators of the concept of Gross National Happiness that is truly Bhutanese.
Chimneys are not, or rarely, included in the home. Smoke from wood-fired heating stoves (bucharas) and open fire cooking smoke find escape through the windows, leaving a thick layer of soot over most areas, reaching the ceiling and protecting wood elements from insects. This photo essay that records the meticulous steps employing various crafts and skills in the construction of a typical two-storey rural or semi-rural home from foundation to roof, in the eastern part of the country. This book was prepared prior to the inception of a series of guidelines and documentation published by the Royal Government of Bhutan on the Construction of a Traditional House from 1993 onwards. As evidenced in the construction process, the community spirit lives on, as it had in the ancient past where labour is unconditionally contributed by
David K. Barker and Evelyn Domingo-Barker TASHI DELEK
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The Blessing of the Land The religious requirements and procedures for house building are well documented in: Chang Dorji, The Clear Exposition of Bhutanese architecture, transl. Sonam Kinga, Chang Dorji, Thimphu, 2006 (transl. From Chang Dorji (Cang rdo rje) 'Brug gi khyim bzo'i rnam bshad, Thimphu, 2004.).
Plate 1
A small structure of rock, stones and slate is built at the site.
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Plate 2
Plates 2 to 6. An inset in the structure forms a fireplace where juniper branches are burned. The monk circumambulates in a clockwise direction as he mediates and offers prayers.
Plate 3
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Plate 4
Plate 5
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Plate 6
A white scarf is gently waved above the structure to spread light smoke from the juniper and the blessings.
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Tools
Plate 7
Ground preparation tool.
Plate 8
Wooden clubs and mallet used to compress the earth. 12
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Plate 9
Wood working and general hand tools.
Plate 10
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Plate 11
Plates 11 & 12. Preparation of the principle beams Gungchhen, Gungchhung and Lungzey and vertical posts, Shari, Sha-thung, Lhichung and Ga.
Plate 12 14
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Plate 13
Preparing the internal support beams. Tongue and groove joints are used throughout. All wood members are prepared at ground level prior to fixing in their final position.
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Plate 14
Measuring, shaping and smoothing of wood members.
Plate 15
Various stakes and wood sections. 16
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Plate 16
Plate 17
Plates 16 & 17. Cutting and shaping the tongue and grooves. 17
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Plate 18
Pre-final assembly in position of the prepared wood members.
Plate 19
The trefoil (horzhing) is shaped for the windows. 18
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Plate 20
Plates 20 & 21. A multiple trefoil timber section is carefully checked and measured prior to completion.
Plate 21
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Plate 22
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Plate 23
Plates 22 & 23. Accurate measurement and cutting ensure stability of the final structure.
Plate 24
Plate 25
Plates 24 & 25. A door base is fashioned with a peg-like top and base for easy opening and closing. 20
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Plate 26
The long beams are cut to size on a temporary structure. 21
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Plate 27
Fine-tuning beam-ends.
Plate 28
The work site. 22
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Plate 29
Foundation of river rock set with clay.
Plate 30
After the wooden forms, tied with strong rope, are placed into position the cleaned clay is placed into the formed mold.
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Plate 31
Close view of the wood clubs for compressing the clay.
Plate 32
The team prepare for their task of compressing the clay within the wooden forms. 24
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Plate 33
Close view of the team at the house corner. Finished section is seen lower right. 25
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Plate 34
View of completed wall sections and the prepared windows (horgo payab) are set in position.
Plate 35
Close view of impacted clay wall and rock foundation. 26
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Plate 36
Wooden wedges are used to tighten the wooden staves and ropes.
Plate 37
Steel bars are sometimes used to provide additional strength to the wood forms and to accommodate the weight of the clay and the team of people compressing the clay.
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Plate 38
The ground floor wall work continues between the window and door frames.
Plate 39
Close view of the trefoil, horgo payab, window base. 28
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Plate 40
The base timber of the window (tshegay) is seen under the diamond cutouts.
Plate 41
The two top timbers (zangshing) and (zimchung) of the window frame. 29
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Plate 42
Spaces between the set windows are clay-filled and compressed. 30
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Plate 43
The tree trunk ladder provides access to the higher levels Steel rods can be seen in the windows.
Plate 44
The second floor window and wall timbers are positioned and secured. A portion of the mud floor is also seen. 31
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Plate 45
Vertical and cross beams are pegged into position. 32
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Plate 46
Wedges are used to align the beams. 33
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Plate 47
A view of the main doorway (mago), foundation, windows and partial wall. 34
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Plate 48
Wood form timbers aligned with wedges. 35
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Plate 49
Working on the top floor walls. 36
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Plate 50
View of ground floor wall and first floor windows. 37
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Plate 51
Exterior view of trefoil windows and floor beam ends.
Plate 52
View of third floor windows and beams.
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Plate 53
Trimming the beam ends.
Plate 54
Top floor windows. 39
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Plate 55
Top floor wall section under compacting.
Plate 56
Tree trunk ‘ladder’. 40
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Plate 57
The singing and the good humour continues. 41
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Plate 58
Corner of compacted walls. Prayer flags in background. 42
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Plate 59
Shaped, mitered and contoured corner beams (gungchhen).
Plate 60
A small window is set on the northern side of the house. 43
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Plate 61
Corner joints of upper beams. 44
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Plate 62
‘Jointed T’ junction of vertical post (shari) and horizontal beams (dingri).
Plate 63
External staircase leading To first floor entrance door. Notice there are no openings or windows on this wall.
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Plate 64
Eight levels of compacted clay are shown with window and doorway. Paro Dzong and museum are seen in the background. 46
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Plate 65
The day’s labour is over and the wall covered with a tarpaulin to protect from night rains. 47
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Plate 66
Oblivious to the passing aircraft, work continues on the wall.
Plate 67
The construction rests until another day. 48
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Plate 68
The clay and straw delivery continues. Two log ladders provide increased stability. 49
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Plate 69
The underside of the gable style roof.
Plate 70
A view of the nearly completed second floor with a mountain backdrop. 50
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Plate 71
A waving bough indicates the level of work so far achieved.
Plate 72
A temporary ladder is required during construction. 51
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Plate 73
Work is halted for a while as the rice fields are attended to. 52
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Plate 74
Plates 74 & 75. Top floor rafters and windows are set.
Plate 75
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Plate 76
Three layers of floor beams, mud floor, and ground floor ceiling beams.
Plate 77
Example of painted beam ends. Painting is done after the construction has been completed.
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Plate 78
The excellent craftsmanship is clearly evident in this view of the top floor windows and wall joints. 55
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Plate 79
Section of decorative jointed-wood construction (cham and soom) above a window. 56
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Plate 80
Another example of excellent workmanship of the window construction. 57
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Plate 81
Upper floor corner.
Plate 82
The house nears completion. 58
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Plate 83
Roof shingles and holding stones. 59
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Plate 84
Walls completed and whitewashed .
Plate 85
Front view. 60
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Plate 86
Finishing of construction.
Plate 87
Underside view of a roof with decoration 61
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Examples of rural houses
Plate 88
Plate 89
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Plate 90
Plate 91
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Plate 92
Plate 93
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Plate 94
Plate 95
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Plate 96
Plate 97
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References Architecture in Bhutan: http://suite101.com/article/architecture-in-bhutan-a156743 Arts and Architecture: http://www.birdinginbhutan.com/arts_architecture.php Bhutan Cultural Atlas: http://www.bhutanculturalatlas.org/371/culture/sitesstructures/introduction-to-sites-and-structures-in-bhutan/ Bhutan - Smithsonian Center for Folklife and Cultural Heritage ... http://www.folklife.si.edu/resources/pdf/.../SFF08_PBk_Bhutan.pdf The Clear Exposition of Bhutanese Architecture, transl. Sonam Kinga, Chang Dorji, Thimphu, 2006 (transl. From Chang Dorji (Cang rdo rje) 'Brug gi khyim bzo'i rnam bshad, Thimphu, 2004). Culture of Bhutan: http://www.bhutanmysticbliss.com/bhutan-travel/culture-bhutan.html "Demolition and re-erection in contemporary Rukubji, Bhutan: Building as cyclical renewal and spatial mediation", Dujardin, Marc, in N. Gutschow, A. Michaels, C. Ramble & E. Steinkellner (eds.), Sacred Landscapes of the Himalaya, Austrian Academy of Sciences Press, Vienna, 2003, 19-38. From fortress to farmhouse: a living architecture. Dujardin, Marc, in C. Schicklgruber & F. Pommaret, Bhutan : Mountain Fortress of the Gods, Serindia, London, 1997, 61-85. An Introduction to Traditional Architecture of Bhutan. Department of Works, Housing, and Roads, Royal Government of Bhutan, 1993 - 258 pages. " Rituals of Bhutanese House construction in Bhutan" Chime Wangmo, in Soundings in Tibetan Civilization, B. Aziz and M. Kapstein (eds.), Manohar, New-Delhi, 1985, pp.107-114. Traditional Architecture Guidelines 1990. Conference Proceedings Department of Urban Development and Housing, Royal Government of Bhutan. Traditional building in Bhutan. http://www.greenstone.org/greenstone3/nzdl;jsessionid=AEB5EB513851E98CBDA307D988442 CEC?a=d&d=HASH01addee18cde72b760dd8fb1.4&c=hdl&sib=1&dt=&ec=&et=&p.a=b&p.s= ClassifierBrowse&p.sa=
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About the author David Keith Barker, born in England, completed his full-time education in England and the South Pacific. In 1968, he commenced his career with international organisations undertaking assignments in the Caribbean, Iran, Fiji, Bangladesh, Nepal, Thailand and Zambia. For several years he was a freelance photographer and writer specialising in handicrafts and associated subjects. He is now retired and is resident in Thailand with his wife Evelyn. Both continue to actively assist and support NGO projects in Cambodia, Laos, Nepal, Philippines and Vietnam. Pema, the only daughter, currently works at Queens Museum in New York. His personal discovery of Bhutan and in particular Bhutanese textiles occurred during visits to the country in the 1980’s. This interest increased when textiles in private collections were seen and observations were made of the daily worn garments and displayed by pilgrims en route to holy places in the sub-Continent. This prompted his compilation of Designs of Bhutan and Textile Designs of Bhutan into illustrations in graph format, to capture the beauty of a living tradition made by talented craftspeople and weavers. A forthcoming publication, Grace of the Kira: Bhutan’s Textile Heritage, records and probes textile designs seen on early century fabrics. This collection is a close scrutiny and an attempt to bridge the gap of fast-disappearing vintage designs for repetition by present day weavers, to preserve their historic importance of a weaving culture known for its visual splendour. This current publication was inspired by the prevalence and whole-hearted adherence to traditional Bhutanese aesthetics that was seen throughout the daily life of the Bhutanese population.
Previous publications by David K. Barker: Textiles: Designs of Bhutan. Volume 1. Graphic catalogue. Republished in digital format: January 2012. Originally published in paperback, 1985. White Lotus, Bangkok, Thailand. <http://issuu.com/dkbbkk/docs/designs_of_bhutan> Textile Designs of Bhutan. Volume 2. Graphic catalogue. Published November. 2011. <http://issuu.com/dkbbkk/docs/ bhutan_textiles> Bhutan: Textile Designs. Volume 3. Parts 1 & 2. Graphic catalogue. Published January 2012 <http://issuu.com/dkbbkk/docs/part_one> <http://issuu.com/dkbbkk/docs/part_two>
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Other Publications: Prayer Wheels of the Himalayas. Published Nov. 2011. http://issuu.com/dkbbkk/docs/prayer_wheels_ Maskey: Premier Artist of Nepal. Published Dec. 2011. Parts 1 to 3. Part One: http://issuu.com/dkbbkk/docs/maskey_part_one Part Two: http://issuu.com/dkbbkk/docs/maskey_part_two Part Three: http://issuu.com/dkbbkk/docs/maskey_part_3 Metal Casting in Nepal, Arts of Asia, August 1984. Authors: David Barker, Evelyn Domingo-Barker Ethnic Jewellery of Nepal, Arts of Asia, August 1984. Authors: David Barker, Evelyn Domingo-Barker Bhutanese Handwoven Textiles, Arts of Asia, August 1985. Bhutanese Architectural Painting, Arts of Asia, August 1986.
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