The Impacts of Mechanisation on the traditional Stone Carving practice in the Jain Temples

“Human faces do not radiate the spiritual bliss and divine glory of inner consciousness but the loss is largely repaid by the richness and beauty of decoration and fine carving�

- U.P.Shah, Studies in Jaina Art, Navjivan Press, 1955, p 21

Declaration

This work contains no material which has been accepted for the award of any other Degree or Diploma in any University or other institutions and to the best of my knowledge does not contain any material previously published or written by another person except where due references have been made in the text.

I consent to this copy of thesis, when in the library of CEPT, being available on loan and photocopying.

Student name & code

Ishita B Mordani – PD001114

Sign -

Date:- 25/04/2016

CEPT

U\J \/cRSllY FACULTY OF DESIGN

STUDENT NAME

: ISHITA B MORDANI

THESIS TITLE: THE IMPACT OF MECHANIZATION ON TRADITIONAL STONE CARVING PRACTICE IN JAIN TEMPLES OF GUJARAT. A study of production-to-consumption system

APPROVAL The following study is hereby approved as a creditable work on the approved subject carried out and presented in the manner, sufficiently satisfactory to warrant its acceptance as a pre-requisite to the degree of International Master in Interior Architecture & Design for which it has been submitted.

It is to be understood that by this approval, the undersigned does not endorse or approve the statements made, opinions expressed or conclusion drawn therein, but approves the study only for the purpose for which it has been submitted and satisfies him/her to the requirements laid down in the academic programme.

Name of the Guide : Arthur Duff & Rebecca Reubens Dean:

Signature:

WWW.CEPT.AC.!N

T +91 79 26302470 F +91 79 26302075

KASTURBHAI 1.ALBHAJ CAMPUS UNIVERSCTY ROAD, NAVRANGPIJRA AHMEDABAO 380009. GUJARAT, INDIA

THE IMPACT OF MECHANIZATION ON THE TRADITIONAL STONE CARVING PRACTICE IN THE JAIN TEMPLES OF GUJARAT A study of Production-to-Consumption system

Guided by:- Prof. Arthur Duff Co- Guided by:- Rebecca Reubens Thesis by:- Ishita B Mordani PD001114

THESIS SUBMITTED TO THE FACULTY OF DESIGN FOR THE DEGREE OF INTERNATIONAL MASTER OF INTERIOR ARCHITECTURE & DESIGN

Keywords: Design, Interior Architecture, Technology, Production, Industrialization, Consumption, Crafts, Stone crafts, Mechanization.

All rights reserved. No part of this book may be reproduced in any form, by print, photo print, microfilm or by any other means without written permission from the publisher. Despite the fact that the editor proof read the texts, authors are responsible for the English of their contributions.

ACKNOWLEDGEMENTS As this research is presented, I would like to thank a lot of people who participated and played important roles during the conception, formulation and articulation of this thesis. They are already aware of my gratitude towards them.

First and foremost I would like to thank the dean of Faculty of design, Prof. Krishna Shahstri, for her constant support and guidance. The MIAD coordinator & Asst. Professor, Rishav Jain for being so patient and helpful in the entire process.

I must take this opportunity to thank my guides, Prof. Arthur Duff, for his criticisms, inferences and inspiration. His positivity and faith made me want to perform my best. My respected coguide, Rebecca Reubens for her critical suggestions, that made me challenge myself and her meticulous outlook, that brought an in depth understanding to this thesis. Her help during the structuring of this research is beyond words.

A special mention to Prof. Kireet Patel, the heart of SID, for giving me the encouragement and words of wisdom always and Prof. Jay Thakkar, for helping me in the initial days where I was lost and giving me a focus point and good leads.

I also take this opportunity to thank my fellow classmates from Master in Interior Architecture and Design, CEPT University for always being there and making this research a memorable journey. I would also like to thank the teaching, library and non-teaching staff at CEPT University for their immense support and help.

There have been many people involved in this thesis, who made the empirical study very smooth for me. I would like to thank Kiran Trivedi, for his precious time in making me understand the world of stone crafts. For letting me into his work environment and explaining each concept in detail. I would also like to thank him for giving me access to his workshops and allowing me to interact with the craftspeople and engineers. Also for allowing me to visit his quarries and factories. This thesis could not have been possible without his guidance and generosity.

Lastly some people who intangibly play a huge role in my work, my friends Priyanka Menon, Pooja Chavan, Raksha Lulla, Sadhvi Arora & Meenakshi Jessani who have been my support systems. Inish Merchant for always being a call away to clear doubts and fears. My parents, my beloved sister, Deepa Mordani and my supporting brothers, Jimmy & Sajeel Mordani for always believing in me and giving me the opportunity to peruse my dreams.

Thank you to all fellow architects, designers, researchers, teachers, practitioners and craftspeople, for shaping the envelope of Crafts and Design in India. Your contribution is appreciated.

ABSTRACT Gujarat, the western most landmass of the Indian sub-continent is a land blessed with nature’s abundant treasure. Its geological diversity through ages has resulted in creating variations in the vast range of stones. The appropriate use of this resource is a matter to study today. The crafts persons have used this natural treasure to create magnificent edifices of superior quality by their skills and ingenuity which forms an integral part of Gujarat’s history.

The history of Gujarat evolved during the Solanki dynasty (950-1246 A.D.) who were great builders and connoisseurs of arts and literature. It was during this dynasty that the country grew politically and witnessed the construction of many Jain temples. When Kumarapala1 ascended the Caulukya2 throne, Jainism saw its brightest days. It is said that he was the greatest supporter of Jainism and due to his royal patronage Jainism occupied the pre-eminent position in the state.

A Jain temple is a place of worship for people practicing Jainism. Jainism is an ancient Indian tradition which preaches the path of non-violence. Jain temples in Gujarat and Rajasthan are called Derasar. In India itself, the Jain temple architecture differs geographically. The temples in north India are different from the ones in the south and the west. There are two important types of Jain temples, Shikar-bandhi Jain temple(one with the dome) and Ghar Jain temple (Home Temple without dome). The Ranakpur Jain temple in Rajasthan, the Palitana temple complex and the Bhadreshwar Jain temple in Gujarat are some of the celebrated Jain Tirths in the western Indian subcontinent. The Hutheesing Jain temple in Ahmedabad, built in 1847 is one of the celebrated historic Jain temple in Gujarat. Whichever literary or non-literary format mentions stone architecture of India, mention Jain architecture along with Dravidian, Hindu & Buddhist, Indo-Aryan or Indo-Islamic style. In the realm of Jain architecture, typologically Rajasthan and Gujarat top the list. The reason being due to good examples of craftsmanship and the topography of these states.

Stone carving in India is an ancient tradition. The skills of craftsmen began with the availability of stone and the need to produce basic crafted products for daily use, until it got recognized as a suitable building material. The two distinct types of stone carving are classical and folk which can be identified in Gujarat. The classical traditions were based on the practice of Shilpa Shahstras and the folk practice were visible in shrines, hero stones and products of daily use. The Jain temple trusts are still the main institutionalized patrons of the Jain stone carving in Gujarat.

The credit for these magnificent stone craftsmanship and temple planning of Gujarat goes to the Sompuras. They call themselves the descendants of Vishwakarma (Architect of the Gods) and the master builders of stone architecture of Gujarat. They play an important role in shaping the architecture and economy of Gujarat with their hammer and chisels and today, their descendants have carried forward the craft with implementation of mechanization. Hundreds of years later too, the Jain temples are being carried out by the Sompuras like the L.D. Institute of Indology is building a small Jain temple carried out by Mr. Parikshit Sompura which is documented here to understand the production process using the amalgamation of traditional carving methods with hand tools and CNC (Computer Numerical Control) technology integrating the principals of Shilpa Shahstras. The Sompuras today are identifying the opportunities of adapting modern technology in a traditional framework. Vishal Marbles is one of the large units in Ambaji run by a group of Sompura family employing 50 skilled and unskilled people. They refer to the Shilpa shahstra Vaastuvidyayam written by Nandlal Chunilal Sompura from Palitana, their grandfather. Vishal Marbles have built Jain temples all over Gujarat.

1

Kumarapala (1143 – 1172 CE) was a famous ruler of the Solanki dynasty of Gujarat at Patan. He was responsible in building many Jain Temples, like the temple at Taranga and Mount Girnar.

2 The Chalukya dynasty was an Indian empire which rules most of the deccan and western India, between the 6th to the 12th century.

Page 12

The cost of the temple is based on the number and complexity of elements with the amount of built-up area. The Sompuras have recently adopted the use of technology in order to compete with the supply and quality of industrial stone miners and stone pre-fabricators like Trivedi.

Trivedi & Co. practices prefabrication of stone with Italian equipment such as block-cutting machines, twenty tonne cranes for moving machinery and uncut stones and diamond cutting chainsaw machines. Trivedi & Co. has industrial warehouses and workshops in Changodar and Mauriya that prefabricates Jain temple elements and other high-end stone work. The Italian machines with BIM software, handle the modelling up to 90% and the final 10% of stone carving is done by the craftspeople at D.P.M to add finishing human touch. Trivedi & Co. are the pioneers to bring mechanization to stone craft in Gujarat and now has reached global scaled projects with high speed production and quality. From sub-primitive conditions, Trivedi has now set up a factory system in Ahmedabad and Abu. With these new technologies being taken up by various practitioners, stone carving in Gujarat has undergone changes in terms of its market value as well as a practice which has been until now a process of hands. Like other crafts in India, that we worry has changed its perception of being a craft due to the adaptations of technology, stone carving is one such. Today’s stone carving practice in Gujarat uses technology like CNC (Computer Numerical Control) cutting machines and CNC Water jets to cut and carve with exact precision. In these CNC machines, the end-to-end product design is automated using CAD (Computer Aided Design) and CAM (Computer Aided Manufacturing). This change has been brought about since the 1940-50s when the first CNC machine was built. The change of shift was triggered by industrialization and mechanization which hit every sector in India. Mechanization has found its way to the handskill dominated sectors like crafts today. Stone carving on Jain temples of Gujarat is one such practice. Earlier this practice was a combination of principally designed rules and hand- skill workmanship of risk, which is now changing to a workmanship of certainty with an engineered process. The appreciation of hand carved architectural elements is observed in India. But this appreciation is in terms of preserving a heritage and not for practical uses. The end product which gives precise output in limited time and resources is opted for. The appreciation of this handskilled craft in the west is more and hence today it is exported to different parts of the world in large quantities. This has made the process become global, adding stake holders and importers in the picture, but the economic life of the crafts person in India has found no change. India is taking an effort to adapt this technological advancements like CNC machines in the stone carving sector. Though this machine was designed for the automobile sector, its advantage of dealing with other building materials like stone developed. Italy is one of the leaders of the stone craft industry and the first use of CNC technology for stone was done there. The stone quarry miners have adapted this technology in stone carving but when bringing the stone carvers and these machines in one frame, the intimidation on the skill could be a reason for the decline in these master crafts people in stone carving. A crafts-person is one who is skilled in a craft technique and though he/she may produce a number of similar objects, each one however expresses the maker’s creativity as defined by Jasleen Dhamija in 2003. In the traditional process of carving which is a technique that creates a one of a kind unique form is passed on from one generation of skill to another. This skill is being used to transform the information in his/her mind to the hand, designing a form he/she imagined to a material that helps him/her bring out the form. The traditional practice involves a scope of improvement or change in every aspect until the finished product. The modern process improvises and visually examines the product before production, hence leaving no opportunity to improve or change once the information is passed to produce.

This research is studying stone carving practices of Jain temples in Gujarat, using traditional and mechanical processes. When does a “craft” become a mechanical process will be an important question to be asked.

Page 13

These stone carving practices are co-existing today and the demand for the CNC technology may overtake the traditional processes. Though this is helping India advance on a global scale, the economic condition of the crafts people has not changed much. The impact of mechanization maybe a boon or a curse to this craft sector is the hypothesis of this research. Showing the impacts of mechanization by visual demonstrations, production-to-consumption process and socio-economic impacts are going to be highlighted in this thesis to draw conclusions to the research. It is also important to understand the role of a designer or an architect in this scenario and defining it.

The study also analyses an element of Jain temple, completely carved and completely mechanized to understand and define the change in the process and the difference in the output. Each stage of the process is analysed minutely in the making of the temple element so as to understand the involvement of a crafts-person, machine and designer in the two processes. This research concludes in deriving analysis of different stone practitioners and the impact of mechanization in their practice with a demonstration of two modules showing comparative analysis of hand skill and technological use. The redefining of mechanization in today’s context becomes the scope too. Gujarat being the region chosen which has abundant stone quarries and an extra-ordinary legacy of stone craftsmanship. The craft has been shaping the heritage of Jain architecture all over the state. The rich heritage of Jainism has reached global networks and cornered the international market. The master craftspeople continuing the indigenous knowledge of stone carving which is a living and social practice is declining leaving the continuity and questioning the craft tradition practice.

This thesis tries to understand the impacts of computer aided manufacturing which has changed the nature of production of stone carving practice in Gujarat, highlighting the influence of mechanical tools and production process. Issues like hereditary transfer of knowledge, socioeconomic conditions, working methods, market value with respect to the craftspeople and the craft are questioned. The research raises questions of the sustenance of the craft, advantages and disadvantages of mechanization and survival of the stone carving craft in today’s context and practices.

According to Chhiber (2006) “The craftsman is the unbroken link in the tradition that embraced both the producer and the consumer within the social fabric. Art and aesthetics are deeply rooted in function. Ornamentation and decoration are not divorced from utility.”

Page 14

KEYWORDS The following are the key words associated to the domain of crafts in India. The keywords help in understanding the term mechanization in the map of crafts. The mind map below is identifying the key words of the research affiliated to mechanization in crafts domain.

Stone Innovation

Interior Architect

Time/ Money Technology

Gujarat

Sompura

Jain Temples Modern

Architecture

Traditional

Industrial Revolution Education

Designers KEYWORDS

Standardization

Mechanization

CNC Machine

Profession Skilled Availability

Crafts People

Skill

Craft

Mass Production

Value

Opportunities Economic Condition

Role

Unique Function

Stone Carving

Key words of the Crafts domain Implicit

Hand skills Apposition

Division of Labour

Centralization

Post-Urban Productivity Technology

Society

Uniqueness Hereditary Craftsmanship

Machine Tools

Traditional MECHANIZATION

Modern Movement

Mass Production

Techniques

CAD/ CAM Application

Identity

Heritage

Craft

Design

Standardisation Production

Culture

Factory System

CNC Machine Manufacturing

Religion

Knowledge

Translation

Industrial Revolution

Explicit

Tac It

Continuation

Stone

Material Resources Designer

Business

Industry Pre-Urban Social Effects

Availability

Working Methods

Context Market

Demand

Buyers Economy

Key words of the Research Page 15

CONTENTS

0

1

RESEARCH FRAMEWORK................................................................................... 18 0.0.

Preface Aim & Objectives, Main Research Query & Sub Queries, Scope & Limitations Significance Relevance Methodology BACKGROUND RESEARCH & FIELD SURVEY............................................. 30

1.1.

Introduction to Jain temple architecture 1.1.1. Indian Temple Architecture & its typologies (a) Stone architecture in India : Historic overview (b)Stone architecture in India- Time-line positioning Jain temple architecture.

1.1.2. Idea of Jain temple architecture in Gujarat (a) Principals of Shilpa Shahstra for temple building (b) Chronological Jain temple typology in India from the 7th Century (c) Chronological Jain temple typology in Gujarat from the 10th Century 1.1.3. Examples of Jain temples in Gujarat & their time frame of construction & style.

2

Page 16

1.2.

Introduction to Stone carving of Gujarat 1.2.1. An overview 1.2.2. Evolution and application of stone carving in Jain temples (a) Historic background (b) Important milestones (c) Applications of stones 1.2.3. Traditional Stone Craft practices 1.2.4. Current Stone Craft practices

1.3.

Tools & Techniques of stone carving in Jain temples 1.3.1. History of Tools and techniques in stone carving 1.3.2. Types and application of various tools (a) Hand and Power tools (b) Computerized automated tools

1.4.

Production process 1.4.1. Traditional Method of carving (a) Production-to-consumption system (b) Process 1.4.2. Modern Method of carving (a) Factory system (b) Process CASE STUDIES.......................................................................................................... 60

2.1.

Jain temple mapping- Reference and current style 2.1.1. The study of a reference celebrated Jain temple made in the 19th Century completely by hand - Hutheesing Jain Temple, Ahmedabad 2.1.2. Documenting an on-going temple construction to understand the change in the

process, and to document the involvement of tools and technology in the process of an on- site construction with Indian stone and craftsmen. L.D. Institute of Indology, campus, Ahmedabad.

3

4

2.2.

Physical case studies- Traditional and modern stone carving practices 2.2.1.The traditional methods of carving and detailing in Jain temples, Sompura architects from Ambaji 2.2.2.The Modern method of carving using CNC, Trivedi Stone crafts, Changodar.

2.3.

Interviews 2.3.1. Practitioners working with stone carving in various aspects 2.3.2. Craftspeople working with stone carving in various set - ups

2.4.

Empirical research through the prooduction of a Jain temple element 2.4.1. A brief description of Jain temple column - An architectural element 2.4.2. Process documentation (a) Traditional method of carving (b) Modern (CNC) method of carving

..

3.1.

ANALYSIS AND FINDINGS..................................................................................... 107 Analysis of practices and making:3.1.1. Brief about analysis 3.1.2. Procedure for analysis

3.2.

Visual analysis

3.3.

Process documentation/production method analysis - Empirical study

3.4.

Intangible (Socio-economic Impacts) Analysis CONCLUSION............................................................................................................. 128

4.1.

Addressing the parameters involved

4.2.

Opportunities and impacts of mechanization

4.3.

Further Queries and scope Epilogue Glossary References & Bibliography List of tables & Figures

Appendices : Background Research Appendix A : Where it all began: Industrial Revolution Appendix B : Role of Interior Architecture Appendix C : Terms of Reference

*Note:- All pages will have a footnote in the end of the page and all chapters will include summary of the chapter in the end of each chapter Page 17

0 RESEARCH FRAMEWORK

As Charny (2012) writes,“Even when making is experimental and open-ended, it observes rules. Craft always involves parameters, imposed by materials, tools, scale and the physical body of the maker”.

Page 18

PREFACE Positioned on the western coast of India, Gujarat has always been a commercial hub and an important landmark of India’s trade and commerce. The economic condition flourished maintaining foreign trade during the Solanki dynasty (926-1300). Merchants were going and coming between India and the far eastern countries and Persia. Stone work took a special place in the realm of arts and commerce. Gujarat has a repository of important stones like Sandstone, Granite and Marble. Sandstone is by far the most common and oldest stone found in Gujarat. Stone of the best types and varieties are found and quarried here. The Mesozoic “Unia” sandstone of Dhrangadhra and the Cretaceous sandstone underlying the Bagh beds of Madhya Pradesh called “Songir” have been used extensively in intricate carving on Jain temples.

Gujarat is not the native place of Jainism. No Jaina Tirthankara is known to have been born here, yet the association of Jainism with Gujarat is traceable since very early times. The Jain temples of western India form one of the richest and most creative developments of the northern Indian-temple architecture. The first wave of Jainism seems to have passed over Gujarat in the 4th Century B.C. and was seen brightest in the Solanki period (Singh, 1982). The progress of style of Jain temples of Gujarat maybe seen in two stages, viz.

1) Pre-Solanki period 2) Solanki period.

The essential elements of Jain temples in plan are the sanctum and mandapa – closed or open or both which is also present in the contemporary temples in India. The mukhamandapa and the devakulikas are the essential elements found in Jain temples of Gujarat only. Since hundreds of years Jain temple trusts have been the institutionalized patrons of stone carving in Gujarat.

These trusts organize construction, renovation and restoration of Jain temples. Individual Jain families offer their services by channeling their donations for temples through these trusts. The contribution of Sompuras, the master builders and craftsmen of Gujarat are the early known community who are socially known to be the temple architects. Under their chisel and hammer emerged some of the richest examples which have played a big role in shaping the stone craft of Gujarat. Their principals of designing are based on the ancient Sanskrit texts of Shilpa Shahstra covering the designing of temples.

Craft in India is significant and plays the 3rd largest role in India’s economy. This craft culture is considered to be affected by the growing industrialization influenced from the western countries. There are many studies done that diagnose and intervene the threats and opportunities of industrialization on current craft practices. Stone craft clusters and practitioners have been supported by organizations like Stone craft foundation (SCF), Development and Research Organization for nature, arts and heritage (DRONAH) in areas of infrastructure, production, market, artisans, social impacts and design. Stone carving is one of the oldest and traditionally renowned craft. The number of people engaged in the processing of stone is far greater than in any other craft material like cast iron, wood or clay.

This rich tradition is due to the highly skilled craftspeople who have enhanced the use of stone with the simplest of tools, patience, creativity and dedication carrying this craft from generations to the present day. There are two categories of stone craft, viz. Stone industry and stone handicrafts. The two main types of stone crafts are:- Carving and turning. Masonry, inlay and sand blasting are other types of stone craft.

1) Carving is one of the main process which involves subtracting stone and creating innovative elements and products with the use of hammers and chisels on roughly shaped stones. Large architectural elements are carved with the process of shaping like sculptures, jaalis and murals are called the relief type of carving.

Page 19

2)Turning is another type of stone craft which is used to create spherical or cylindrical elements with lath machines and manipulative hand tools.

The production- to-consumption process of stone crafts are mainly in 4 stages.

1) Before production, 2) Dressing, 3) Grinding or polishing and 4) Assembly or shipping.

Before production is where stone is collected from quarries or mines, second stage includes dressing the stone to basic shapes to carve or inlay, the next stage is grinding or polishing to add texture and smoothness and then joining these elements with mortar with tongue and groove.

The final stage is shipping or assembling of these elements with mortar. These processes are further studied and analyzed in detail with varied practitioners in detail in this research.

The definition of the term ‘stone craftsman’ was essential before surveying the craft all over the country. The original survey done in 1990-91 by MHRD (Ministry of Human resource and development), proceeded with a broad definition, including craftspeople with the ability to just dress stones. This includes grinding stone producers, since they have the ability to produce basic shapes. The next step is to carve other shapes and simple relief designs. The most basic form in stone working is the one who breaks up blocks for road metaling on a daily wage. Next comes the work at quarries who chips them into an appropriate shape for transportation and handling.

These kinds of workers are not included as a part of this research. Following this is the worker who shapes rough blocks into some kind of rudimentary end product. This craftsman is the base level considered for this research.

With the adaptations of new technologies, stone carving craft of Gujarat practicing temple constructions, Jain and Hindu have undergone a lot of changes. These changes have impacted the market, value chain as well as the design in many ways. Stone carving as mentioned earlier is perceived and known to be a traditional craft which works on the principal of workmanship of risk, like other traditional crafts practiced from one generation to other and carried on by the descendants with knowledge, skill of technique, design and tacit. Stone carving processes are technologically changed and hence the perception of craft quality is also questioned.

For example, in Rajasthan, RICO has categorized stone craft in the industry category from handicrafts. Today’s stone carving is practiced with CNC (Computer Numerical Control) machines which make stone forms of different architectural elements. This shift is due to mechanization and industrialization which is affecting almost all craft sectors in India. This thesis studies the impacts of these tools in stone craft practices demonstrated on Jain temples of Gujarat. The study involves understanding four cases viz. : 2 temples are studied and 2 practitioners of Jain temple stone carving in Gujarat: 1. Hutheesing Jain temple: A Jain temple completely made by hand to act as a reference 2. Jain temple at L.D. Institute of Indology : A temple under construction where the production process can be documented and pactices an amalgamation of machines and hand tools, 3. Vishaal Marbles: A Sompura architect, practicing stone craft practice since generations following design principals of Shilpa Shahstra.

4. Trivedi Corporation: Practicing large scale pre-fabricated temple elements in factory system adapting CNC machines.

These cases are analyzed and compared to understand the involvement, advantages and disadvantages of mechanization in the practice. The study also performs a small test on a Jain temple element, one hand-made and one machine-made, comparing them in terms of process, visual experience and expression.

The analysis will define the role of mechanization in stone carving practice which is the scope of the study.

Page 20

AIM The impact of mechanization on the traditional stone craft production-to-consumption system in the Jain temples of Gujarat.

OBJECTIVES 1. To understand the old techniques of carving, with respect to production, system of working, tools and techniques.

2. To document mechanized practice (predetermined system), in the aspects of production system, environment of working & tools and techniques used.

3. To analyse the mixed use techniques and determine the scope of mechanization in stone craft practices.

MAIN RESEARCH QUESTION 1. How has mechanization impacted the traditional stone craft production-to-consumption system?

2. What are the opportunities that mechanization offers to the traditional stone craft productionto-consumption system?

SUB-QUERIES 1. What are the traditional and contemporary stone craft production-to-consumption systems?

2. How and why did the transition from traditional to contemporary stone craft production- toconsumption systems come about?

3. What are viable opportunities at the intersections of tradition and the contemporary that mechanisation brings to stone crafts’ production-to-consumption systems?

SCOPE The scope of the study is the hypothesis which questions the impacts & parameters of mechanization on craft practices as demonstrated by stone carving.

1. The scope of the study is Re- defining Mechanization in a designer’s perception.

2. Limitations of mechanization.

3. A scope for another occupation or opportunity where mechanization amalgamates with craftsmanship.

4. To generate a dialogue demonstrating in the field, other influences of transformation, mechanization being one of them.

5. Other contributions to this research can be either the impacts of mechanization on other crafts or on other materials.

LIMITATIONS 1. The study is not focusing on the entire sector of crafts, but on stone practices in the last 20 years.

2. The study is limited to stone practitioners in Gujarat and Jain temple architecture of the state.

Page 21

SIGNIFICANCE OF THE RESEARCH 1. Jain Temples reflect a synthesis of arts, the ideals of dharma, beliefs, values and the way of life cherished under Jainism. Examples of splendid stone work in Jain temples are seen all over Gujarat.

2. The indigenous traditions, techniques and skills in Gujarat to design Jain temples are now being replaced with modern materials and technology.

3. These Indigenous temple building practice systems began even before 6th century A.D. Manuals in Sanskrit for constructing palatial temples were in circulation in India, which became the guide to design and construct temples called the Shilpa Shahstra.

4. Identifying similarities and differences between the traditional practices governed by shilpa shahstras and the modern industrial practices will draw a deeper understanding of the connecting dots between these indigenous practices and mechanized production systems.

5. This research will give opportunities to fellow Researchers, Designers and Architects to evolve their own ideas and this document would act as a handbook to identify the scope of design intervention in stone and other such allied crafts.

WHY STONE CRAFTS 1. Off all materials and allied crafts, stone craft stands out as one of the most significant one in shaping the history of architecture and interior spaces in India.

2. Stone being the oldest material right from the Harappa civilization, where remarkable stone sculptures of torsos and dancing figures in lime stone and red stone showed a refined understanding of stone craft.

3. Besides meeting material, cultural, spiritual and architectural needs, the craft has been a way of living for the craftspeople who derive a sense of accomplishment, meaning and sustenance from the practice,who belonged to the superior category of shilpa shahstras.

4. Stone crafts today have started to meet the industrialized way of manufacturing from crafting. Machines like CNC and water jets can perform the same tasks as done by artisans.

The limitations of machines are changing the principals of the Shahstras.

5. Such impacts of mechanization on a heritage craft like of stone offers an area to look into and hence, the need to analyze its practices are important.

WHY JAIN TEMPLES 1. Temples are historic monuments defining supreme power and legacy.

2. A temple is generally placed at the highest point of an area giving it respect, hence each element of the temple is principally designed with guidelines referred from the shahstras.

3. Under the skilled craftsmanship of the Sompuras, the Jain community has erected many rich temples during the Solanki dynasty. These temples are richly carved by thousands of skilled artisans expressing the narratives of Jainism.

4. The way a temple is conceived, built and represented matters to the community and hence the change of process from carving to a process of engineering should be studied.

Page 22

RELEVANCE In India, there is not much of a developed literature on crafts and technology, and therefore this research brings about a matter of discourse for designers, architects and people involved in encompassing the outer envelope as well as the internal environment of a building or a builtform. This study offers to break boundaries of transformation, and do some disciplinary research focusing on craft and mechanization. This thesis highlights the importance and the threat craft is facing that needs urgent actions which can help to understand the relationship and bond between hand skill and mechanical tools. This study is a continuation from an earlier thesis at CEPT University called Stone Carving of Rajasthan, An analysis of the traditional & current practices- with a focus on jaali. (Shirin Borgaonkar, 2011). The study focuses on modern and traditional stone carving practices in Rajasthan. This thesis focuses on Gujarat as a context in Jain temple architecture. The study helps in understanding the analysis of stone carving practices and the role of mechanization which changes the production process.

I strongly encourage colleagues to consider methods and approaches discussed here and use them to broaden our study of crafts. For academic purpose as well, this research holds importance in understanding the role of mechanization on current craft practices. Saraswat.S & Raheja.G (2014, December 24) states in an international conference on research design , One of the objectives of the Design Manifesto 2014 (released by MHRD, India in consultation with varied reputed institutions of the country) focuses on creating inter-disciplinary platforms for collaborative approaches to think about real world problems. And, one of its goals emphasizes on imagining, designing and implementing systems that are responsive to context, including markets, governance, social and cultural processes and existing knowledge levels and bases (Jain, 2015). In light of the above, such researches that help in solving the inter-disciplinary matters that affect the system create new vistas in the domain of profession and pedagogy. This comprehensive document on stone craft practices in Gujarat as relevant to built environments is to convey the transformation of the craft from a historical to a contemporary material and practice. The transformations due to political and economic factors since the industrial revolution on crafts sector in India has lead to major changes. These changes need an urgent attention to study to keep the origin of art in craft alive.

Of all the materials and the allied crafts, stone crafts play a major role in shaping the history of architecture and Interior architecture. Besides providing cultural, spiritual and richness to the architecture, stone crafts have had an impact on the craftspeople for generations. A sense of meaning, accomplishment and sustenance in the practice. The historicity of the craft and its practice today in contemporary ways with the use of new age building technology gave rise for this material to have tremendous potential to expand. The use of machines in crafts is changing the scenario of the processes and the main debate lies in if its still called crafts? As we all know crafts are identified from as any transformational process involving skill (knowledge, talent or proficiency, effort), aesthetics, and cultural meaning and consider the results of that crafting (verb) to be crafts (noun) as rightly said by Cathy Lynne Costin in Craft Production.

According to Dormer (2010),“ Not all studio crafts are ill at ease with contemporary technology, and far from all (or even many) craftspeople are in opposition to the machine (whether mechanical or electronic)” Whereas Greenhalgh (2002) quotes “People make the societies they live in. Machines, and I include here not only mechanical contrivances but also following Carlyle’s sense of the term, they do not fortuitously appear coincidently with an overall need for their function.” Peter Dormer talks about craftspeople having a choice to oppose machines, which does not fall true in today’s market except in studio crafts. Whereas Greenhalgh states that everything is a part of one society and may not be an option to oppose.

Page 23

METHODOLOGY: STRUCTURE OF THE STUDY METHODOLOGY: STRUCTURE OF THE STUDY This study will use interviews with production companies and craftspeople to extract information on the use of mechanization in crafts - its merits and demerits in both the fields. Featuring case study projects as the platform for discussion, drawing comparative cases of examples between mechanized type projects, crafted - type projects and an amalgamation of the two type projects.

This will draw a better understanding of the studies and queries I will be approaching in this thesis.

Phase 1: Background Study

Literature survey - Review concepts - Review previous research

Phase 2: Development of the proposal

Determine hypothesis - Construct methodology - Research design

Define aim and objectives

Phase 3: Empirical study

Field study - Physical mapping examples - Physical documentation of practices

Experimental study - Test the data with an experiment

Phase 4: Analysis

Collect data

Relevance

System thinking

Draw probable conclusions Parameters to analyze

Area of focus Field survey - Identification of the problem

Phase5: Conclusion

Cross check hypothesis Interviews of experts - Questionnaire development for survey - Survey for interviews

Draw conclusions

Further scope

Figure 1. The research method adopted for the study and the parameters to survey

The study draws 4 methods in which temples and stone is manufactured. The study would highlight Jain temples already built completely handmade as a reference to understand the difference and the highest adaptation of mechanization in stone temples. The gap is high and to study this comparatively will draw points to the impacts made on the craft through mechanization.

The studies will include the following categories:1) The reference study:- Hutheesing Jain temple, Ahmedabad is an example of a celebrated temple which is carved to a high level of detail in the 19th century. The study would be a reference to understand a quality level carving and the maximum understanding of the use of hand skill in this domain.

2) The contemporary style:- The Sompura architects in Ahmedabad like the L.D Institute of Indology, are making a temple using an amalgamation of hand and machine. The temple is being constructed by the Lal Bhai trust. This study helps to understand an on-going temple construction of the 21st Century.

3) The traditional age-old practice:- The Sompura Architect, Ambaji are the temple architects who still follow the shilpa shahstra style of making a temple, with few adaptations of mechanization newly adopted 18 months ago. Their practice still has craftspeople working on stone carving.

4) The post modern practice:- The Trivedi stone manufactures design and manufacture stone temple elements just by CNC and water jet machines from Europe.

The different scales of temple making will develop understanding of the degree of involvement of machines in today’s craft practices.

Page 24

Selection of material Defining terms

Degree of change & its impact

Review previous research

Area of focus

Background Study: Research Question Crafts &

Review Literature

Identifying

Field survey

problem

Mechanization

Jain temples In Gujarat

Define Aim & Objective

Confirming Area of focus

Trivedi (Modern)

Testing data with experiment

Further scope

Mapping Physical Temples

Mapping Practices

Comparative Analysis

Redefining mechanization

Lalbhai Trust (On-going)

Huteesing (Reference)

Stone carving of Gujarat

Academician

Crafts People

Empirical Research

Interviews

Process Analysis

Visual Analysis

Cross check hypothesis

Proposal

Geology & Geographical Study of Stone

Typology of Indian Architecture

Sompura (Traditional)

Hand vs Machine

Development of

Determine Hypothesis

Relevance

Typology of Jain Temple Architecture

Literature Reading for Area of focus

Analysis

Why stone

Why mechanization

System thinking

Socio- Eco Impact

Impacts

Focus Group

Conclusion/ Impact

Figure 2 Research methodology observed to achieve conclusion

Page 25

Completely Hand carved

Hutheesing Jain Temple, 19th century (reference study handmade)

Hand carved with basic machines

L. D. Institute, 21st Century (contemporary style, amalgamation)

Hand carved practice, adapting machines now

Mapping physical temples

Sompura Architects, Ambaji (traditional age-old practice)

Completely mechanized

Trivedi Stone Crafts, used pre-fabrication of stone production (post modern practice)

Mapping practices

Figure 3 The use of hand carving in different case studies to identify the involvement of machines

Hutheesing Jain temple

L.D. Museum of Indology

Vishal Marbles, Sompura Architect

Trivedi Corp

Figure 4 Visual referencing of the categories of cases studied Page 26

The study is approached in stages. The issues of mechanization injecting the stone craft industry was recognized and surveyed in literary and physical platforms. From there on its application in Jain temples and the changes with the addition of mechanization. The case studies were identified based on these points. This was the second and the most crucial stage. The third stage was to analyze the case studies and run the parallel and comparative study on them. The last stage of the research was to understand the role of mechanization in stone craft practices and its impact on the production process so as to identify the other aspects of transformation, where mechanization is one such on stone craft practices. The scope of this research focuses on re-defining the term mechanization in the idea of a designer & craftspeople in the stone craft industry.

Stage1:A historical background of Jain temple architecture was studied with the typology to understand the period under study. The stone craft of the last 3 centuries were examined where the change in the industry happened, from the traditional method to mechanized. To understand the evolution of stone craft, its background was recorded from the 6th century till today. The study of stone and its history was also an important part where its geographical and geological behavior were studied. This stage focused on the methods of carving, the tools and techniques used to understand the process of change from a traditional technique of carving to a modern technique of engineering.

Stage 2:This stage illustrates the case studies where a series of cases having different impacts and aspects to study. The commonality being the temples belong to Jain architecture from the 19th century till today. Hence the pilot studies helped in understanding different practitioners and examples of stone carving in Jain temples. It was necessary to inquire the evolution of mechanization in stone carving and its use on contemporary elements. The selection is validated based on the material and the context used. This section will further open up vistas to innovate and understand the change of transformations in stone craft as an architectural element due to industrial revolution.

The most important part of this stage is to study in detail the making of a temple element by hand and machine. The processes are studied from the quarrying to the final finished stage. The documentation of an on-going temple site construction that is practicing traditional and CNC crafted stone gave rise to the upcoming stage comparing it to a reference Jain temple of the 19th century.

Stage 3:This stage is the analysis stage. The first step of this stage is to do a S.W.O.T analysis for each case. Comparing a traditional temple architecture to an on going temple. The process of making temples with Shilpa Shahstras to a one with engineering tools like CNC and water jets is analyzed on set parameters that could impact the craft or helps in establishing the status of it.

These parameters are time, scale of production, process, craftspeople, stake holders, detailing & texture, expression, social impact and market analysis. Thus understanding the consumption of mechanization, its impacts and other such modes of transformation integrated in stone craft production-to-consumption system.

Stage 4:The concluding stage of the research high lights the issues related to stone carving and opens a dialog to discuss the modes of transformation impacted on stone crafts today. The advantages and disadvantages of mechanization in crafts sector which can be further analyzed in other craft practices.

Page 27

Selection criteria for Jain temple elements in Gujarat

Historic overview from citations

Cultural context

Society

Architecture

Social impact

Geographical

Religious Importance

Geological

Design

Proximity to CEPT

Parameters

Other researchers

Mechanization

Existing practitioners

Degree of change

Craftspeople

Identifying examples (old & new)

Documentation

Production-toconsumption system

Stake holders

Figure 5 A schematic representation for justifying the selection criteria for Jain Temples of Gujarat.

Field visits and Interview:Experts from various domains of crafts were interviewed to get an understanding on the selection of the craft and its relevance. The need to find a craft on which the impacts of mechanization has been affected was a challenge. An earlier research done on Stone Carving of Rajasthan, An analysis of the traditional & current practices- with a focus on jaali (Shirin Borgaonkar, 2011) inquires the two parallel practices of stone carving in Rajasthan stone clusters. Both practices are systematic, one is defined as an age old traditional craft defined and practiced from generations acquired from hereditary. Other is a digital practice with predetermined commands and workmanship of certainty based on an engineered process. The research questions what constitutes a skilled crafts-person in the age of technology and what are the changes brought about due to this in the perception of stone carving. Referring to some of the analytical approach of this thesis and other such, interviews based on context (which is Gujarat) and application (Jain temples) of various practitioners and their processes were examined. Understanding the perspective of the craftspeople, a master crafts-person from Orissa working on a Jain temple working on an on-going temple construction was interviewed. Mr. Vijay Sompura, at Ambaji was also interviewed to get a picture of the current stone carving practice in Gujarat of Jain temples. Sompuras are socially known as temple architects and are renowned to be the masters of practicing the principals of Shilpa Shahstras. His outlook and adaptations of mechanical interventions in today’s scenario is documented. Mr. Moksh Thappar, an industrial designer, practicing CNC and craft practices on customization and designing was interviewed to understand the system of working a technical, design driven world. Practicing Ar.Yatin Pandya had an interesting insight to mechanization, the degree of involvement of mechanization is the key in today’s building craft scenario. Mr. Kiran Trivedi quotes “Machines have created a shortage of craftspeople”, he is a pioneer in introducing Italian CNC machines and water jets to India in stone 17 years ago. His adoption to machines in the temple construction has reached global markets and therefore, due to his vision we can visualize temples pre-fabricated in India and built overseas. Trivedi owns one of the largest stone carving workshops in Ahmedabad, Gujarat. From these interviews and cases, an approach to understanding varied systems of working, organizing and setting up involving mechanization in different domains of stone crafts is analyzed.

Page 28

KEY NOTES FROM THE CHAPTER

Preface

Research Question

What is the impact of X on Y? Overview of the Thesis What are the opportunities and threats

Aim & Objective

Significance & Relevance

Literature Review

Defining Problem Determining Constrains Formulation of research objectives Articulate area of focus according to timeline

Methodology

Formulate Hypothesis Validity of the problem and context

Collect Data Analyze Collude

Summary of the chapter:The crafts spectrum of India posses the widest range of creativity and the broadest domain of development. How things transformed in the essence of shilpa shahstra, with the use of machines. The experience response to current needs, for example the use of air conditioning in the basement of a Jain temple had no mention in the shilpa shahshtra. Does this change bother the user or is it inherited in the shilpa shahtra the capacity of the system to grow with the inventions and transformations of the society. Setting a dialogue illustrating these responses, interpretation of the documentation of the physical demonstrations are examined.

The research situations sets an agenda of this thesis. The aim, objectives, significance and relevance of the hypothesis will help a fellow researcher understand the inquiry and thereafter follow the journey with literature review, case studies, analysis and inferences of their own.

Studying a temple before the pre modern era as a reference to understand the make of temple construction, planning and conceiving a temple built with stone and the use of mechanization in the post modern techniques. The traditional way of conceiving a temple, which is a clear expression of the principals is now changing. The intention of the building of the temple and to what extent in the way it was built integral part of the experience of the temple and so on. Not only in the physicality of the temple but also market and societal value that sets the place and does the process of building with machines altering that. Selecting a temple which stands as a reference like Ranakpur temple, Modhera temple etc. that were built in the traditional methods of construction before mechanization hit the temple construction era before the pre modern and industrial revolution.

Page 29

1 BACKGROUND RESEARCH & FIELD SURVEY As Chhiber (2006) writes,“In Gujarat, the total number of stone craftsmen in classical, folk and contemporary production number more than 5,000. There are always a certain number of craftsmen working in different parts of the country at Jain and other temples and they would account for an additional 500. These include salat, adigaur and Muslim craftspeople. The main master-craftsmen are from the Sompura community.�

Page 30

1.1. INTRODUCTION TO JAIN TEMPLE ARCHITECTURE In the Indian context, many religions harmoniously co-existed with interrelated faiths and influences. Among these, Hinduism was the most dominant one. Jainism has been prevailing since the 6th century B.C. The word Jain comes from “Jina” which means conqueror or liberator.

The Jains believe in a group of 24 jinas, each known as a tirthankara who bridges between the phenomenal world and liberation. . The exact time when the Jain idols were recognized is not known, but some scholars claim that a torso was found in the Harappa excavations in the 3rd millennium B.C. Jainism soon became symbolized and a true worshiper would acquire himself/ herself if he/she worships these images. This led for a need to locate a place for religious settlements and ceremonial purposes where worship could be directed. Thus temple building activity took place which was further evolved by the rules laid down by shilpashahstras. Under the Solanki kings who succeeded the Maitrakas early in the 11th century, Gujarat developed a distinctive style of Hindu temples. The chief feature of these Solanki styles were the intricately carved columns and brackets which support a complex beam structure upon which rose the carved dome-like ceiling of the columned hall. After the fall of the Solanki temple style in the 13th century rose the Jain temple architecture with marble made temples of Gujarat.

The three important elements of Jain temple architecture in India are the image chambers (garbagriha), halls (mandapas) and the porches (ardhamandapas). Porches are very small and simple halls which lead to the larger temple hall from the entrance. The mandapa is either closed or open pillared. The vestibule is an element between the image chamber and the hall.

The history of stone architecture in India is vast, hence a need to formulate it and place the position of Jain temple architecture which is under inquiry is necessary. The chart (a) helps us to view the position and time frame of Jain temple architecture in the large domain of stone temple architecture of India.

Figure 6 Shiva Temple at Sander near Mehsana in north Gujarat is a small but important example of 11th century Solanki period architecture of Gujarat Temple architecture. Reprinted (or adapted) “The Culture and Heritage of Gujarat, its Origin and Development”. Theosos cover.cdr. Retrieved from http://shodhganga.inflibnet.ac.in/ bitstream/10603/4680/8/08_chapter%202.pdf Page 31

1.1.1. INTRODUCTION TO TEMPLE ARCHITECTURE & ITS TYPOLOGIES The Indian temple is said to be the most scaled and proportionate structure on earth (Sompura, November 2011). Canonical texts like Vastuśāstras have extensively written about classified building typologies like houses, palaces, alters and places of worship. Till about the 6th century A.D., the style of temple architecture was similar both in the north as well as in the south of India. The simplest way to identify the formal type of temple is by its shrine. The clearest types in the Indian temples are noticed since the 7th century AD between northern and southern traditions, the former typified by curved spires (śikharas),the latter by stepped pyramidal towers. The most notable feature of the ancient texts on Hindu architecture is their classification of the temples into different ‘orders’ (Michell, 1977). These categories are generalized in the terms nagara, dravida and vesara which are found in these texts classified according to their typological features. James Fergusson, a 19th century pioneer of architectural history in India, labeled these respectively the Indo-Aryan and Dravidian styles. In 2011, Lorenzetti & Scialpi noted that “modern scholarship favors the terms Nāgara (literally ‘of the city’) and Drāviḍa (relating to the southern country)”. Specific types are described in plan and elevation with instructions about dimensions and proportions. In some cases it is possible, with knowledge of the architectural tradition and a degree of interpretation that must always have been necessary and expected, to draw the intended design (Hardy, 2009). Types are arranged hierarchically, usually ranging from small and simple to large and complex. Often a design is described as an elaboration on a previous one, outlining the new features before announcing that “all the rest is as before”.

In Indian temple architecture the combination of types is at the heart of the creative process (Lorenzetti & Scialpi, 2011). The distinctive range and categories of temples are central to the way Indian architecture was traditionally conceived. This fact is evident in architecture and the Shilpaśāstras. The impact of different styles of craftsmanship belonging to different Hindu periods was important in the history of architecture keeping in mind the continuing process of innovation and stylistic development (Michell, 1977).

The principal factors governing the styles of craftsmanship were the availability of raw materials and the influence of climatic zones. The availability of raw materials determined the techniques of construction and the type of carving. The source of the stones influenced the carving to a great extent. For example, the hard and crystalline stones prevented detailed carving, whereas where the rocks were soft and sedimentary, the carving was detailed with high precision. There were places where there were no stones locally available and some places had a variety of quarries in the same region. This created a contrast in traditions. The following diagram shows the point Lorenzetti & Scialpi (2011) were expressing in their article, “Glimpses of Indian History and Art: Reflections on the Past, Perspectives for the Future”.

Nagara (Northern India)

Dravida (Southern India)

Vesara (Deccan & Central India)

Figure 7 Geographical typologies of Indian temple architecture. Reprinted from Temples Styles in North India (Nagara Style), by UPSC preliums 2016. Retrieved from: http://iasmania.com/temples-styles-in-india/ Page 32

(a)Stone architecture in India- An overview The history of stone is largely visible to us today because of the durability of the material.

The history of stone follows the history of civilization . Stone travels a long journey from the quarry to the finished product, and this journey involves a lot of people. The number of hands engaged in the processing of stone is far greater than any other craft known. These hands were called ‘craftsmen’ of stone, a term used to describe both the cutter and the master builder. The master builder was known to be the sthapati, a senior advocate of the shahstras born into the Vishwakarma community like the Sompuras in Gujarat. Under them were the shilpis, who were specialized in raw material identification, processing, carving, construction methods etc. The Women folk also have started engaging in the craft community from rural folk. They engage in carrying loads to quarrying and after the carving is done, they polish and dress the stones. Since stone is available in abundance, it proved to be very invincible. The significant reason for the success of stone buildings in India is the identification and use of quality stone suited to carving.

According to Chhiber (2006a), the Indian subcontinent has stones of all varieties, shapes and sizes from expensive marble to cheap granite. It also has a variety of stone craft and stone working skills. These are best visible in the carved Granite temples of south India, the igneous rock cut caves of Ajanta and Ellora, the intricately carved Jain temples of western India, the sandstone carvings at Konark and Jaiselmer, stone erotica at Khajurao and the master planning of Fatehpur Sikri. (p. 16-25). Stone earlier was recognized in various uses, the products of stone were fashioned differently from region to region, sophisticated urban houses and the in ornately carved temples and palaces. Traditional stone carving skills were showcased in iconic buildings like places, temples, mosques and forts which reveal intricate carvings on elements like copings, columns, torans, brackets, arches and beams.

An important reason why stone was a successful building material was due to the correct identification of it and to recognize the stones suited to carving. The craftsman was accessed to the best material for carving. There were specific craftsmen just focusing on quarrying and supplying the best quality. Today the oldest monuments are intact due to this identification which came from vast experience. The sheer abundance of raw material is a good reason to revive the stone craft industry. Over the years, some vital attitudes and basic values of Indian traditions and craft have been preserved. But the tide of industrialization has had an effect on the production-to-consumption systems. Craft is fighting against the forces of mechanization and the market demand where traditional methods are either replaced or amalgamated. Mechanized technology like water jet-etching and tungsten carbide-tooling may be combined with the simple chisel to churn out products which were crafted earlier. This mechanized system has changed the scenario of stone architecture in India. These changes will be discussed in the following chapters. The history of stone architecture is vast. Hence to understand it is very important. To know the eras of stone architecture chronologically with examples is necessary. The following chart is prepared to understand which period adopted which kind of stone and what were the characteristics. This chart helps us identify the position of Jain architecture in the history of stone architecture in India. (Saraswat, 2010, September 9) John Ruskin (1989) says “The style of a national architecture may evidently depend in a great measure upon the nature of the rocks of the country”

Page 33

(b) Stone architecture in India- Time-line positioning Jain temple architecture Table 1.

Time-line of stone architecture in India.

PERIOD/ RULER

ARCHITECTURE

MAIN FEATURES

ARTISTANS

Hindu and Buddhist Architecture Complex Structures, highly lustrous Graeco Persian Ashokan Pillars Polish by polish 'prasanna kottakars' (traditional stone cutters) The Sanchi Stupa Monumental Proportions -

Ashoka (250 B.C.)

Stupas and Monumental Pillars

Sungas and Andhras (185 B.C. - 150 B.C.) Hinayana and Mahayana Rock Architecture (2 B.C. - 7 A.D.)

Work with Dressed Stone Rock Architecture No constructional principles Hinayana - Prayer involved as such, these are more like Halls and Monasteries sculptures rather than architecture Mahayana - Temples

Guptas and Chalukyas (450 A.D. - 750 A.D.)

Shrines

Perspective of huge pillars are similar to the large scale productions of the Egyptians

Architectural Composition Dressed Borrowed from Rock-cut Stone Masonry Chiselling on the carved decoration after the sculpture Technique was built Dravidian Style Pallavas (600 A.D. - 900 Mandapa' (excavation) Material Selection Granite for the A.D.) 'Ratha' (monolith) Foundations (firm substructure) and Sandstone for the upper portions (Carving) 'Shikhara' Cholas (900 A.D. Temples 1150 A.D.) -

Pandyas (1100 A.D. 1350 A.D.)

Temples

The Vijayanagara Dynasty (1350 A.D. 1565 A.D.)

Monuments and Temples

Gopuram' (large entrance pylon to a temple)

-

Pillars, Piers Complex Compositions Shaft as a central core for attaching a group of statuary -

Nayakas

Page 34

Temples

EXAMPLES

Gopuram' reached its pinnacle.

More Complex Plans Long Corridors

-

The Dumar Lena, Ellora, Kailasa Temple, Ellora, Elephanta, Salsette, Mamallapuram

Brahmanical Stone Shrines at Aihole in Bijapur, Karnataka

Kailasanath Temple at Kanchipuram, Shore Temple at Mamallapuram Brihadeswara Temple at Thanjavur, Gangaikondacholapuram Lingaraj Temple at Bhubaneswar Chidambaram, Kumbakonam, Tiruchirapally Hampi - it displays two types of carved stone masonry, one being the local Granite and other dark green Chlorite stone.

Horse Court at Srirangam near tiruchirapally Meenakshi Temple, Madurai Temple at Rameswaram

PERIOD/ RULER

ARCHITECTURE

MAIN FEATURES

ARTISTANS

The Indo-Aryan Styles (in terms of Regions and not Dynasties) Absence of Pillars, Plain Interiors, Ornamented walls of Exteriors most of the masonry in Laterite and doorways and important images carved from Chlorite 'Amla' - melon shaped disc at the summit to weigh the entire structure. For the first time in India, Laterite lintel reinforced with a number of Wrought Iron beams and a grid was formed Temples Proportions and rich Surface Treatment -

EXAMPLES

Orissa (800 A.D. - 1250 Temples A.D)

Lingaraja Temple, Bhubaneswara, Sum Temple, Konark Jagannath Temple, Puri Temple of Parashurameswar

Khajuraho and Rajputana (950 A.D. 1050 A.D.)

Kandaria Mahadev Temple (sandstone) at Khajuraho, Madhya Pradesh

Gujarat and Western Monuments and Shinning white Marble, Shrines and India (941 A.D. - 1311 Temples Canopies encrusted wuth precious A.D.) Semi Religious and stones and gems Civic Structures - 'kirti stambhas', towers, city gateways, tanks, 'vavs' or public wells Temples Cities of the Jains The Chalukyan Styles Temple Deities carved Without Arches, large spans bridged Hoysalas (1050 A.D. - at site and the Temple using only pillars and beams - Plans 1300 A.D.) Cities restricted by the length of lintel Twelfth Century Onwards

-

Sun Temple, Modhera Temple of Dilwara at Mt. Abu, Rajasthan (known for vailted ceiling of dome with very fine carving) 'Rani ni Vav' at Patan

-

Saas-Bahu and Teli-kaMandir at Gwalior, Temple at Halebid

The Indo-Islamic Style Mosques, Tombs, Constructional Innovations, Domes, Minars, Inlay, Introduction of Arch, Dome and Work, Carving, Mortar Calligraphy

-

Couple of Centuries Cities before India came under British Rule in the Eighteenth Century

British and Other European Styles Scientific Language of Stone Architecture

The Imperial Style seen in and around Delhi-Mosques and Tombs Provincial Style in JaunpurJami Masjid, Architecture of Dhar and Mandu in Malwa region, stone monuments of Patan, Broach, Khambat, Dholka, Ahmadabad and Sarkhej.

Mughal Style Fatehpur Sikri, Jami Masjid, Salim Chisti's Tomb, tomb of Itmad-ud-Daulah, Taj Mahal Medieval Places and Forts Man Mandir Palace at Gwalior

Portuguese, Dutch, Victoria Memorial at French and Danish Kolkata, city of New Delhi Styles

Note. Adapted from Narratives in Interior architecture: Stone crafts as a narrative medium for the ‘Radhasoami Samadh’ Soami Bagh, Agra, p.99-102, by Saraswat, Smriti, (2010, September 9), MIAD Thesis Page 35

Visual directory- Temple cities of Jains in Gujarat

Adishvara - Palitana

Palitana Jain temples in Bhavnagar

Girnar tirth in Junagadh

Figure 8 Temple cities of Jain’s in Gujarat. Reprinted from Indian journeys, Images of Jain India. The exuberance of Jain architecture is obvious in this temple. Palitana, Gujarat. Retrieved from: https://indianjourneys.wordpress. com/2011/03/25/images-of-jain-india/

Figure 9. Types of Hindu temple shikharas, from simple to complex. Retrieved from: http://imgbuddy.com/hindutemple-architecture-plan.asp Page 36

1.1.2. ROLE OF A JAIN TEMPLE IN INDIAN ARCHITECTURE In India, the temples are still categorized as northern and southern to sacred forms of building activities. The architectural traditions continue as it was during the Nayaka and Vijayanaga period (1350 AD - 1565 AD) in the south, whereas in the north there has been a discontinuation of such traditions developed during the Kalingas1 and the Solankis (941 AD - 1311 AD). The Indo- Aryan style, is developed in most of the areas of the northern continent of India. In terms of Architectural developments in Indo-Aryan idioms, Western India was one of the richest in early times. Between the early 11th and late 13th centuries, was also an important phase of architectural development (Vasavada. R, 1998). The major temple developments of Indo-Aryan style happened in Madhya Pradesh, Gujarat, Delhi, Orissa and some parts of Karnataka. The stable rule of Solanki power in Gujarat and the commercial affluence of the region encouraged and sustained stone construction. The territory of Gujarat also possessed the unrivaled resources of crafts and building traditions, which was the other factor they had at their disposal (Vasavada.

R, 1998). In building temples, rulers received the support of the common man. The wealth of the kingdom was diverted into making temples made of white marble, with shrines and canopies often encrusted with precious stones. (Chhiber, 2006a, p.121). The earliest temples in Gujarat were made at Patan and later other temples flourished in Kathiawar, Marwar, Somnath and Siddhapur regions of Gujarat. Vasavada states that, “Historically the region, based on the geographical boundaries - was also culturally different. The peninsular Saurashtra of the immediate history was distinctly known as Kathiawar, which was controlled by five different princely states headed by the ruling families, each class culturally different including their dialects and were derived from Kathiawari”. The important centers of this architectural development were Patan and Broach, Cambay and Dholka in 14th century, Ahmedabad, Sarkhej and Dholka in first half of 15th century and Ahmedabad, Mehmadabad, Batwa and Champaner all in the latter half of the 15th century. Along with temples, many other structures like vav, Kirti-stambas, towers, gateways and tanks became exquisite examples of building crafts as discussed by Chhiber.

Chhiber (2006a) also notes that, “The Rani ki vav at Patan built about 1050 AD is the largest and most lavish one” (p.121). Since the Solanki period where the temple construction boomed, i.e. 11th to 12th century in north India- there has been a repetition in important and inherently conceived character of Jain arts, craft and culture. Jain temples generally emphasizes on morality and virtues. Building arts are indicative of the level of technological skills and the craftsmanship traditionally evolved at a specific time. The craftspeople did adhere to their own codes and canons of architecture according to their traditions, however, it was also imperative for them to modify the intensity of these codes to suit their work to the needs of their new masters, who were culturally poles apart and their building philosophy totally opposite to the one professed under traditional temple arts (Vasavada. R, 1998). The sompuras, with their chisel and staff of masons formed an essential part of Gujarat’s economic growth. The British influence brought drastic changes in the ongoing local traditions of building practices and as a result in the built environment. Due to this foreign take over leaving Hindus and Jains no longer the ruler of the economic wealth and situations, the temple projects started reducing.

Vasavada. R (1998) states that, “The buildings built were essentially to house the administrative offices and also residences for both the British and Indian nobility in terms of Bungalows or garden house. Local materials were promoted for building but English engineers brought in their brick and stone construction with them and with great difficulty trained the local ‘mistrys’ to undertake these practices in lieu of their traditional craft stucco, brick and rubble work became the new materials and in methods which changed the course of building practices in many parts of India”. The impact of monumental buildings all over also influenced Gujarat and 1

Kalingas is an early name of the republic of central and eastern India, comprising of Odisha, Andra Pradesh and Chattisgarh.

Page 37

regional prince and rulers accepted wholeheartedly the new progressive, westernized building practices which expressed a very strange mixture of oriental and occidental forms, stylized and preferential but completely lacking in integral characteristic, which the earlier building traditions displayed (Vasavada. R, 1998). A clear decline in building temples and artistic traditions hit the Indian sub-continent. The number of skilled masons and craftspeople declined who could continue the architectural styles that once adorned the interior and exterior of the temples and the requirement of laborers to do masonry work increased. The inventions and adaptations of new materials and technologies like concrete and steel soon appeared, which replaced the stone and brick, hammer and chisel to CNC machines thus also started affecting the overall temple form due to their limitations and constraints. Concrete is molded to produce curved domes of the northern temples now. The reconstruction of many older Jain temples also occur now with refining with cement over the stone carving once done by skilled artisans. (a) Principals of Shilpa Shahstra for temple building Vaastu Vidya is concerned with the use and language of forms (Chhiber, 2006a, p. 73). For centuries the guidelines mentioned in the Vastu texts have influenced the construction of religious buildings and stone craftsmanship. Vaastu texts are fundamental to the Shilpa Shahstras which deal with the principals of layout and composition in architecture. The Vaastu is believed to be consisting of 32 texts. Over the time, many texts are rewritten, different texts have been summarized and compiled in new versions depending on the relevance to the current situation (Chhiber, 2006a, p. 73). These guidelines gradually developed during the 4th to the 16th century, building on the previous texts and adapting the evolution of architectural technology.

Measurement is the basic form of design and the octal nature of the traditional scale was effective in planning functional and economical spaces and simple building components. In vaastu texts, space directions and symbolic forms of the elements are considered the foundation of creation and design. (Chhiber, 2006a, p. 74).

Chhiber (2006a, p.81) indicates that there are ninty-six types of buildings specified in the Manasara1. The three basic styles are the ones we all know as dravida, nagara and vesara.

These are further classified according to materials; shuddha or pure, i.e. made of one material ; misra or mixed, means made of two materials and samkarna, which is an amalgamtion of stone, timber and brick. The most superior among these is the one made from one material, i.e. shuddha.

In the Shilpa Shahstras, there are detailed descriptions of various types of plan organizations, Shikharas, ceilings, columns, domes, torans, ornamental motifs and sculptures and iconography.

The texts are fairly detailed and updated from generations by the temple architects. Its is the most relied source for temple building with rules and regulations followed for every type of temple.

The Jain temple is different from Hindu temple in many ways (Gandhi, Shaily M. 2013). Temples scene in Gujarat contain the devkulikas (subsidiary shrines surrounding the temple). Gandhi, S. (2013) explains that the temples with these shrines have a rich variety of plan organizations and are more complex in nature. The temples are therefore divided in two main types, 1. Without the devkulikas - A temple without the devkulikas generally would consist of temples with or around other smaller temples usually 5 or 9 in number.

2. With the devkulikas - A temple with the devkulikas has a lot of variations and could have 24,52,72, 84 or108 devkulikas.

In Jainism, a temple is categorized by its super structure. The Shikhar-Bandhi is the most significant type of temple structure. It follows the most of the temple architecture rules for its planning and execution. Its generally built higher than the surrounding built forms to show its 1

Page 38

Manasara, in vaastu, means the essence of measurement, which infact defines architecture itself

importance and superiority (Gandhi, Shaily M. 2013) The Ghummat-Bandhi temple is the type which has a dome over the Garba-Griha area of the temple. The Dhaba-Bandhi roof is just like any other roof of a pol-house. It is the simplest kind of structure. The Ghar-Derasar type is for dense towns or cities, where there isn’t enough space for a Shikhar-Bandhi. This kind does not follow the strict rules and can face in an direction according to the position of the house. It accommodates itself for the situation around.

The main parts of the roof structure of the Jain temple are described as below:1. Shikhar - This is seen over the Garba-Griha which looks like a Shikhara.

2. Samran - This is seen over the Gudh-mandapa which is a domical ornate construction consisting of cornices supporting bell members of proportional sizes on a mathematical layout.

It first appeared in the 10th century in Gujarat.

There are several communities in Gujarat practicing stone carving of both Hindu and Muslim, working in stone creating intricate work of daily use and architectural elements. The most known ones are the Sompuras, who are from the Marvar region of Gujarat.

“According to the old written texts, the stone craftsman should know mathematics and the Puranas, the ancient collection of myths, painting and all the countries and should also have knowledge on the science of Vaastu.”

The shilpa shahstras, also deal with iconography and iconometry, i.e. details of postures, proportions and ornamentation in sculptures. The vaastu of sculpture fundamentally discusses the philosophy of form. The texts, also describes methods of laying out panels to be sculpted.

Shilpa texts later deals with the three dimensional sculpture in whose composition, talmana is used1(Chhiber, 2006a, p. 89).

Top of the head = Tower/Shikhara Forehead = Spectrum Between eye brows = Seat of divinity Nose = Vestibule Neck = Antechamber Body = Pillared outdoor Hall Hands = Prayer hall outside the sanctum

Figure 10 In vaastu, the analogy is extended to explain the various parts of the body as being representations of the aspects of a temple. Reprinted or adapted from Sreenivasaraos (2015, September 9).Temple Architecture – Devalaya Vastu – Part seven (7 of 9). Retrieved from http://sreenivasaraos.com/tag/temple-architecture/

1

Talamana, in vaastu, means the use of unique system of measurements and proportions Page 39

(b) Chronological typology chart of Jain temples in India

10th c.CE

11th c.CE

12th c.CE

16th c.CE

17th c.CE

18th c.CE

Page 40

13th c.CE

14th c.CE

15th c.CE

19th c.CE

20th c.CE

21st c.CE

Figure 11 Typology chart of Jain temples dating from the 10th century till 21st study. Reprinted from: List of Jain temples, Jain temple information, Jain temples of India, Modern Jain temple. Retrieved from https://en.wikipedia. org/wiki/List_of_Jain_temples, http://www.templeadvisor.com/temples/info/10913, http://www.indiamapped. com/jain-temples-of-india/songadh-tirtha/, http//www.padmapyramid.com/

Page 41

(c) Chronological typology chart of Jain temples in Gujarat

7th - 8th c.CE

10th c.CE

11th c.CE

15th c.CE

16th c.CE

17th c.CE

Post Solanki Period

Page 42

Post Solanki Period

Modern Period

Early 12th c.CE

Late12th c.CE

13th c.CE

19th c.CE

20th c.CE

21st c.CE

Modern Period

Modern Period

Modern Period

Figure 12 Typology chart of Jain temples of Gujarat dating from the 7th century till 21st study. Adapted from Singh, Harihar. (1982). Jaina temples of Western India. Varanasi P. V. Research Inst. 1982. Modern Jain temples.

Retrieved from http://www.padmapyramid.com/ Page 43

1.1.3. EXAMPLES OF JAIN TEMPLES IN GUJARAT AND ITS TIME FRAME OF CONSTRUCTION & STYLE. Under the Solanki kings who succeeded the Maitrakas early in the eleventh century, Gujarat developed a distinctive and prolific regional architectural style. One of the earliest temples to be built was the Surya temple at Modhera, which became the capital of the Solanki empire (Michell, 1977,p.123). The prosperity of the Solanki rulers were due to the geographical context of Gujarat, which was a focus of trade and commerce. This was another factor which helped in shaping the religious architecture of the state that speaks about its material and spiritual richness. Vimala Shah, the Minister of the first Solanki ruler, Bhirnadeva I of Gujarat, built the first Jain temple at Dilwara. Vasahi temple is one of the oldest examples of Jain temple architecture. The major contribution the Jains made towards architecture was the carving of sacred deities at sacred sites and therefore creating temple cities. Palitana temple complex built in the 11th century is one good example. Other temples in Gujarat, dating from the 11th century demonstrates the essential characteristics of the developed Solanki style. The sanctuary is no longer surrounded by a passageway and the outer walls are divided into a number of projections so the plan looks circular. The walls of the sanctuary are diminished in elevation and sculptures on each projection are surmounted by triangular pediments of arched motifs. A number of cornices provide the transition to the super structure, which continues the projection of the wall upwards1. The chief features of the columned hall are intricately carved columns and brackets which support a complex beam system upon which rise carved dome-like ceilings characteristic of temple architecture of Gujarat (Michell, 1977, p,124-126). Marble Jain temples arose at the decline of the Solanki empire in the 13th century. The temple of Adinath in Ranakpur is a magnificent example of Jain temple architecture of western India. The hutheesing Jain temple Ahmedabad, built in the 19th century is one of the deeply carved temple made in the city at the last stage. The temples built now are using mechanical aids to build pre-fabricated architectural elements which is even used in temples. Apart from temples, stone is used as a material to make furniture products and souvenirs made of marble and soapstone. Marble is also being used to make bath items and crockery for kitchen ware. Stone is also used in ritual products and for contemporary sculpturing. In interior architecture, it is being used for cladding, table top products and kitchen aids.

Figure 13 Plan of Neminath Jain temple, Gujarat. Reprinted from Girnar Jain temples.Wikipedia. Retrieved from https://en.wikipedia.org/wiki/Girnar_Jain_temples 1 A cornice or entablature is a part of a pillar which comprises the part of an order above a shaft.

Page 44

1.2. INTRODUCTION TO STONE CARVING OF GUJARAT Historically, crafts in all forms not only meet the mundane daily needs of the society but also the aesthetic, cultural and functional needs of the community and each individual connected to them. Of all the needs of the community, the built environment has been one of the main factors not only in constructing but also in narrating, finishing and polishing the environment for the users.

This documentation focuses on the use of building technology like mechanization on historic stone crafts demonstrated on Jain temple construction. The conclusion would be analysed in a way that it can be applied to crafts not only in stone but other materials and craft practices too.

Gujarat and Rajasthan are two states in India where stone is endowed of a good range, which have been quarried and used in different ways for decades. For temple to monuments, furniture to sculptures and artefacts to jewellery stone has always been a treasure for a wide range of innovative uses such as cutting, carving, inlaying, drilling, grinding which is a technique of subtracting. The carving of Gujarat artisans where temples were hand done is the reason why Emperor Akbar made Fatehpur Sikri with Gujarati artisans. There is historical evidence of the use of stone in Gujarat in temples, forts and monuments in the ancient and medieval period.

There is substantial use of stone in the colonial and modern period in furniture elements and decoration. After industrial revolution there was a need for an overall development where use of machines have been involved in a craft which was completely hand done before. Since stones have been used for generations, we still see stone buildings sanding in good health. This has made stone one of the most preferred building material. This had lead designers interested in experimenting with the material.

Gujarat being on the western most area of the Indian landmass is blessed with nature’s treasures.

Its topography, geography and geological diversity has been the reason of the variations of stones available here. The people of Gujarat indulging in stone practices have explored this treasure into building crafts with their skills which make this craft a part of the heritage craft by Council of Handicraft development Corporations. Rocks and their mineral components constitute the earth’s crust in veined and hue, hard and soft, opaque and translucent, porous ad non-porous forms. Stone is human kind’s earliest materials used in architecture, interiors, arts and tools. Its everlasting quality has made stone one of the most preferred materials from the neolithic age to today’s modern architectural styles.

Impact of Mechanization • • • •

Designer Users Quality of the Product Crafts People

Figure 14 Impact of mechanization can be considered in the above domains largely which are analyzed in detail during the case studies Page 45

In 1990, Jaitly noted that, “Man’s mastery of using stone was remarkable during the stone age where the stone- craftsmen of India evolved earlier than most other artisans.” Indian rock cut sanctuaries date from 3rd to 2nd century B.C. Most of the early rock cut sanctuaries were utilized by the Jains and the Buddhist sects. The interior spaces of structural temples began to be designed elaborately with a range of sculptures and ornamented motifs indicating the emergence of craftsmen who got known to be the temple architects of the Hindu temple then after.

The nature of the initial tools to be used on the rock-cut caves appeared to be a pointed chisel and an iron mallet. The rock was polished with the chisel first and then the surface was sketched and incised. The stone masons would hew out a high chamber from the rock followed by stone artisans who would clean and polish the surfaces. The caves at Mahabalipuram, began under the Pallava patronage in the 7th century, provide the information on the hewing technique used to hollow out low chambers (Michell, 1977). After the polished facade was incised, deep groves were cut out along the incised lines with a chisel. This process was repeated to achieve the required depth. In many temples, In India, both structural and rock-cut architecture was applied (Michell, 1977). Pallava architects are known to initiate the practice of carving after the 7th century B.C. The “rathas” at Mahabalipuram are among the celebrated ones. Stonemasons later practiced the art of carving to outline temple features from monoliths. The favored technique of carving was done even after the temple was constructed in structural stonework. The motifs and sculptures were carved across the joints. The fact was that stone was finely carved in order to achieve an almost invisible joining system which enhanced the quality of the temple. The idea of Hindu temple architecture is to achieve massiveness and strength in temples through the post and beam method. The other construction techniques though known, were ignored due to tradition and adherences to precedents as a cultural duty.

1.2.1. AN OVERVIEW Chhiber (2006b) describes stone craft as being a part of Gujarat’s tradition since ages. The temples of Gujarat has been a part of its identity. Bustling with traders and merchants under the rule of Solanki dynasty, stone work was at its peak in the realm of arts and commerce (p.41) From Somnath temple in the south to the Dwarkadesh temple in the eastern coast, from Adalaj ni vav to Ambaji temple, have all been an integral part in defining Gujarat’s history and stone craft. The availability of good quality stone has been an encouragement to the craftspersons to explore the craft. Sandstone, Granite and Marble were easily available. Gujarat houses varied in types of stone carving in stylistic and creative expressions since the prehistoric times.

Architectural wonders like Sun temple in Modhera, Rani ki vav in Patan, Khanderao Market in Vadodara, Navlakha Temple in Ghumli, Akshardham temple in Gandhinagar & Ajinath temple in Taranga are exemplary examples of stone carving displayed in Gujarat’s domain.

For centuries, the guidelines written in the Hindu texts of Shilpa Shahstra have influenced the traditional Hindu temples and stone craftsmanship. These guidelines came up from the 4th to the 16th centuries, often building on previous texts depending on the evolution in design and architectural technology. There are several communities in Gujarat following and practicing the traditional stone craft in different applications creating magnificent designs and styles contributing in defining their stories and culture. The better known group is the Sompuras belonging to the Marvar region of Gujarat. From under their hammers and chisels emerged some of the greatest examples of both Indo-Aryan and Islamic styles of architecture. They formed an essential part of Gujarat’s social economy and even today, their descendants still follow the early vocation of Stone architecture and carving.

Page 46

1.2.2.EVOLUTION OF STONE CARVING IN JAIN TEMPLES OF GUJARAT Many of the architectural undertakings were inspired under the Solanki rule due to the patronage of ministers and governors, very often prominent members of the Jain community (Chhiber 2006b, p. 41). The Jaina temples of Western India form one of the richest and the most prolific developments of the Northern Indian temple-architecture. The majority of Jain temples of our period roughly coincides with the sake of Somnath by Mahmud of Ghazni in 1025-26 A.D. and the occupation of Gujarat b Allauddin of Delhi in 1299 A.D (Singh, 1982).Each member of the Jain community had a material share in production under the system where substantial grants of money were provided by the public depending on each individuals affordibility whether it was grain or cloth. Therefore each one could identify themselves with the artistic productions of the community.

According to Jaitly (1990),“The Indian crafts provide a wide range of creativity and a broad range of development. India is a repository of art and craft forms of the world. The entry of the British manufacturers, fresh from industrial revolution, affected the status of the Indian artisans who was forced for labour or service work.”

Stone for decades served as a natural receptacle. Observing its sharp edges, availability and strength, man came upon using it as a tool and soon mastered over the use of stone in the era of development called the stone age. Stone cutter of India evolved as an artist- crafts-person earlier than most other crafts. Remarkable stone sculptures from Harappa and Mohenjodaro, of torsos and dancing figures in limestone, red stone and dark grey slate displayed till date in the L.D Museum, Ahmedabad showed a detailed and evolved understanding of sculptural art. Sculpture was one of the sub-sections of crafts practiced by the kammalar group of artisans who claim to be the direct descendants of Vishwakarma. The stone workers belonged to the superior state of category by the shilpashastras. The stone that symbolised lingam, the symbol of lord shiva was the first stone carving of profound significance. The stone icons consecrated in the garbagriha of temples gave sanctity to the work of the stone carver.

In Tamil Nadu, the magnificent icon makers of Swami Malai, Ramanathapuram and Tirunelveli follow strict guidelines in the selection of the stone and recite verses in order to acquire a clear mind and a sure hand before they began to carve the figure of a particular deity. Traditional methods of carving are still used. The measurements of the body proportions as mentioned in the shilpashastra are marked on the stone and then carved with a hammer and chisel. Individual stone carvers today seek to find expression in new areas. A large group of stone cutters industriously continue the inlaid marble work which saw artistry at its highest between 1548-1648 AD when the Taj Mahal was built. The people in Gujarat believed the usage of stone was inauspicious to be used in homes and was only used for their deities. Later the rich started using the stone at home and claimed that stone was only for rich and for the men in power.

Later this myth was abolished and all houses till today have their temples made of Ambaji marble.

“Experimentation in temple design is not possible. You cannot defy the visual expectation of the devotee when it comes to temple design. Temples must look like temples, otherwise they will not be treated like temples. Even in case of construction materials, the scope of variation is limited to natural materials like stone and wood, though sometimes glass is used in the interiors.

Steel, Plastics and Ceramics are definitely out.” According to Sompura (2011, November).

Architect’s voice. Retrieved from http://www.vaastuyogam.com/wp-content/uploads/2011/11/ architect-s_voice.pdf

Page 47

Rocks

One of the materials encompassing the Granite realm of crafts, stone is one such material that is the most grand and imposing. Stone Igneous has always helped in making architectural Basalt statements by its hard and rich behaviour right from Stonehenge, England to the Taj Sandstone Mahal, India. Stone has an everlasting quality, from majestic to graceful Sedimentary Dolomite and monumental with durability and permanence. Gujarat has an abundance of minerals and types of rock formations that Limestone can range from metamorphic varieties to igneous and sandstone varieties along with Marble their original state. Therefore Gujarat has Metamorphic a warehouse of natural resources with a Steatite wide range of stones. When composites of earth’s crust called rocks are broken down into small pieces they are called stones. Figure 15 The types of rock formations and its stone types.

Adapted from Stone buildings of Gujarat. Prepared by SID These rocks are classified on the basis of Research Cell and Gujarat Mineral Research and Development its formation and composition.

Society by Patel, Nimish, (2010) Ahmedabad CEPT Uni., (a) Historic Overview

School of Interior Design 2010

Stone was amongst the first material used by prehistoric man to create tools. Though items made from stone gave way to items made from metal, stone continued to be one of the preferred material for making sculptures.

The stone-carving tradition in India is one of the richest in the world. Guilds of masons and stone carvers have existed here since the 7th century B.C. The skills were handed down as family lore from father to son, a practice prevalent in some parts of the country even today.

India has a rich tradition of stonework, as is evident from temples in Khajuraho, Konark, Martand in Kashmir and Ellora etc, which have richly carved sculptures and relief work on them. Large temple complexes of Ramashwaram, Dilwara and Tirupati not only are marvels in stone, but they reflect a high degree of sophistication reached by craftsmen engaged in stone craft. Stone craft in India is not only restricted to ornate carvings on temples or sculptures of deities, but it is also used in making items like carved panels, tiles, paper weights, pen stands, models of historical buildings, sculptures of animals and humans etc. Different types of stones like, marble, soapstone, sand stone etc. are used by craftsmen in India. Large blocks of stone are quarried and then taken to various craft centres. The basic design is traced on the stone and it is given a crude shape. The final carving is then carried out and the items are polished. Gujarat is known for marble sculptures from Ambaji. Rural areas of Bihar are known for utensils made from black stone. (b) Important Milestones Table 2.

Stone craft: Position Analysis in India Large Temple Small Temples Statues Page 48

Gujarat, Rajasthan Gujarat, Rajasthan Tamil Nadu, Orissa, Pondicherry

Building element Accessories Utilitarian / Small Articles

Rajasthan, Gujara, Tamil Nadu, Orissa Gujarat, Rajasthan

Note. Adapted from Stone buildings of Gujarat. Prepared by SID Research Cell and Gujarat Mineral Research and Development Society by Patel, Nimish, (2010) Ahmedabad CEPT Uni., School of Interior Design 2010

Table 3.

Stone craft: Availability of types of stone in Gujarat

Dolomite

Amreli

x

x

x

Banaskantha

x

x

x

x

x

Bharuch

Granite

Limestone

Basalt

Cities

Bhavnagar

x

Dahad

x

Junagadh

x

Kheda

x

Kutch

x

Narmada

x

Panchmahal

x

x x

x x

x

x

x

x

x

x

Porbandar

x

Rajkot

x x

x

x

x

Surat

x

Surendranagar

x

Vadodara

Sandstone

x

Mehsana

Sabarkantha

Marble

x

x

x x

Note. Adapted from Stone buildings of Gujarat. Prepared by SID Research Cell and Gujarat Mineral Research and Development Society by Patel, Nimish, (2010) Ahmedabad CEPT Uni., School of Interior Design 2010 Page 49

All over the world and across history, stone has been the building material for constructing built forms for Gods. Exclusivity and durability by stone go together with the ideas of divine across all religions. Since Gujarat is house to different religious activities and communities, they have constructed religious buildings to honour their beliefs which include Jainism, Sikhism, Buddhism, Hinduism, Islam and Christianity. Gujarat is also bestowed with deposits of stone, which have been quarried and used for centuries in various ways. Stone is a testimony of materials used right from monumental to landscape features from cutting, carving, polishing and dressing skills of the craftspeople of Gujarat. It is also know that Emperor Akbar appointed the artisans of Gujarat to built Fatehpur Sikri. (Patel, Nimish, 2010) There is alot of evidence of stone in the medieval period to the colonial times of temples, mosques & forts in Gujarat’s history. The use of stone is also substantial in the design of buildings, furniture & artifacts. After independence the need for a quick building material arose, where stone with lime called Portland cement arose and now after six decades, the result these buildings dying and loosing their usefulness.

Whereas stone buildings are still seen standing steady and untouched with decent maintenance which made the designer community realize the value of stone as a preferred building material.

Table 4.

Stone craft: Celebrated temple architecture in Gujarat. This table illustrates the celebrated stone carving, mapping the position of Hutheesing Jain temple (case study)

No.

Temple

1 2 3

Adinath Temple, Palitana Janu Mosque Zinavari Gop Sun Temple

1 2 3 4 5 6 7 8 9 10

Zinavari Gop Sun Temple Shiva Temples, Road Sun Temple Navlakha Temple Saranesvas Shiva Temple Nav Dera Complex Jagat Mandir Shiva Temple Ambaji Temple Akshardham Temple

1 2 3 4 6 7

Completed

Temple Buldings 16th Century 1424 6th Century Hindu Temples 6th Century 7th-8th Century 1027 12-13th Century 15th Century 15th Century 16th Century 1947

1992 Jain Temple Kumbharia Temple 11th-12th Century Ajitnath Temple 12th Century Girnar Hills 12th-19th Century Neminath Temple, Girnar Hills 12th Century Adinath Temple 16th-19th Century Huthesing Temple 1847

Location Bhavnagar Ahmedabad Jamnagar Jamnagar Patan Modhera Ghumli Palo Palo Dwarka Somnath Ambaji Gandhinagar Ambaji Taranga Junagad Junagad Palitana Ahmedabad

Note. Adapted from Stone buildings of Gujarat. Prepared by SID Research Cell and Gujarat Mineral Research and Development Society by Patel, Nimish, (2010) Ahmedabad CEPT Uni., School of Interior Design 2010 Page 50

(c) Applications of stones Application of stone in the Gujarat state is plenty. Examples of stone products in Gujarat range from the rural folk type to the royal classical. While the royal patronage was encouraging the use of stone in architectural elements as seen in the numerous examples, it also served the need of ordinary products for artistic purposes.

Applications of Stone Systemic (Strength Stability)

Decorative (Visual Richness)

Finishes (Utilitarian Reparse)

Artefacts (Artistic)

Kitchen & table accessories

Furniture & Fixtures

Columns Forces

Brackets

Tile

Ritual products

Mortar pestles & grinders

Lamps

Beams

Torans

Cladding

Boxes

Plates

Table tops

Arches

Celling Panel

Inlay

Sculptures

Containers

Stools, chairs & benches

Door Frames

Decorative Relief

Vases, planters and urns

Jalis

Candle stand & photo frames

Railing

Clocks

Figure 16 Applications of stones craft in India and its sub-categories. Adapted from Stone buildings of Gujarat.

Prepared by SID Research Cell and Gujarat Mineral Research and Development Society by Patel, Nimish, (2010) Ahmedabad CEPT Uni., School of Interior Design 2010 and Stone craft of India - Volume 1. Neelam Chhiber (2006), Craft council of India with assistance from department of culture Government of India.

1.2.3. TRADITIONAL STONE CRAFT PRACTICES The dominating community of stone craft practice in Gujarat has been the Sompura community, who belong to the Hindu & Jain community. Chhiber (2006b) indicates that “The Sompuras trace their lineage to Vishwakarma and claim to have been the officiating priests of sacrifice at Prabhas Patan, which was performed by the moon on the advice of Brahma to please Shiva� (p.45). The craftspeople from this community who practiced were socially known to be the best in temple building. The Sompuras are known to be unique till today due to their adaptation of modern technology in the traditional framework. The care and correctness with which iconography on temples was and is executed indicates their deep understanding of the Shilpa art.

Page 51

Stone Carving in the pre-modern and pre-urban period has been characterized and categorized as a local craft, based due to locally available stone, local terminology and techniques. This craft is passed on from one generation to another and has managed to sustain so far. These craft practices were based on a strong belief system with a spiritual thought given behind every element or product. The temple builder belonged to the Sompura community. They are known as master temple builders. They have a thorough knowledge of marking on the stone and ascertaining the proportions. It was believed that traditionally if the temple was designed according to accurate calculations then it would draw a large number of devotees.

1.2.4. CURRENT STONE CARVING PRACTICES The current stone carving practice of Gujarat has undergone a lot of change technologically as well as the organization of the various people involved in the process of carving. The industrial revolution has played a huge role in changing the dynamics of the hand craft industry of India. The current stone carving practice involves following the traditional designs with newer and faster tools and technologies. The limitations of the tools causes in re-interpreting the traditional patterns. The stone carver traditionally known to be belonging to a community whose art is passed from generations does not exist anymore. Their training is neither restricted to a particular caste or style.

The largest group of stone carvers as mentioned earlier are of the Sompura community. They developed their skill of carving from generations and now are adhering to new mechanical tools in response to market demand rather than adhering to any basic principles of carving.

Due to this adherence, there has been appearing a scarcity of craftsmanship in Gujarat. The need for the craftspeople is still there, not for the designing, but for finishing or for the type of work machines are limited to perform. Hence the Sompuras either train new people or import craftsmen from Orissa. This decline in the availability of craftspeople is a major threat to the stone crafts scenario. Mass production and pre-fabrication is in demand today, and to cater o this demand, the workshop system s changing into a factory system with new aged computer numerical control machines.

The market demand is less to do with new designs and more to do with either reinterpreting old designs to a simpler format or replicating them. The new process involves tracing the traditional designs in machine accepted virtual modeling and then creating them in masses. The replication is not exactly the same, but excludes the limitations of the machine. Any element or product from columns, jaalis, jharokhas, pots, interior elements, partitions can be pre-fabricated and assembled in parts. The tools involved in various stages of the process are mechanical and computer aided. Due to the replacement of machines, the decline in the craft has lead the stone craftspeople to pursue either other modes of practice like handling and assembling machines or packaging and some have moved to pursue other professions. The new age stone carvers do not inherit the craft from their ancestors, but have been taking training for a year in stone carving workshops and work on daily wages. Some of the senior craftspeople come trained from Orissa to practice here. They learn faster due to the drawing already printed from CAD and traced on the stone rather than traditionally learning from the Sompuras. The stone workshops have a typical working system in a factory set up. This system runs on the demands of the market. The client and the workshop owner become the superior leads of the system. The owner needs to have a vast knowledge of the market value and demand, knowledge of the types of stone and a Page 52

combined knowledge of traditional practices and CAD/CAM systems. The work of the owner is to fulfill the demands of the client in a limited time and efficient mass production in good quality. He or She is pressurized to deliver by the time line of the project and to use computer aided machines for faster production and options. The unskilled labour help in assembling the machine and setting up the production. The engineer plays a role in making the virtual model and commanding and operating the machines for inputs. The skilled carver’s role is to deliver the finishing touches in the process and then the women craftspeople are engaged in polishing as they are good at it due to soft pressure. The architects and designers are involved in the initial stage of design development to produce the initial drawings. In the production, stage experts like the operator and an IT engineer to convert the drawings in the virtual format are co-existing.

The advantage of machines is that it saves labour and reduce the cost of products in a reasonable time frame. Therefore, it increases the material standard of living for the vast majority of people in industrialized time. Marx argues, bringing the negatives of the machine by saying “ Machines and all means of production mutilate the labourer into a fragment, degrade him to a level of an appendage of a machine, destroying every remnant of charm in his work and turn it into a hated toil.” Philospher Vilem Flusser adds, “tools work as a function of man, but man works as a function of machine” Professionals involved in the Current Stone Carving

Architect (Design Development Stage)

Workshop Owner (Production Stage)

Junior Architect

Workshop Manager

Mechanical Operator of CNC

Assembly Market

Software Professional

Account Professional

CNC Programmer

Installation according to coding

Graphic Designer

Market Surveyor

Workers

FINAL DRAWING

Mechanical Engineer

Craftsman

Software Professional

Stone Polishers/ Finishing Apprentice

Client Manager

FINAL PRODUCT

Packaging & Transportation

Client (Admin Stage)

Figure 17 Hierarchy of people involved in the current factory system of stone carving practice.

Page 53

1.3. TOOLS & TECHNIQUES OF STONE CARVING The tools and techniques of stone carving in Gujarat have gone through a lot of changes.

Most of the architectural elements of temple design are made either in workshops or temple sites. It is necessary to note that most stones of India, although have been categorized in their common name behave differently as per their geological formation. This aspect creates variations in the intricacy of carving and the quality of work across Gujarat. In some areas of Gujarat, tools and techniques have been developed due to a strong cultural heritage and in some areas, mostly urban, has had an influx of technology in the techniques. Some areas have remained economically backward due to a poor market demand, but have immense potential for development in terms of raw material and availability of skilled craftspeople. Today, there has been a lot of technological advancements in industrial stone production which is used to create bulk production in India and is mostly imported. Chhiber (2006a) indicates that India needs to develop mechanical aids suited to the stones available here which are hand-held and used for different regions of the country. It may not be possible to use the standard tools in all parts of the country and certain modifications will be required depending on the type of stone and the technique of carving. This need to produce hand-held mechanical tools for stone carving suited to the stone craft of different regions is a must. Instead of becoming a labourer and mechanical aided craft, it has positive possibilities to become a skilled driven craft with helpful handheld mechanical tools based on the traditionally approved and tested techniques. In Patan in Gujarat, the use of intensive inflated chisels are still being used to carve intricate marble temple elements. The need to adapt mechanization from the west is necessary but to churn these aids for the techniques followed by Indian tradition for independent development within the country needs to be adapted.

1.3.1. HISTORY OF TOOLS AND TECHNIQUES IN STONE CARVING Tools and techniques were very particular and hand made by the crafts person himself in the earlier times. The craftspeople were following principals of proportions for the tools as set by the Vaastu shahstras and the practices governed by the master crafts-person. (Borgaonkar, 2011).Different stones had a different technique of tool. They differ in shapes and sizes and require different tools for carving on different stones. Even tools for basic dressing, which is the primary step before carving differ from the tools required to carve or engrave which also depends on the type of stone used. Most of the stone workshop units in Gujarat today use an amalgamation of hand-held tools like hand cutters and hand drills along with hammers and chisels. These mechanical aids like inflated chisels and hand-held equipments were adapted for stone craft practice and now over a period of time have become an essential part of the traditional stone carving practice. Now-a-days, the stone craft industry have hit the mechanical era and integrated many machine operated techniques of carving. The computer is the new aided tool in the process of making. The computer acts as an extension of the mind. It encourages a variation and repetition in design and in formation to create prototypes. This tool of the mind integrates the combination of a designer, a visualizing software (which supports the production machine) and the fabrication process. The computer has its own set of techniques inherited to it that the designer or visualizer has to follow. The industrial revolution has changed the process of making of traditional forms crafted on site to an off-site mechanized production unit pre-manufactured and ready to assemble wherever required (Borgaonkar, 2011). Therefore, the demand to make complex products in mass production gave rise to more technological advancements. Computers have changed the course of production system in India. Some of the workshops like Trivedi have introduced large scale European CNC machines for carving to fulfill the market demand. In CNC the use of tools or size of needles used for carving is decided based on the material i.e. type of stone to be carved. Every stone has some set of requirements which comes from traditional practice to what kind of tool is best suited for it. For instance, Page 54

tools used to carve sandstone are very finely tipped flat chisels and a wooden mallet to facilitate fine carving just like carving on soapstones. In case of CNC machines, the diameter of the tool is decided based on the intricacy of carving and accordingly the tools are chosen. But in this case the force applied varies from the quality of stone used to carve. The following chapter discuses the different types of tools and the uses of the tools based on the quality of the stone from traditional hand tools to mechanized CNC machines.

1.3.2. TYPES AND APPLICATIONS OF VARIOUS TOOLS (a) Hand and power tools The essential ingredients for forging tools are fire, hammer, tongs and a stone trough of water.

These tools are made by the stone craft community itself. In Gujarat, large units with 10 workers have their entire lot of marble tools forged at the end of the day . In some parts of Gujarat, the wandering blacksmith community of lohars, forge tools for the craftspeople. Since sandstone and marble work is found in Gujarat the most, steel from mill bobbin rods or other mild steel scrap is used. Usually four people are required in tool forging, one person fans the fire keeping it at the right temperature while another holds the rod till it is red hot. Another person beats the hot tip to sharpen it, while the other douses the hot tip in water to temper it. The tempering is done in a shallow stone trough of water. The tips of chisels are kept in water for 15minutes. Cooking coal and charcoal is usually used as fuels due to it being affordable. Often the charcoal is also made by the craftsmen themselves. In comparison to granite tools, marble tools are finer and longer giving the craftsperson more leverage in manipulating his grip and carving at different angles allowing great versatility. The chisel which tapers from a cylindrical to a flat cross section and can be used on flat surfaces and a chisel which after tapering from a cylindrical to a flat section again flattens out in the opposite axis, hence has a narrow neck and can be used in grooves.

These specific tools are used by the craftsmen of Gujarat a lot for intricate carving work. The chisel which has got fine teeth is used to add texture. In marble, inflated tools is best used for temple elements carved by unskilled craftspeople. Flat chisels of maximum width 1 or 2 centimeters wide are used in sandstone tools.

Apart from chisels, hammers and tongs for forging are also commonly used for stone carving. A unique type of hammer is used by Sompuras, The handle which is made of bamboo has a hole running through its length.

While the crafts-person is chiseling, the dust produced is blown away by the bamboo handle of the hammer.

This protects the marble dust from entering the lungs of the crafts-person. In Gujarat there is an extensive use of hand-held circular saws and cutters to cut marble blocks and hand-held grinders to operate mechanically for large idols. Polishing is done with hands as it is a very intricate work. Commonly used machines for stones are fixed and hand held cutters, fixed and hand held grinders, chamfering machines, inflated chisels Figure 18 Sketch showing marble tools, Adapted and lathes. from Chhiber (2006a, p.197) Page 55

(b) Computerized automated tools CNC- Computer numerical control is a computer based technology which converts a design into numerical data which further gets translated to the controller which is attached to the tools and controls its movements. A microprocessor in each machine reads the G-code1program that the user creates to program operations. Computers are used to design the products and are also used to write the program either by manual typing of G-code programs or by using CAM (Computer Aided Manufacturing) software which outputs G-codes from the input of toolpaths and cutters. Mills and lathes are examples of CNC machines. The selection of the tool is very important for stone carving in CNC like hole sizes and drill press for creating different depths on its holes. CNC drills are equipped depending on the type of hole which will be used for drilling. The practical operations of CNC machines vary from drilling, lathes, milling machines, laser cutting machines, multi-axes spindles etc. Mill and lathes both designed during the industrial revolution were first operated manually. The human force could not handle these machinery with their energy, hence a new system of numerical control was developed to control these machines based on the punching codes of a tape. Further with the increase in demand in production, a faster process was required which could produce these codes at a faster rate with high- efficiency. Hence in the 1930’s most of the labor work got mechanized. Complexity in mechanization was in demand due to the need for high precision and accuracy. CNC mills use computer control to cut different materials. They translate programs consisting of numbers and letters to move the spindle in any location and depth. Standard linear CNC mills are limited to 3 axis (X, Y, and Z) which was first used in the U.S army in 1950’s, but others may also have one or more rotational axes. Lathes are CNC machines that cut workpieces while they are being rotated. CNC lathes are used to make precise cuts with indexable tools and drills. CNC lathes have 2 axes in general. Today, CNC mills can have 4 to 6 axes. In 1960’s the CNC machines were used globally and in 1970’s specialized computers were manufactured for the numerical controls. A water jet is a tool capable of slicing metal or stones (such as granite) by using a jet of water at high velocity and pressure, or a mixture of water and an abrasive substance, such as sand. Water jets are now used very often in stone production workshops. Water jet cutters are used for operations such as cutting, shaping, carving, and reaming and hence has found applications in various prefabrication workshops specially for sensitive materials.

1.3.2.1.TOOLS USED FOR CNC MILLING MACHINES The CNC milling machines are used in stone carving which involves digital and mechanical tools in the process. (a) Digital tools Digital environment is a modern virtual space that helps in designing, analysis and prototyping of an element and is possible on computer device using softwares like Rhino, Unigraphics, Artpro, Techsoft, SolidWorks etc. Digital tools are developed to meet the production needs in fields like aerospace, automobile, architecture and entertainment or for specific purposes in any design or manufacturing process like conceptual designing, rendering, visualization, design development and engineering. CAD/CAM softwares are used to derive 2-D drawings from 3-D visual models. These softwares are also used to produce parametric variation to evaluate the 1 G-code is a language in which people tell computerized machine tools how to make something. The “how” is defined by instructions on where to move, how fast to move, and what path to move. The most common situation is that, within a machine tool, a cutting tool is moved according to these instructions through a toolpath and cuts away material to leave only the finished workpiece.

Page 56

development of simple geometric configurations. Geometry can be exported to be used in connection with CNC machine (Schodek, Daniel and Others, 2005). Digital practice in stone craft has many advantages. The machine first analysis the stone before cutting to avoid manual error. Once the design of a Jain temple element part by part is made on the digital environment, numerable pieces are made after by deriving the patterns from the earlier one with different permutations. These permutations can be seen in the computer itself before manufacturing to get the idea of the design and its possibilities. Most of the designs are first started in AutoCad. These drawings are precise and 2-dimentional. After this, the drawings can be exported to a 3-dimentional software like Rhino or TechSoft to produce modeling and contouring. (Borgaonkar, Shirin. 2011). (b) Mechanical tools The control system in the CNC machine is a computer which helps in giving command to the machine that controls the movement of the tool. The two important parts of the control unit are DPU and CLU - the DPU is a data processing unit which functions as the translator of all the data collected from the three-dimensional software and processes all the calculations and transfers it to the CLU - Control loops unit. The CLU operates the driver attached to the lead screw and transfers the data received from DPU. This technical understanding is important for the operator of the machine to understand. The work of this operator handling the machine is to check the movement of the tool and adjusting the movement of the lead screw if required.

Figure 19 Schematic illustration of a typical numerical control system for CNC milling machine.

Figure 20 Schematic illustration of drilling, boring and milling of various paths.

Figure 21 Right hand coordinate system used in drill press and lathe.

All the above figures are Adapted from Rawi. S. (2013, January 29). CNC Notes. Retrieved from: http://www. slideshare.net/safwan121/cnc-notes-1 Page 57

Table 5.

Uses of different tools: Hand and mechanically aided Tools Abrasives Chisels of various size Aadhi naraji Badi chaursi Bepdi Chaurasi

Uses Used to smooth the surface of stone Variously sized tools used to cut, carve, texture or finish stone; usually made of iron and tipped with diamond bits Used to apply finishes on stone. Selected when somewhat intricate textures are required Flat tipped chisel with a 1 1/4th tip Flat tipped chisel A flat tipped chisel with a 3/4" tip. Used to remove stone as well as make the surface plain

Chheni

Used to block forms and plane the surface prior to the application of finishes, especially the plain talpai finish Sua Pointed chisel Taanki Pointed chisel with a 1/8" or 1/4" tip. Used to apply various finishes on stone, especailly the dotted or danna finish is to be carried out Taku Used to remove stone, but used where more intricate work than that possible with the tincture is required Tinture A heavy chisel used after the form is marked on the stone for removing large chunks of negative areas in the design Used for marking on stone or drawing patterns Compass Divider Used for marking curves on the stone Emery paper Used for polishing of stone artifacts and elements, either by hand or machine Emery stone Used for polishing of stone artifacts and elements, either by hand Files Used to smooth the surface of stone Gangsaw Used for cutting stone blocks Hammer of various Used with chisel to carve, texture and pattern stone. According to intended use, hammers of different heads weights and strengths are employed. Some have holes for the artisan to blow through the stone dust while working Hand cutter Used to cut the stone into pieces of various sizes; now also used for carving where large volumes of stone are to be removed Hand grinder Used to finish edges and smooth the surface of stone Hand polishing machine Used to smooth the surface of stone Lathe Plumb line or sawal thread Ruler or Gaj Stensil or farma Thread Right angle or Gunia Wire brush Digital tools CAD/ CAM

Used to move large stone blocks Used as a refrence while carving

CATIA UniGraphics

CATIA - is a software that is developed for product lifestyle management Unigraphics is used by some of stone carving workshops in India for complex curve modelling

Rhino

RHINO is used for modelling fine curves as it specializes in free form non-liner splines. The significance of using this software is that it has additional plugin to CNC milling machine allowing direct toolpath generation

Mechanical tools Controller Motors & Actuators Machine tool Display screen

Used to measure stone or draw straight lines and grids Used for making design on the stone; may be made of paper, ply or mild steel Used for checking dimensions Used to correct blocking of the form at 90 degree angle Used to clean stone surface These are the modern day tools aiding computer to generate modelling Softwares that simulate 3D modelling of the product to the precise point. These softwares generate programmes that run the mechanical tools attached to the computer. These softwares use computer technology to aid design, analysis and manufacture of products or 3 dimensional objects.

Attached to tool and reads the part programe and opens it into numericals that are visible on screen Receives instructions in digital format which makes the tools move Translates and moves according to the programe Shows a track of: tool position, tool speed, co-ordinates of tool related to machine zero position, status of coolant, tool bit being used, time to completion, how long job has to run

Note. Adapted from Stone carving of Rajasthan : An analysis of the traditional and current practice - with a focus on jaali by Borgaonkar, Shirin (2011). Ahmedabad CEPT Uni. MIAD Thesis.

Page 58

KEY NOTES FROM THE CHAPTER

Introduction to Indian temple Architecture

Chronology of Jain temple architecture in India

Celebrated temple architecture in Gujarat

Introduction to Jain temple Architecture

Stone architecture in India

Evolution of stone carving in Jain temples of Gujarat

Historic overview

Role of Jain temple architecture in India

Positions of Jain temples in India

Chronology of Jain temple architecture in Gujarat

Principals of shilpa shahstra

Stone carving of Gujarat

Examples of Jain temples in Gujarat

Summary of stones

Availability of types of stones in Gujarat

Craft practices

Traditional craft practices Current craft practices Tools and techniques

Application of stones

Traditional hand & power tools CNC milling machines

Summary of the chapter:This chapter dealt with the back ground study of Jain temples in Gujarat and the practices of stone carving. It was important to draw typologies of Jain architecture in comparison to the Indian temple architecture in India as this was the area of focus.

The chapter also highlights the availability of types of stones in different parts of Gujarat and the applications of it in various domains. The stone carving practice is significant in the history of Gujarat which have gained significance in the Solanki dynasty where temple architecture grew with Gujarat’s economy. This chapter highlights the parts of history which play a huge role in shaping the stone carving craft in Jain temples.

Temples in Gujarat however, till today are designed on the principals of Shilpa Shahstra, which is a canonical Hindu text on designing and constructing temples. There were communities who practiced this craft known as the Sompuras. The traditional style of temple making is also reviewed in this chapter with the tools and techniques applied to it. As a part of the literature review all the historical aspects and data are retrieved here. The field survey was done to note the current practices of stone carving today.

The chapter helped me as a researcher understand the background of stone carving practices on Jain temples, along with the ideology of carving and the tools and techniques applied. This chapter was important in forming a base to certain terminologies used ahead and the understanding of the historic overview of the stone craft industry of Gujarat.

Page 59

2 CASE STUDIES

As Dormer (2010) writes, “William Burton asked an audience of design students to, Let me enter a respectful but emphatic protest against the wisely prevalent idea that hand-work is so sacrosanct that all hand-work, whether ancient or modern, must be essentially artistic and superior to the best that can be done by modern machines.� he was objecting to the powerful refusal on the part of many individuals and institutions to accept the possibility of a machine-based art. (p. 108)

Page 60

CASE STUDIES : OVERVIEW

Crafts

Impact

Production to consumption system

Technology

Involvement of Machine

Crafts people

Mechanization

Gujarat

Research Question

Conclusion

Carving

Jain Temple

Literature Review

Analysis

Stone

Indian Store

Methodology

Empirical Study

Figure 22 The funnel of words that define the process of the research.

The three main reasons for choosing Stone carving practice of Gujarat as a case study to demonstrate the impact of mechanization are :1) Jain temple architecture of Gujarat is noted since the 4th century for its prolific and magnificent scale and detail of carving. The history of Jainism and its continuity with principally designed temples according to the canonical texts of Shilpa Shahstra.

2) In order to demonstrate the involvement of mechanization, the proximity of the practice to CEPT and other researchers was an important factor.

3) The transformation this material and craft has gone through over a period of time, in terms of the process of making.

The need to demonstrate the use of mechanization in crafts is necessary. To identify a craft that would be the most suitable demonstration to help me find answers and empirical data to back my research is the most challenging part. Hence the brief of my pilot study was an amalgamation of interviews from Professors, Practitioners and literature reading in the Indian contexts on different craft sectors in India. Due to the proximity of the material stone and its high degree of variations, adaptations, interpretations and uses, I chose stone as the material to demonstrate the degree of involvement of machines and hand skill in it. After reading an article by Laila Tyabji, I was intrigued to understand the role of hand-skills in the technological advances and its adaptations. Stone practitioners have recently started to adopt the use of machinery in their manufacturing process, with the hand-skill just used as finishing and polishing. The degree of involvement of various crafts people and various stone manufacturers is the major focus of these case studies. The pilot study was a general understanding of Jain temples in Gujarat, Stone temples in Gujarat and the type of stones available here. The brief information was given in Stone buildings of Gujarat prepared by the SID Research Cell and Gujarat Mineral Research and Development Society, Patel, Nimish. The physical pilot studies are from the L.D. Institute of Indology and the Hutheesing Jain temple in Ahmedabad. The pilot study lead me to understand the Jain Temple architecture, its elements and the crafts people and types of stones used in the construction and its techniques. The methodology for the following case studies are to locate stone practitioners of Jain temple construction or manufacturers of prefabricated temple elements and the local crafts people working on and off site on such projects. Interviewing and understanding the processes, tools and involvement of automated machines in stone carving, questioning and documenting the analysis, findings, identifying issues and thus resulting to probable conclusions.

Page 61

The case study is done in 4 categories:1. Mapping and understanding physical Jain temples - Old and new 2. Physical documentation of modern and traditional practices with photographic and visual mapping, interviews and process analysis 3. Experimental study of a Jain temple element - Comparing hand-made to machine made .

4. Interviews of craftspeople, engineers, industrial designers, Sompura architects, miners,etc.

Different Categories of Empirical Case Studies

Mapping Physical Jain Temples Jain Temples of the 19th Century using traditional tools

Mapping Different Practices

On-going Temple construction using modern methods

Huthessing Jain Temple, Ahmedabad

Lalbhai Trust

Modern stone carving practice

Trivedi Corp

Traditional stone carving practice

Interviews

Experimental study of Jain temple element

Interviews of various stone practitioner

Jain temple column element

Sompura architects – Vishal marble

Crafts people

Hand carved element

Sculptures & Industrial designers

Machine carved element

Engineers

Figure 23 The 4 different case studies with reasons and aspects to compare each.

The mapping is further explained between the temple documentation study and the practicing process study. Following are the parameters for selecting each case.

The parameters of each case study

Hutheesing Jain Temple, Ahmedabad

Vishal Marbles, Sompura architect, Ambaji

L. D. Institute of Indology, Ahmedabad

Trivedi Stone Crafts, Changodar

19th Century Jain Temple

Traditional temple architect, known to be descendants of Vishwakarma

On going Jain Temple in Ahmedabad

Stone miner &prefabricator

Reference Jain Temple completely hand carved with sandstone

Practices shilpasashtra principles of traditional temple architecture

Carving of Orissan & Ambji stone artisans

Pioneer of adopting automated mechanization in stone in India

Adapting the use of mechanization now

Amalgamating the use of hand skills & technology

Understanding the architecture, design and carving of a celebrated Jain temple

Figure 24 The 4 different case studies with reasons and aspects to compare each.

Page 62

Deals with architectural projects like commercial, residential & monumental globally

2.1. JAIN TEMPLE MAPPING- REFERENCE AND CURRENT

Hutheesing Jain temple

Lalbhai Museum L.D. InstituteDalpatbhai of Indology, Ahmedabad Gujarat

Hutheesing Jain temple, Ahmedabad, Gujarat

Figure 25 Location of Hutheesing Jain temple and L.D. Institute of Indology, Ahmedabad. Retrieved from google maps.

Trivedi stones, Changodar Vishal Ambaji Hutheesing Jain temple, Ahmedabad which is an exampleMarbles, of a celebrated Jain temple in the th 19 Century made by hand skills and the principals of shilpa shahstra. Located at Shasansamrat Bhavan- Hutheesing Jain temple, Delhi Gate, leading to Shahibag area.

L.D Institute of Indology Campus has a temple under construction which is made in typical Jain style of architecture with the help of artisans from Orissa and Ahmedabad. Located at the L.D. Institute of Intology, University road, Navrangpura Ahmedabad.

a

a

b

b

c

c

Figure 26 Campus of L.D.Institute of Indology, Ahmedabad

a

b

c

Figure 27 Hutheesing Jain temple, Ahmedabad Page 63

1 HUTHEESING JAIN TEMPLE, AHMEDABAD

“Understanding from where traditions came from and where is it going.

The agents of change is the processes of mechanization and its evaluation is to be accounted.”

Page 64

2.1.1. HUTHEESING JAIN TEMPLE, AHMEDABAD - Hutheesing Kesarising Trust (a) Criteria for selection The Hutheesing temple was a part of the pilot study & field survey stage to understand the aspects of a traditional Jain temple. The aspects to be observed in this case are the texturality of the temple, the detail of carving, the formation shadows, materiality, techniques of carving through literature review and the period of time it was built so as to examine the typology of the temple. The temple acts as a sample study in order to perceive the carving of a typical Jain temple made completely with traditional methods of carving. (b) Introduction The construction of the temple was initiated & originally planned by Shet Hathisinh Kesarisinh in Vikram Samvat 1901, who passed away before the completion at 49. After his death the construction was completed by his wife Shethani Harkunvar. The total cost was approximately Rs. 8 lakh, which was raised by the Hutheesing trust. The temple is dedicated to Dharmanatha, the fifteenth Jain Tirthankar (Dhaky, M. A. Ed. 1998) Premchand Salat is the architect of the temple, who had many master craftsmen working under him. As Yatin Panya says the temple is one of the finest explorations of regionalism, where there is a unison of classic architecture to folk, the combination of stone and wood and a temple and Haveli using domestic and traditional elements (2011,October 18). (c) Duration of project Hutheesing Temple is the most celebrated Jain temple in Ahmedabad in Gujarat, India. The Temple was ready in 1848.

Figure 28 Map of the temple complex Retrieved from https://www.google.co.in/ maps/place/Hutheesing+Jain+Temple/@

a

Figure 29 Aerial view of the temple complex Retrieved from http://jaideepprabhu.org/tag/huthesing-jain-temple/

b

c

Figure 30 Visuals of Hutheesing Jain temple, showing kirti stamba, colonnaded hall, back side of the Garba Griha.

Page 65

(d) Interview • • • • • • • • • • • • • •

• • • • • • • • • • • • • • • • • • • • • • • • •

Artisans involved:- Sompura stone workers Number of Artisans:- 15 Stone crafts people from M.P Interviewed artisans:- 4 Artisans hometown:- Madhya Pradesh for renovation Stone work:- Dhrangadha Type of temple:- Jain temple Stone source:- Porbandar Hand tools:- Hitachi hand tools for cutting.

Type of craft:- Stone carving which includes cutting, carving, engraving, drilling and grinding.

Type of stone used for carving:- Pieces of rocks from Porbandar.

Tools for carving:- Basic metal hand tools for carving.

Name of the craft:- Jain Temple Carving & Restoration Local name of the craft:- Patharkaam Brief description:- Carving on Jain temples of figures and ornamentation with chisel and hammer as hand tools and hitachi hand machine. The craftsmen were from Madhya Pradesh and Ahmedabad. Restoring and adding detailing to the 52 shrines at the Hutheesing Jain Temple, Ahmedabad Gender:- Male Is the craft knowledge you acquire hereditary/non hereditary:- Hereditary Since how long are you practicing the craft:- 12years Trained under:- Father What is your designation:- Master craftspersons Name of award / certificate:- None Type of work:- Carving Duration of work:- Depends on Project Work address:- Depends on Project, currently at Hutheesing, Delhi Darwa.

Primary raw material:- Jaisalmer sandstone and marble.

Stone:- Primary techniques- carving, dressing, stone masonry Name of other raw materials:- Cement and sand.

Range of products:- Interior architecture, furniture, objects & accessories - Interior architecture, Restoration of Jain temples, sculptures, finishing & polishing.

Furniture elements:- None Object accessories:- Human sculptures Are you registered with any of the following- government, NGO, None, others:- None Collaborative projects with designers:- None Consumer market:- Local, state, national, international - National Hand tools:- Chisel & Hammer Power tools:- Hand cutter and driller Automated tools:- None What are the advantages of using the machines/tools:- Time saver and better quality What are its disadvantages:- Less detailing, no scope of innovation or design.

Do you think machines replaces your job or makes it easier:- Yes Processes:- The marble and sandstone were exported in blocks on site, the craftsmen were converting the blocks into slabs by hand cutter and chisel. The restorers were re- carving and polishing the shrines. The sculptures were casting the sculptures in clay copying from the existing temple.

Source:- All the answers are taken from the craftsmen working at Hutheesing on Sep.19,2016

Page 66

(e) Planning of the temple The temple faces the west and is without an ambulatory passage (Nirandhana Prasada) consisting of a sanctum and closed hall with lateral porches, a vestibule, and a hall for dancing and musical performances with three portals. The whole structure stands on a platform surrounded by a courtyard, which is in turn surrounded by a bhamati, colonnaded cloister containing the subsidiary shrines. The temple surrounds 52 small shrines, and including its enclosing cloister, measures about 38m from north to south, 48m from east to west, and reaches a height of nearly 52.5m. The enclosure contains a balanaka, double-storeyed passage-hall at the west, in front of which stretches a double-storeyed entry-hall with porches. (Dhaky, M. A. Ed. 1998) A. Ground Floor:- The ground floor consists of the sanctum, the closed hall, Vestibule, Hall for Musical Performances and an underground floor.

1.Sanctuary The temple consists of three juxtaposed cellae without separating walls.

2. Closed Hall The closed hall is entered through the main entrance at the west as well as through lateral porches. This double-storeyed hall occupies a square area of 7.4m x 7.4m inside.

3. Vestibule The trikamandapa, double - storeyed vestibule, lies between the closed hall and the hall forr musical performances.

4. Hall for Musical Performances This hall stretches in front of the vestibule with lateral porches.

5. Underground floor Below the vestibule there is an oblong underground cell with two small shrines on the left and right sides.

B. First Floor:1. Sanctum: The sanctum on the first floor duplicates the one on the ground floor. It contains a long Pithika in white and yellow marble and 3 door frames.

2. Closed Hall: The hall is accessed from the ground floor by a staircase with 17steps in the south west corner.

3. Vestibule: It contains 3 pillars in a row on the eastern side. The vestibule is also divided into 3 bays as on the ground level.

C. Second Floor:- The sanctum is roofed by a curvilinear Shikhara. It contains 3 Garbba Grihas, Sanctum Sanatoriums in linear axial which are not accessible for worship.

D. Subsidiary Shrines (devakulikas):- Approached from the courtyard by a flight of three steps perched with their colonnaded corridor. The total number of subsidiary shrines are 51.

E. Passage - Hall:- The eight pillared double-storeyed hall is square in plan. The passage contains spiral stairs with 15 steps. The stairs extend above the roof going ahead of the upper storey making minarets covered with domes.

F. Entry-hall:- Divided by three inlets, the double-storeyed hall is accessed from the main entrance porch at the west. This hall is rectangular and contains four pillars, two pilasters and two quarter pilasters abundantly carved.

Source:- Hutheesing heritage : the Jain temple at Ahmedabad. Dhaky, M. A. Ed.

Page 67

Figure 31 Plan of Hutheesing Jain temple,Ahmedabad. Reprinted from Hutheesing heritage : the Jain temple at Ahmedabad. Dhaky, M. A. Ed. Page 68

Image 1:- Kirti stamba made from Jaisalmer yellow stone

Image 2 :- Entrance of the temple complex

Image 3:- Detailing at the Toran & brackets on columns

Image 4:- Craftspeople shaping rough unfinished stone into finished sized blocks

Image 5:- Corridor on which the 52 shrines rest

Image 6:- Depth of detailing at Hutheesing.

Image 7 :- Entrance of the temple

Image 8:- Sculptures on the exterior

Image 9 :- The carvings on Garba Griha

Figure 32 Visual images of Hutheesing Jain temple. Self taken on Octomber 12.

Page 69

(f) Strength, Weakness, Opportunities & Weakness analysis Table 6.

S.W.O.T analysis for Hutheesing Jain temple case study Strength Weakness • Time-line - The temple is a 19th century master piece • The temple is one of the (1845) made by architect Premchand Salat, belonging to tourist spots of Ahmedabad. the Salat community who are traditional known to be the The temple initiated in 1845 temple carvers in Gujarat. After this period many temple

by Huthessing Sheth Sheth construction initiated the adoption of mechanization, supposedly costs many crores which were funded hence the temples of the 19th century were possibly the last ones, carved in the traditional methods. It is said that from the Hutheesing trust the temple took around 100 years to be built by Hutheesing and now runs a museum in Sheth’s wife, Harkunvar. The Kirti Stamba, which is a the temple complex. pillar of respect built in 2003 to commemorate the 2500th birth anniversary of Mahavir.

• Material - The temple is made from the local stone • The stone, Dhrangadha of Porbandar called Dhrangadha, which is a type of that was transported from Sandstone. The stone has a rough carved unpolished Porbandar is loosing its colour and cracking now. finish with brown texture. The Kirti Stamba, was made of Marble temple would have Makrana stone quarried in Rajasthan. been able to withstand the climatic conditions longer.

• Planning and Design - Though Ahmedabad has more • The temple is smaller in than 300 derasars, Hutheesing stands out for its grandeur scale due to the urban elegance and craftsmanship. The temple is three storeyed context. It is yet one of encircling 52 shrines each housing a tirthankar (liberated the prolific temples made soul) and crowned with a spire. The main temple consists in a city of Gujarat. The of the alter, a closed hall with lateral porches, a vestibule earth quake that happened and a performance hall with three entrances. The temple in Gujarat destroyed some complex has a rainwater harvesting system and a storage portions of the temple tank. The temple was constructed as a traditional derasar shrines which are now following the principals of Shilpa Shahstras. Like the being restored.

Garba griha is located on the east end and reaches up to three carved spires.

• Carving - The temple has elements representing • The carving is the most Ahmedabad’s local architecture and woodwork as magnificent aspect of the exemplified by the entrance portico and represents the temple, but if we compare facade of a traditional haveli (Desai). Every surface of the the detail to Dilwara temple temple is adorned with elaborate sculptures of celestial in Abu, the complexity and damsels, Gods and goddess, flowers, musicians and intricacy was less. torans.

• Craftspeople - During the mid 19th century, a terrible • The temple construction drought hit the region, forcing hoards of skilled artisans took more than 100 to migrate from the country side to the urban scape to years to be built. If we find work. The temple construction provided livelihood compare to the current to many such craftsmen. The temple is said to be carved practice, it would have with a capacity of more than 100 artisans, some from taken 2-3 years maximum.

Orissa for sculptures of Jain deities.

The craftspeople were paid low wages receive no recognition to the contribution they made.

Page 70

Opportunities Threats • Time-line - Hutheesing Jain temple has • The temple is a threat to the involvement of mechanization in the stone craft which ample opportunities in the academician profession, where there are researches is compared to the traditional method of done on the planning, carving, family temple construction in India built before history and the historicity of Ahmedabad. the 19th century. The industrial revolution in India now acts as a threat to old methods The temple stands as a great example and the historicity of craft production. of Jain carving and planning of the era it was made. Before mechanization and other transformation hit the stone carving practice, Hutheesing represents an excellent example of Jain temple traditional architecture in an urban context of Gujarat.

• Material - The sandstone is now not only • Stones like Dhrangadha, Ambaji marble are available in plenty, hence most of the used in temple construction but has found temples were made out of these stones. its usefulness in sculpturing, artefact’s Lately, the availability of imported stones and in the domain of interior furniture available in local markets has reduced the and accessories. Since the material has a market demand and use of the local stones. tendency to withstand extreme climatic conditions it is used for outdoor furniture too.

• Planning and Design - The 52 shrines in • The elements of architecture and interior Hutheesing temple, each dedicated to a design are generally monolithic, carved Jain tirthankar are now being restored. The and assembled on site. Whereas, today due scale of the temple gives an opportunity to to the pre-fabrication of temple elements further erect such temples in city context. from the factory which can be assembled The wood carving and stone carving is on site has changed the dynamics of an example to study of fine Jain temple designing. In the factory, the prototype carving. of each element is made virtually and then mass produced leaving no scope for uniqueness and design.

• Carving - The elements of the Jain temple • The intricacy in carving then was due like the toran and the spires are well to the hand skills and each element was carved. The depth of detail in the carving drawn and carved. The process was of brings a shadow and texture to the temple, workmanship of risk which required which adds to its beauty. Each piece skilled artisans. This process is now of stone was dressed and carved using changed to a pre-determined method. The basic tools like chisels and hammers. The system can pre-determine the output and master craftspeople from Orissa were hence the carving is done with uniformity. appointed for carving deities which gave them an opportunity to explore their skill in other aspects of the Indian religion.

• Craftspeople - The craftspeople had • The main threat to the craftspeople in the major contribution in carving of Hutheesing were no recognition and no architectural elements of stone and wood. fixed source of income. The working conThe opportunity to affiliate to a heritage ditions lead to some diseases and poor structure is over whelming and we can see health conditions.

Gujarat’s skill from these examples.

Page 71

2 L.D INSTITUTE OF INDOLOGY CAMPUS, AHMEDABAD As Greenhalgh (2010) quotes,“ People make the societies they I’ve in. Machines, and I include here not only mechanical contrivances but also following Carlyle’s sense of the term, they do not fortuitously appear coincidently with a over-viewed need for their function.”

Page 72

2.1.2. L.D INSTITUTE OF INDOLOGY CAMPUS, AHMEDABAD (a) Criteria for selection In order to understand the process of transportation in the construction of Jain temples of Gujarat, it was necessary to observe the change in the process. Luckily, the L.D. Trust is constructing a Jain temple with the help of a Sompura architect called Parikshit Sompura and craftspeople from Orissa. The temple is using an amalgamation of traditional and mechanical tools on site with marble imported from Ambaji. (b) Introduction Over the years, the collection of manuscripts, sculptures and paintings increased substantially, leading to the realization by the Governing Body of the need to build a museum as a distinct, but separate department of the Institute of Indology.

Thus as a result, there stands adjacent to the Institute of Indology, a magnificent building also designed by Shri B. V. Doshi, constructed at a cost of Rs 30 lacs.

The main objective of the museum is to collect, preserve and display objects of art in ideal musicological manner and to reveal their aesthetic and educative value to all.

The rich and rare collection of illustrated manuscripts, miniature paintings, painted patas, sculptures, bronzes and wood-work in the possession of the Lalbhai Dlpatbhai Institute of Indology forms the nucleus of the objects on display at the museum.

These also show sculptures and paintings belonging to the Kasturbhai family. (c) Duration of the project The Jain temple construction is on going since a year.

Figure 36 Carving on temple elements

Figure 33 Entrance of Lalbhai Dalpatbhai Institute

Figure 34 Exterior of Lalbhai Dalpatbhai Museum

Figure 35 Carving on the exterior at Lalbhai Dalpatbhai Jain Temple

Figure 37 Half carved, half machine cut column.

Figure 38 Use of concrete for foundation.

Page 73

(d) Interview • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

Duration of project:- On going since a year.

Estimated completion time:- 4 years Artisans number:- 6 Interviewed artisans:- 2 Artisans hometown:- Orissa Stone work:- White Marble Ambaji Type of temple:- Jain temple Stone source:- Ambaji marble Hand tools:- Hitachi hand tools for cutting.

Type of craft:- Stone carving. Subtracting techniques remove materials. They include cutting, carving, engraving, drilling and grinding.

Type of stone used for carving:- half carved and cut pieces from Ambaji.

Tools for carving:- Basic hand tools for carving.

Name of the craft:- Jain Temple Carving & Construction Local name of the craft:- Pathar kaam Brief description:- Carving on Jain temples of figures and ornamentation with chisels and hammers as hand tools and Hitachi hand machine. The craftsmen were from Orissa.

Gender:- Male Is the craft knowledge you acquire hereditary/non hereditary:- Hereditary Since how long are you practicing the craft:- 10years Trained under:- Father What is your designation:- Master craftsperson Name of award/certificate:- None Type of work:- Carving Duration of work:- Depends on Project Work address:- Depends on Project City/ town/ village:- Orissa Primary raw material:- Marble and any type of stone Stone:- Primary techniques- carving, dressing, stone masonry, inlay, engraving, lettering. Carving, Stone Masonry.

Name of other raw materials:- Cement Range of products:- Interior architecture, furniture, objects & accessories - Interior architecture.

Furniture elements:- None Object accessories:- None Are you registered with any of the following- government, NGO, None, others:- None Collaborative projects with designers:- None Consumer market- Local, state, national, international:- National Hand tools:- Chisel & Hammer Power tools:- Hand cutter Automated tools:- None What are the advantages of using the machines/tools:- Time saver and better quality What are its disadvantages:- Less detailing and costly, can only work better as mass production, not for small scale production.

Do you think machines replaces your job or makes it easier:- Yes Processes:- The marble was bought half cut from Ambaji and carving and construction work is done on site. The carving and planning is done according to the Shilpa Shahstras.

Source:- All the answers are taken from the interview with the craftsmen working at L.D. Instiute of Indology.

Sep.19,2016

Page 74

Process Image 1:- Cutting of stone to desired shape

Process Image 4:- Manually removing excess areas

Process Image 2:- Drawing of the figures desired to be carved

Process Image 5:- Chiselling to achieve 3D carving

Process Image 3:- Finalizing of

Process Image 6:- Final finishing and application

Figure 39 Process images documented on site, on how the carving is stone in stages. Note that the process is only after the stone is shaped and polished. Self taken on November 6

a

b

c

Figure 40 Final elements of the temple

Page 75

(e) Strength, Weakness, Opportunities & Weakness analysis Table 7.

S.W.O.T analysis for L.D. Institute of Indology case study Strength Weakness • Time-line - The Jain temple at L.D. • Since the craftspeople are from Orissa, Institute of Indology campus is being a good enough time will be taken for built by the Lalbhai trust. The temple is the completion of the project due to the on-going since a year and hence helpful craftspeople hopping home for festivals. to understand the process of temple construction at a close proximity to CEPT. • Material - Ambaji marble is imported • The material used is pre-fabricated in from Ambaji, whereas marble is local to Ambaji, half cut which creates wastages Gujarat which is being used to construct even on site. The blocks are transported to and carve the whole temple.

Ahmedabad which causes damage.

• Planning and Design - The temple is • The planning and design of the temple is done by an Ahmedabad based Sompura on a small scale, maybe due to the urban architect a replication of virtual model of context with an entrance porch and a small a typical Jain temple style. inner sanctum. The temple is located on the south west direction, with the Garba Griha facing he north and the entrance to the south. This is planned according to the principals of Shilpa Shahstra.

• Carving - The stone blocks dressed are • The carving is done using hand tools and power tools. The dressing and cutting imported from Ambaji and the craftspeople of stone is done by using CNC. Some work on it piece by piece by first drawing models are first hand carved and then 3-D and then carving. This method saves a lot of time on cutting and dressing which is scanned and used to make replicas. This done by machines directly. creates a difference in the quality.

• Craftspeople - The craftspeople are • Due to a shortage of carvers in Gujarat, skilled stone carvers and temple makers Jain temples are now being constructed from Orissa. Orissan craftspeople are with the help of artisans from Orissa. The known for their intricate carving and Orissan craftspeople are trained in schools anatomical sense of making idols. Hence specially designed for stone carving, they are specially appointed and brought which is lacking in Gujarat and hence the here to carve and construct the temple. craftspeople in Gujarat for stone carving are becoming less.

Page 76

Opportunities Threats • Time-line - The temple is located next to • The temple is located in an institutional a museum called the Lalbhai Dalpatbhai context and surrounded by various museum dedicated to stone relics and celebrated buildings like Doshi Gufa, sculptures of Gujarat. Hence the temple is making it an opportunity for tourism. But relevant to the site. the lack of exposure can work negatively as the target audiences are not aware of this intricate work yet.

• Material - Ambaji marble is supposed • Lot of wastage of stone happens during to be the best marble in India, and the this process, which could be a threat to the more opportunities it gets to be built for material becoming extinct. traditional buildings the better.

• Planning and Design - The temple is • The temple is assumed to be ready in the narrating stories and carrying forward next 2 years. This could be one of the reasons that the temple is not yet known the culture of Jainism from their carved to the neighbouring sites. walls of Jain idols. The temple is made by Lalbhai trust who appointed the socially known Sompura architects who will carry forward the historicity of the temple for generations.

• Carving - The temple is a perfect example • The carving follows the old methods of of hand-carved designs with mechanized Jain examples and replicates the designs stone cutting, thus using an amalgamation and ideologies of Jain temples, but these of hand and machine in sink. The tools techniques are being done by Orissan used for automated cutting cuts the labour craftspeople, lifting the Jain community cost and time and the hand carving is but diminishing the craftsmanship of stone concentrated for the final output making in Gujarat. the work of the crafts-person easier.

• Craftspeople - The reason why Orissan • The main threat to the craftspeople were stone craftspeople migrate to Gujarat for no recognition and no fixed source of inwork is due to good management and come. The salary is based on daily hours ample opportunities in stone carving and of working. The working and living condesigning. ditions lead to some diseases and poor health conditions.

Page 77

2.2. PHYSICAL CASE STUDIES:- TRADITIONAL & MODERN STONE CARVING PRACTICES

Trivedi stones, Changodar Trivedi Corp, Mauriya, Gujarat

Vishal Marbles, Ambaji

Vishal Marbles, Ambaji, Gujarat

Figure 41 Location of Trivedi Corp. in Mauriya and Vishal Marbles in Ambaji. Retrieved from google maps.

Vishal Marbles, Ambaji (Sompura)is a stone temple construction firm in Ambaji, Vishal Sompura. The case forms a combination of amalgamation of old mixed with new styles of stone carving and construction.

Trivedi Stone Crafts, Ahmedabad:- Kiran Trivedi, Chairman of Kiran Trivedi Group and grandson of D. K. Trivedi was the first to bring mechanized marble quarrying and fabrication of stone to India in 1970’s.

b Figure 42 Krishna temple, U.K., Trivedi workshop.

Page 78

a

a

c

b Figure 43 Shri Vardhaman Tatvagyan Jain Tirth - Vanki

1 VISHAL MARBLES, AMBAJIBANASKANTHA SOMPURA ARCHITECTS “We recognize that high-end craft occupations contain a creative element, but the view is that in the main, that these roles are more concerned with the manufacturing process, rather than the creative process.”

Page 79

2.2.1. VISHAL MARBLES, AMBAJI - BANASKANTHA - SOMPURA ARCHITECTS (a) Selection criteria The Sompuras are socially renowned temple architects of Gujarat. They master in planning based on the principals of shilpa shahstras and are masters in stone carving. The traditional architects of Jain temples are now adopting the tool of machines. Their practice is one of the earliest practice of temple designing. Hence it was much needed to document the role of mechanization in a traditional practice like theirs. (b) Introduction Mythologically, the Sompuras are called the descendants of Vishwakarma, who stayed on the moon. Hence the name Sompura comes from Som which means moon and pura means people. (Vaastuyogam, Architect’s voice, 2011, November. p.2). Retrieved from - http://www. vaastuyogam.com/wp-content/uploads/2011/11/architect-s_voice.pdf. Mr. Ashish Sompura from Ahmedabad narrates, in mythology, the Somnath temple of lord Shiva located in Prabhas Patan1 near Veraval was built by Vishwakarma, (the divine architect) who brought to earth a few Sompuras (craftspeople) from the moon to build the temple. After the temple was built, Vishwakarma asked the craftspeople to stay back on earth and continue the tradition of temple making. However, in The book Stone Crafts of India, Vol 2, Neelam Chhiber states that Sompuras claim to have been the officiating priests of sacrifice at Prabhas Patan which was advised by the moon to Brahma in order to please Shiva.

The Sompuras belong to the sub-group of Bhrahmin community, which were first found in and around Prabhas Patan and now can be located all over Gujarat. Once upon a time there were 16 villages of Sompuras spread around Gujarat and Rajasthan. The Sompuras’ are professional Temple builders of Hindu and Derasars (Jain Temples) and also build Palaces, Step Wells, Forts, according to the principals of Vaastu Shilpa Shahstra, the ancient Indian Science of Architecture since centuries.

Retrieved from: http://www.vaastuyogam.com/2011/11/architects-voice-mr-ashish-sompura/ In Ahmedabad there are four kinds of stone craft activity-temple carving, temple elements domestic tools and contemporary sculptures (Chhiber, Neelam. 2006b, p. 49). Sompuras and their apprentices are working on temple carvings in and around Ahmedabad. At Sarkhej, there is a yard where stone elements are manufactured. Ambaji is a major marble production center in Gujarat with state-of-the-art equipment used in the quarries, far superior to those in Makrana.

Plenty of tourists also visit the temple of Goddess Amba from all over Rajasthan and Gujarat.

The D.K.Trivedi mines are the largest stone production company in Ambaji. Sompuras of this region attain their marble from D.K. mines. The Trivedi Corp. in Mauriya is the production company of D.K. Trivedi. Temple construction depends on Vastu Shilpa Shahstra without using steel reinforcement. The degree and complexity of the temple depends on the number and types of Shikhara (Chhiber, Neelam, 2006b p. 58). There are three main types of Shikhara, Ghumat, Samaran and Dodhia. The cost of the temple increases depending on the number and complexity of these. The selection of stone is also dependant on the budget. The foundation plan called the arshan along with the elevation plans are made first, followed up by a full scale plan of all the pats that need to be carved. Individual drawings are usually made in sizes of 1mx1m in length, except a drawing of a doorway or pillar. Around 30 people work on mapping for a period of two months while only one takes care of production. Mortar and lock & key joints are used for masonry work. The time frame of a temple construction takes about 2- 3 years if everything is running smoothly.

“Marble was a material not used in the houses in olden times which was a myth. The real reason was also because it was expensive. It was always a community material, devoted to the 1 Page 80

Prabhas Patan is a place situated in Gujarat in the Saurashtra region, around 7kms from Veraval station.

(c)Workshop Site The workshop/factory is located in Ambaji which the marble hub of Gujarat. Most of the marbles in the workshops and factory in Ambaji comes from D.K.Trivedi & Sons and other such groups who have slab processing plants and quarries in Ambaji.

The workshop deals with every kind of stone from the Jaiselmer stone in Rajasthan to the Granite stone from Tamil Nadu and every kind of religious structure from various Hindu temples Figure 44 Office space, monitoring, computer drawings, discussions with clients & designing. to sikh gurudhwara and mosques.

The sompura architects are not architects in terms of their designation or educational background.

It is a community of architects self educated and expertise in religious buildings. The only book or bible they follow is the Shilpa Shahstra written in Gujarati. (d) Interview Artisans number:- 20-30 artisans Interviewed artisan:- Pragnesh bhai Artisans hometown:- Ambaji Stone work:- Ambaji Marble ( mainly) Type of projects:- Jain temples (mainly), other Hindu temples, Sikh Gurudhwara, Mosques.

Power tools:- Hitachi hand tools for cutting like driller and cutter.

Machine tools:- CNC Machines, Water jets made in Ahmedabad.

Type of craft:- Stone carving.

Tools for carving:- Basic metal hand tools for carving, hammer & chisel.

Principals of designing:- Shilpa Shahstra Types of stones:- Ambaji marble, Makrana marble, Dhrangadha etc.

Role of machines:- Machines imply reduction of labour and time, Increased efficiency, cost effective and higher grade of quality.

Disadvantages of machines:- Effective for mass production, customization is expensive, design is dependant on software limitations.

Can crafts be mechanized:- Yes, it would make it a higher quality craft with mechanization.

Figure 45 Factory and workshop spaces, Open spaces for storage and lifting, semi open for machines.

Figure 46 Shilppa Samruti Vaastuvidyayam written by Nandlal Chunilal Sompura.

Figure 47 Shilpa shastra in Gujurati

Figure 48 CNC machines adapted 12months ago from Ahmedabad.

Page 81

(e) Background and current scenario Sompura is based on Vastu base designing and also carving, fitting and finishing in stone. Sompura manufactures custom made stone, marble interior decorative articles and garden ornamental artifacts. Computerized design facility which can provide services like 3D walkthrough of temple and other construction projects is adapted today by the Sompura Architects.

Vijay Sompura, Son of Jagdish Sompuraa is based in Ambaji. Although his work travels throughout Gujarat. Mr. Vijay claims himself to be a Sompura Architect, where his architectural training is hereditary and does not require a formal educational degree. Vishal marbles is one of the large units in Ambaji run by a group of Sompura brothers employing 50 people. The craftsmen in his unit are from all over Gujarat and Rajasthan and some are the local adivasis. Of the three brothers running the unit, Manubhai is incharge of sales, purchase and administration. Jagdish bhai (father of Vijay) looks after the design and detailed planning of all temple components and Jasubhai is in charge of production. They claim they were the first in the market to use a lathe to produce chapati plates. They refer to the book called Shilppa Samruti Vaastuvidyayam written

by Nandlal Chunilal Sompura (grandfather)from Palitana.

Vijay Sompura is 28 years and trying to amalgamate new technological advancements in the field of stone construction but still restraining Shilpa Shahstra principals. The book of Shilpa Shahstra which he owns is more than 200 years old, where all the proportions of elements, proportions of human figures, planning with respect to context and material quantities is mentioned in detail in Gujarati. There are many practitioners like Govinda Pillai in his book “The Hindu Architecture (Silpa sastra)� trying to translate and interpretate the principals of the Shahstras making it approachable and readable for all architects, designers and students, whereas Vijay Sompura was adamant on not sharing this knowledge with the world. He believed it is a bible just for the Sompuras. He started the use of machines 18months ago brought from Ahmedabad because of lack of craftspeople in the field. The Sompura believes that this number will go on decreasing in the field and his work to train will increase. Hence, he decided to adapt the use of CNC and other power tools. In this process he began to understand the use and advantages of machines.

The work is done on a faster speed, with a higher level of precision and reduced time frame.

The replacement of machines in Sompura practices has lead them to divert from the principals.

But he says the core principals are maintained with some alterations. The question arises as to whom does these alterations affect, the craftspeople, the users, the design and sculpture admirers? Sompura answers this by saying the only type of people this alteration affects is the designers, art lovers and artists. On a larger scale it affects the way Indian temples are looked at, from a process of hand skill of generations like the Ranakpur temple to a process of engineering.

The Sompura hired engineers and lay men for the use of machines and computers. He currently works with CAD drawings, where as Mr.Trivedi works with NX9 and Rhino types of BIM technologies, which is at the highest technological level in manufacturing and engineering.

Vijay Sompura’s current projects are a temple in Unjha at Sidhpur, Akshardham at Bayana where he used Jodhpur sandstone also known as Baleshwar stone.

Page 82

(f) Other Sompuras “Vaastu is less a matter of architectural discussion/debate and more a matter of purposeful action /implementation.” - Mr. Ashish Chandrakant Sompura Mr. Ashish Chandrakant Sompura comes from a family that is well known for temple architecture of the western India. The family, since generations has been involved in the temple construction in India. The article is published by Vaastuyogam documenting an interview on the works and background of Mr. Ashish Chandrakant Sompura. The interview helps in understanding the transformation of the Stream of Sompuras from being socially known as “temple architects” to becoming a qualified architects on paper.

Ashish Chandrakant Sompura

Excerpts from the Interview taken by Vaastuyogam:Family background:Prabhashanker Oghadbhai Sompura, grandfather of Ashsish Sompura wrote 14 volumes on shilpa shastra and received the Padma Shri for his work. Ashish Sompura quotes “In 1947, the entire planning and execution of the gigantic work of reconstruction (from the foundation) of the famous Somnath Temple was entrusted to him by the late Shri Sardar Patel, the first home minister of Independent India who had vowed that he would re-build the Somnath temple”. (Vaastuyogam, Architect’s voice, The late Shri Prabhashanker 2011, November. p.1) Oghadbhai Sompura

Mr. Ashish Chandrakant Sompura’s Background:Ashish Sompura, born in 1971, is an Ahmedabad-based Sompura architect. He is one of the few qualified architects of the Sompura community, who has a diploma in civil engineering, 1992 and then perused his Architecture in 2007. He is the first in his family who is practicing architecture. He says his father wanted him to go through the educational domain of being an architect and spread his wings in other domains of the field. His main agenda to do so was the legal formalities and paper work in the business that always required the permissions of a professional architect, which wasn’t the case in the earlier times. He quotes, “The art and skills of designing and constructing temples have been handed down to us from our ancestors and I very much belong to that mould and apart from my own work as a modern architect, I am fully engaged with my traditional temple architecture assignments at my father’s firm. I feel blessed that I am party to both schools – the traditional temple architecture and the modern western architecture.” (Vaastuyogam, Architect’s voice, 2011, November. p.2) Retrieved from - http:// www.vaastuyogam.com/wp-content/uploads/2011/11/architect-s_voice.pdf

Page 83

Figure 49 Self taken pictures of Vishal Marbles Ambaji, showing the use of hand carving and machine production.

Self taken.

Page 84

Figure 50 Self taken pictures of Vishal Marbles Ambaji, showing the built set up of a workshop cum factory system.

Self taken.

Page 85

(g) Strength, Weakness, Opportunities & Weakness analysis Table 8.

S.W.O.T analysis for Vishal Marbles, Ambaji case study

Strength Weakness • Time-line - Vishal marbles is a workshop • Sompuras have moved towards of stone carving and temple construction mechanization since the last 2 years. in Ambaji. The workshop is established They are beginning to learn the working since 1983. They deal mainly with marble of CNC machines due to market demand in stone work as they have access to the and shortage of craftspeople. local white marble Ambaji quarries.

• Material - The materials Sompuras work • They are restricted to using only marble and its easily accessible. with are types of stones mainly found in Gujarat.

• Planning and Design - Sompuras are • Sompuras are traditionally known as known to be the master builders and temple planners and architects with no planners of historical monuments like formal training in Gujarat, though now temples, vavs, mosques, tombs, sculpturing the future generations are practicing etc. Their analogy and principals of modern architecture along with temples designing are based on the principals of to broaden their horizon.

Vaastu Shahstras.

• Carving - The carving done by Sompuras • Today’s generation of Sompura architects are known to be traditional and intricate. are moving towards the modern methods However they are the master craftsmen of temple architecture and therefore are and teach carving more than they practice. unaware of the methods of carving and the principals of shilpa shahstras.

• Craftspeople - Sompuras practice and • The people carving with Sompuras are preach the traditional method of carving, adivasis of the neighbouring villages of as mentioned in the Shilpa shahstras. They Ambaji. They turn to stone carving and claim to be the pioneers and authors of other such craft practices during offshilpa shahstras. They teach craftspeople seasons. how to hold the chisel and hammer and use local tools.

Page 86

Opportunities Threats • Time-line - Sompuras have monopoly in • Sompuras have started to adapt the market of stone crafts due to their social mechanization since the last 2 recognition and hence can have opportunity years. This is due to the scarcity of to grow in this field. craftspeople. They appoint labourers to learn to operate CNC machines.

• Material - Stone is a historic material used • Stone is a natural material and hence has a tendency to exhaust. to design only monumental and significant structures. Now stone has found its position Sompuras are socially known as temple architects, but with the coming in interiors and furniture too. Hence working with this material is always going to be an generation believing less and less in opportunity. religion, soon temples may also start becoming extinct.

• Planning and Design - Due to their recognition • Sompuras do not wish to share their as temple architects and their knowledge on knowledge on Shilpa Shahstras, as Vaastu, they have the opportunity to design they feel that is their only weapon to temples and monuments and will always have success and a threat if these principals the added advantage of having the background are handed to other designers. Although of Vaastu will never go out of style. there are many books published on Shilpa Shahstras.

• Carving - Designing in stone with traditional • Due to the adaptation of mechanization, methods is a technique Sompuras have been carving has been remotely used for learnt from their ascendants and this is their stages like finishing. The uniqueness biggest strength. Their traditional and intricate of each element is at threat with the carving techniques with smart hand tools are fast paced CNC machines. known to create some of the best examples of Hindu and Jain architecture.

• Craftspeople - The craftspeople working • The biggest threat to these craftspeople with Sompuras and the master craftsmen is the unsaid use of mechanization, Sompuras themselves have an understanding hence lesser people are now learning of the traditional methods of carving, which carving and due to this scarcity, is an age-old Indian tradition. the machines are becoming high in demand meeting the market and economic demands.

Page 87

2 TRIVEDI CORP PVT LTD, AHMEDABAD

As Jayakar writes,“The disappearance of skills is a loss of the species, the erasing

or diminishing of heritage.”

Page 88

2.2.2. TRIVEDI CORP. PVT LTD. MAURIYA, GUJARAT (a) Introduction Trivedi has experience working with machines for the past 18 years. Today, he has one of the largest stone fabrication capacity in India and Europe. In the group, there are 35 CNC Machines from Italy ; Omag Spa, Italy; GMM Spa, Italy, Pedrini Spa Italy, and NOAT Spa, Italy; Diamond Wire Profiling Machines from Peggegrini, Italy Five axis Water jet Machine from Flow Corp, USA. The slabs processing plant for Marble are in Ambaji holding a Figure 51 Factory working area in Changodar, production capacity of 3,36,000sq.mts.per. Ahmedabad annum and the Granite production capacity of 2,00,000Sq.mts.per.annum. Trivedi also holds an in house architectural and designing team.

The team coordinates with project architects for understanding the design elements and prepares the shop drawing for manufacturing which is detailed by the stone carvers. The products are polished and packed to send on site.

Stone Processing Facilities - Trivedi Corp Pvt Ltd, Abu Road, Rajasthan 116,717 sq.mts land, 11,250 sq.mts sheds - Trivedi Corp Pvt Ltd, Ahmedabad, Gujarat - Figure 52 Hand finishing of carving done by craftspeople 382213 - 27,474 sq.mts land; 15,000 sq.mts of sheds.

- Trivedi Tectonics, Moraiya Industrial Area, Ahmedabad, Gujarat - 382213 - 12,539 sq.mts; 8,000 sq.mts of sheds.

- DPM Design, ( A Handicraft Unit), Changodar Industrial Area, Ahmedabad, Gujarat 382210.

Marble Quarries:- DK Trivedi & Sons , Ambaji, Gujarat -385110 - 100,000Tonnes per year of Ambaji White Marble.

- Trivedi Mining Corp, Abu Road, Rajasthan Figure 53 Lettering on -307026 - 3,000Tonnes per year Abu Black Jaiselmer stone Marble

Figure 54 Types of pre fabricated carving on different stones.

(b)Factory system The workshop/factory is located in the Changodar and Mauriya of Ahmedabad.

Late Shri D. K. Trivedi began his journey as a restorer of traditional heritage temples such as Ranakpur and Delwara in 1937. He started mining operations in 1947 at Ambaji located on the Aravalli Range, India. The company has Italian machines such as block-cutting, twenty tonne cranes which move both equipment and stone and diamond cutting chainsaw machines.

Diamond chainsaw cutters run on pulley blocks and steel cables with tungsten carbide or diamond bits, separated by springs at regular intervals to prevent breakage. Only two other mines in the area use diamond cutting. The rest still use traditional drilling and wedge-cutting.

Page 89

(c) Background Kiran Trivedi, Chairman of Kiran Trivedi Group and grandson of D. K. Trivedi was the first to bring mechanized marble quarrying and fabrication of stone to India in 1970’s. He is an industry leader in stone quarrying, processing and design business. The Kiran Trivedi Group is the largest integrated stone group today. The Group is engaged in providing homeowners, contractors, developers, architects and designers a wide range of custom fabricated stonework.

Trivedi has very modern stone processing facilities at Ahmedabad. Trivedi has an in-house team staffed with qualified architects and designers to ensure that every project reflects quality, elegance, precision and above all, the originality in any medium.

The group is involved with stone carving, quarrying, inlay, murals etc since generations. It would be rightly said that no one in he stone manufacturing field knows better. Trivedi was the first to introduce machinery to this craft. He dosen’t use laser cutting machines as they burn the material. The designer in his company from NID said, “ The company works with skilled craftspeople from U.P, Rajasthan, Orissa and Gujarat. The artisans from U.P are strong and good in cutting as their prime skill, the orriyas are good with human figures and the Rajasthan & Gujarat posses a skill to detail.“ What inspires Mr. Trivedi is the Italian approach to stone crafts in Carrara and Verona. The role of machines in implementing stone temples is a lot. His users are not only outlines in India but worldwide. He says that today the users are more keen on quality and time management than workmanship and principals.

He thinks this process from a complete business man’s point of view. The degree of involvement of machines is clearly the highest in this craft practice. Hence to analyse and compare it to traditional methods is one approach of drawing conclusions to the research.

Trivedi exports materials from Turkey and Europe too. He has a vast catalogue of stones which increases his diversity in projects. The craftspeople who work for him understand each stone wisely and deliver the outcome desired. With this vast use of engineering the principals of building temples are replaced by the use of engineering. The crafts women from nearby villages are working on polishing due to their soft hand work from nearby villages. The degree of involvement of machines to hand-skill is 80% to 20%. The chisels and hammer to the CNC machines has been a 18 year journey for this stone practitioner. His clients today spread from Swami Narayan temples in India and London to High end Residential monuments.

(d) Interview Artisans number:- Many, depending on the requirements.

Interviewed artisans:- Different for each type of work, mainly from Rajasthan, U.P, Orissa.

Artisans hometown:- Madhya Pradesh, Orissa, Rajasthan and U.P. Stone work:- Ambaji Marble, Gwalior Sandstone & Abu black marble.

Type of projects:- High- end monumnets, temples and Landmark Residences and Commercials.

Stone source:- Ambajji, Gwalior & Abu are in- house, other stones are exported world-wide.

Hand tools:- Hitachi hand tools for cutting.

Machine tools:- CNC Machines, Water jets.

Type of craft:- Stone carving. They include cutting, carving, engraving, drilling and grinding, Inlay and murals.

Tools for carving:- Basic metal hand tools for carving.

Page 90

Image 1:- Machine made marble column.

Image 2:- CNC machine from Italy, carving sandstone.

Image 4:- Automated machines, where computed generated drawings are built.

Image 7:- Water Jet machine

Image 5:- Carving through CNC.

Image 3:- Crafts-person working with hand tools.

Image 6:- Open spaces to store blocks of stone.

Image 8 :- Ambaji marble quarry.

Figure 55 Images of Trivedi Corp. Changodar and Ambaji quarry. Self taken.

Page 91

(e) Strength, Weakness, Opportunities & Weakness analysis Table 9.

S.W.O.T analysis for Trivedi Corp. case study

Strength Weakness • Time-line - Mr. Kiran Trivedi, the owner of • One of the disadvantages that Trivedi Corp Pvt. Ltd. And Trivedi Techtonics Trivedi, claims is the wastage has an experience of working with stone since the project. 20% of the material past 18 years. His father owns mines in Ambaji in manufacturing goes to the and Gwalior. Late D.K. Trivedi began his journey dumps. Also, in terms of a project, the payment is done as a restorer of temples in Ranakpur & Dilwara. in the end, which means, the The family since then have been closely involved with stone production. Kiran Trivedi, mastered owner has to invest in the project first. The labourers don’t the knowledge of CNC machines on his trip to understanding the technical Makrana and Verona and bought the machines to India and pioneered manufacturing of stone in know-how and always require assistance and management.

Gujarat.

• Material - Kiran Trivedi has a vast knowledge • Kiran Trivedi claims the biggest of stone types. The company manufactures stone drawback of this factory system is the amount of wastage of stone products of various materials, from Turkish generated during the process of limestone to Italian marble. The company also posses in house quarried in Gwalior and Ambaji cutting and if there is a fault in a particular stone. and some parts in Makrana.

• Planning and Design - Trivedi practices the • The planning and designing is usually done by architects, factory system of production, hence mainly his factories in Abu, Ambaji, Changodar and Mauriya but apart from Sompura no other architect wishes to work are semi-open industrial spaces using steel roof permanently permanently and trusses with large spans. does so on a project basis as the work is always limited to Stone.

• Carving - Trivedi practices the machine type of • The design of the element to carving with CNC machines like water jets. The be carved is constrained to the spindler is set through a method of coding. The limitations of the machines. finishing touches is usually done by hand. Trivedi Corp. mass produces stone elements and exports them to global markets. His outreach has caused temples to be erected all over the world.

• Craftspeople - Most of the craftspeople in the • The working conditions of the factory are from Orissa whereas the managers, craftspeople are still poor and engineers, graphic designers are from Ahmedabad. they live away from home for The craftspeople are involved in the finishing and months. They aren’t provided carving stage. The fact that so many craftspeople with any benefits of accidental hail from Orissa proves that they are provided with or medical. Some think the economic sustenance and growth. machines have replaced them as they can’t find work in Orissa.

Page 92

Opportunities Threats • Time-line - Trivedi Corp. has ample • Current CNC practices are very profitable opportunities in a world where machine to the workshop owners as the main made products are preferred due to their investment is in the beginning but the economic value over hand made products. economic condition of those involved Trivedi provides work opportunities to a in the craft has no change or scope. The huge sector of people. His global outreach craftspeople are soon being replaced by has enriched Jainism to reach out to Jains this method of carving. and Indians all over the world.

• Material - The materials used are stones • Stone is a natural material available in the available from all over the world. Now earth’s crust. There are some synthetic stones now being designed which has the one can provide Italian marble or Turkish sandstone due to his outreach which has properties of stone, but not as durable. increased our spectrum of materials. He Hence like any other natural minerals, stone also has a tendency to become also deals with Indian stones all over exhausted.

India.

• Planning and Design - Trivedi appoints • The concept of designing in this modern the current practice of production which practice is prototyping and once the involves a wide range of engineers, design is made, it can be repeated in planners and designers. The planning of different permutations and combinations the temple is done by the architect which is which ruptures the scope of designing. passed to the engineer for production and The temples in the future can look like the graphic designer for virtual modeling. identical pieces differing only from scale The project manager mean while begins and context. Hence the virtual modeling construction work while the workshop takes the involvement of the designer and manager appoints craftspeople and CNC swaps it with prototyping. machines to initiate production.

• Carving - His outreach has caused • The craftspeople only work on the 10% of the element, which is of finishing and the temples to be erected all over the world. rest 90% is done by the machines. Hence Hence the stone craftsmen community is the scope of designing or exploring for raising bars globally. craftspeople is none.

• Craftspeople - Trivedi Corp. gives • In some cases, it is said that the as the opportunities to craftsmen and machines get better with technology, a craftswomen. The male are engaged in replacement of hand skill will destroy the the finishing or engraving work and the community of craftspeople. females are engaged in the polishing work.

Page 93

2.3. INTERVIEWS:2.3.1. PRACTITIONERS IN AHMEDABAD WORKING WITH STONE IN VARIOUS ASPECTS

Page 94

Rajesh Sagara Associate Professor, FD Ahmedabad

Conscience understanding of technology, and transforming art into technology. How are artists understanding technology, materials, crafts and transforming them. Student of Ratan Parimul, director of L.D.Museum of Indology. Mr. Rajesh suggests to visit the use of Mechanization in Carrara stone quarries, a place where Michelangelo started sculpturing.

The use of machines in Italy, from where India exports such automated machines is on a different league and Indian crafts is yet to adapt that the introduction of machines, like the engine took time for Indians to adopt. The Indian beliefs and acceptance to foreign technology is sceptical as they are more inclined towards landscapes. Most of the work done by Mr.Rajesh is handmade and believes that machine requires no skill.

Kiran Trivedi D.K. Trivedi & Sons Ahmedabad, Ambaji & Abu rd.

Trivedis, who own white marble mine in Ambaji and black marble mine in Abu, has invested in to 40 full-scale CNC machines in Changodar and Abu. “My grandfather D K Trivedi restored the Ranakpur and Dilwara temples in 1940’s. Since then, the family has created designs and done stone work for more than 50 temples and gurudwaras across the world,” says Trivedi. Trivedi works with stone artisans/ craftspeople from different parts of India. He says there are different kinds of skill in all of them. The craftspeople from Orissa have a high level of detailing in human figures, whereas craftsmen from U.P are strong bulit and powerful in their cutting skills. He claims that he uses machines upto 90% and 10% of human involvement. Trivedi was one of the pioneers of introducing machines 17years ago in stone crafts.

Vijay Sompura Sompura Architects, Ambaji

Vijay Sompura, Son of Jagdish V. Sompura at Ambaji Practicing temple construction in different types of stones, mainly Ambaji marble. The Sompuras still follow the principals of Shilpa Shastra, which is an ancient umbrella term for numerous Hindu texts that describe arts, crafts, and their design rules, principles and standards. The Sompuras who have been building temples and religious buildings for generations follow these texts and rules which is their study of temple architecture. Vijay Sompura has recently started adapted the use of CNC machines from Ahmedabad about 18 months ago. He says it helps to achieve faster and better quality results. However he works with artisans and craftspeople for 3D carving and skilled labourers for machine use. The craftspeople in his workshop are from Ambaji itself.

2.3.2. CRAFTSPEOPLE IN AHMEDABAD WORKING WITH STONE CARVING IN DIFFERENT SET - UPS I hail from Orrisa where I learn’t the art of stone carving at a training center at the age of 15. While none of my family members have any affiliation to stone carving but since it had a more earning opportunity but I chose this as an opportunity at DPM, I shifted to Ahmedabad 10 years ago. I have been practicing stone carving since 15 years and have seen the transition from hand carving to machine. Though machine cannot do the detailing what hand carving can, it fastens the work. Given an option to choose, I still prefer hand carving.

Bhavesh bhai - 27 years Master craftsperson, DPM Design.

Rajat bhai - 55 years Mud/clay sculpturer, Trivedi Corp.

Kishan bhai - 28 years Mud/clay sculpturer, Trivedi Corp.

I belong from Orissa too, I used to practice clay modeling as an hobby. I shifted to Ahmedabad for a project and since then I am working here.

I travel back & forth to Orissa during festivals.

I like sculpturing as it is always a challenge and keeps me engaged. I live in the housing complex given to me by Trivedi Corp. I have become better here under the guidance of my mentor Nilesh Sompura since the past 8 years. My sculptures get 3-D scanned and made into stone. My contribution to the design never stops. I have no idea about the use of machines in the craft sector.

My forefathers have been stone carvers for generations. I picked up the hammer at the age of 6. I didn’t have any other option but to be a stone carver. I still make mistakes at times. I came to Ahmedabad to work and have been associated with Trivedi since 2 years. I like using machines as they make my job simpler. Apart from carving, I also want to have a knowledge about the working of CNC machines and 3-D scanning. These machines lessen our job. I can make more than 2 workpieces a week. My fathers sat for months and years on the same project. I enjoy carving, but normally my work is to do the finishing of machine carved workpieces.

Page 95

2.4. EMPIRICAL RESEARCH THROUGH AN EXPERIMENT OF A JAIN TEMPLE ELEMENT 2.4.1. A BRIEF DESCRIPTION OF JAIN TEMPLE COLUMN - AN ARCHITECTURAL ELEMENT Stone architectural elements are used in abundance where there is an availability of raw materials. Hence the best architectural stone elements are seen in these places. This was in the earlier times where there wasn’t any mode of transportation. The workshops at these places where stone was dressed and carved have now turned into industrial factories where not only the local stone is manufactured for architectural and other uses but also a great deal of stones available all over the world are imported. The finer forms of elements are the onces used for historic or monumental structures whereas basic rough-hewn elements are the ones used for simple homes.

Pillars form one of the important part of architectural elements and is strategically placed according to drain ends to protect the area from erosion caused by dripping water. According to Vaastus, pedestals, base, shafts, cornice or entablature are parts of a pillar (Chhiber 2006a.

P.81). The pillar can be hexagonal, octagonal, pentagonal or circular/square in plan. Following is an illustration of the parts of the pillar:Base:- The base is composed of twenty-four parts. Proportions of height versus diameter or breath are specified.

Shaft:- The shaft is generally four times the base. The diameter of a pillar may be one sixth, one eighth, one ninth or one tenth of its height.

Cornice or entablature:- The entablature comprises the part of an order above a shaft. The entablature is one-fourth, half, three-fourth or twice the height of the base. Its divided into three parts - the architrave, frieze and the lintel.

Pedestal:- The pedestal is below the base of the column, its proportions are also used as basements for temples and portico, over cornices of edifices consisting of several storeys in height and as a platform for thrones and seats for statues.

Source:- The above data is sourced from Chhiber, 2006a. p. 81.

2.4.2. PROCESS DOCUMENTATION The section highlights the two process of making a stone element. The process was studied for a geometric pattern of a column carving scaled to half the actual size. The element is 23cms x10cms and 2cms in thickness. A stage wise documentation from the raw block to the finished product was done at the same stone craft workshop. One was done for documenting the traditional stone carving practice and the other was done in a CNC driven practice in Trivedi stone craft workshop near Ahmedabad in Changodar. Information on the methods of quarrying was as per interviews of the miner or workshop owners and secondary literature sources. (a) Traditional method of carving The three most important things in stone carving with traditional methods is the quality of the stone, the skill of the craftspersons and the tools being used depending on the quality of stone of the workpiece. The following documentation is studied in three parts:(i) Organization system:In the organization system there are many sets of people involved. Starting from the stone quarry to the people who carry the stone on site or to workshops. After the stone has been cut Page 96

into blocks , basic dressing before carving is done by unskilled carvers, further the carvers draws the pattern to be carved or traces the pattern. Then the skilled carver starts carving which is inspected by generally a master crafts-person. The whole activity is supervised by the site manager or workshop manager. After the workpiece is carved, the female crafts people polish the workpiece which is then assembled by site labors or packaged by workshop labors for transport to site or market.

Skilled carvers who traces drawings From initial stage, they are experienced for many years (monthly income is 4000-5000/month )

Master craftspeople who prepare the drawings and inspect the skilled carvers (monthly income is 6000-8000/month)

Women craftspeople for finishing touches and polishing

Stone quarry workers (monthly income is 2500-3000/month)

Figure 56 The figure shows the organization pyramid of traditional stone carving system as documented in Vishal marbles, Ambaji

(ii) Set-up requirements:The set-up for traditional carving system is generally on site or in a covered space close to the site. Small elements were done by carvers in their household itself. This household set-up was more fit for carving products and sculptures. Architectural elements requires large covered spaces to keep the stone. On-site the work was done in temporary tent on site and followed a system according to the project development. (iii) Process:The work piece is an imported limbra stone. The stone carver was from Orissa. The total time taken to perform the experiment was 9 hours. The carving began with the help of a CAD drawing.

The process was documented in Trivedi Corp, Changodar on 28/03/2016. The factory works with an amalgamation of modern and traditional methods focusing highly on efficient production systems and cost efficiency.

Process of traditional carving practice Process of traditional stonestone carving practice Quarrying (Stage 1)

ransportation

Workshop

Quarrying (Stage 1)

Transportation to the site

Transportation to the workshop

Carving and assembly on site

Carving in the workshop and then transporting to the site/market

Workshop (Stage 2)

Carving (Stage 2)

Master

Skilled Carvers

Preparing

executing on stone slab

Export market

Carving by removing negative areas

Polishing

Preparing drawings craftspeople

Tracing drawings sheets/stenciling

Tracing sheets/stenciling

Marking levels

Marking levels

Instilla (Stag

Final product (Stage 3)

Showroom/

Directly to

Directly on government site project onproject site outlets

Local market

Export Market

Figure 57 The organization chart shows the stages of process of stone from the quarrying stage to the final product

Executing on stone slab

Page 97

Process image 1: Cutting the stone piece to the desired Process image 2: Shaping of the workpiece size

Process image 3: Tracing or sticking the pattern on the Process image 4: Marking levels and removing workpiece material where not required

Process image 5: Selecting tools for carving depending on the size of the corners

Process image 6: Carving negative levels first

Process image 7: Shaping and finishing

Process image 8: Finishing touches given

Figure 58 Photographic mapping of the process of hand made stone Jain temple element for empirical research.

Self taken.

Page 98

(iv) Strengths and Weakness of a Traditional method of carving (Skilled system) :This system is called the skilled type because the final output depends on the skill of the carver, selection of tools and the quality of stone.

Table 10.

Strengths and weakness of traditional carving method through empirical study Strengths Weakness • The product requires a set of skills • Many clusters are now broken down due generated over a period of time with to the artisans engaging in other sources of experience, patience and hard work. This income. The craft has become a seasonal generates an involvement which requires activity, specially if their other source is a cluster. The cluster defines the region farming. Also craft itself works seasonally, and helps economic growth. hence they locate to other unskilled work which yield them better profits.

• The input of this craft are to its bare • The younger generation of craftspeople minimum, the stone (local), tools are becoming educated and hence do not (handmade) and skill. prefer to learn a skilled job over a literate kind of work. The older crafts people also feel the younger ones should study and do something better. The lack of economic growth and societal acceptance is the cause of this.

• The skill of the craft is acquired from • The clusters which produce utilitarian ancestors and hence has cultural value. products have demand only in their respective markets and are not popular in national markets.

• Since the process of carving is a linear • Due to the migration of craftspeople to method, there is scope for improvement other sources of income, a shortage has at every stage until the product is finished. been noticed in the temple making industry of craftspeople and hence the temple architects are also adapting machines as a method of carving. Where there is a need for craftspeople, they are been outsourced from Orissa to make on-site temples in Gujarat and carving elements in workshops.

• The crafts-person acquires a skill to • Finishing and polishing are the two transfer the skill achieved the age old craft important tasks in carving done at the end into the material to achieve the expression of the process to achieve neat work. This of their religion. The involvement of mind process consumes a lot of time and since and body with the material and tools helps the wages are low, this is ignored when perceive a unique expression. there is shortage of time and more demand.

Page 99

(b) Modern (CNC) method of carving The CNC carved process also known as predetermined system is a modern process of carving using mechanized tools like CNC machines. The section will explain the organizational system, set-up requirements and the process of making a Jain temple element through a completely mechanized process with the only involvement of hand being the labourers, operators and the engineers. (i) Organization system:The organizational system of the modern CNC driven stone carving workshop is bigger in carpet area and warehouse. The machines require huge heights for conveyor belts. The people involved in this current practice of stone production are far more than in the traditional stone carving practice as discussed in the chapter 1.2.4. The workshop owner is the game champion here who gets new projects on board, understands the market, material , supervising the workshop, updating new technology and importing or quarrying the stone. The total number of professionals & working class in Trivedi crafts range from 150-200. However pertaining to this experiment, the professionals involved were following:Client

Workshop owner

Workshop Manager

Architect

Software professional

Unigraph/Rhino –3D modeling

Mechanical Operator of the CNC

Workers

Apprentice

Stone polisher

FINAL PRODUCT

Packaging and transportation

Workshop manager

INSTALLATION

Figure 59 The process chart depicts the professionals that were mapped & involved during the experiment.

(ii) Set-up requirements:The workshop is a large truss roof structure with huge spans due to the movement of stone slabs or elements through cranes. R.C.C flooring is best suited as it withstands the vibrations of the CNC machines. There is a drainage and recycling water unit which is recycled for water jet CNC machines. This water is treated and recycled again and used for the process. There is a necessity for control rooms where the pre-programming and prototyping happens. The open space on the site is used for storing used, damaged and extra stone pieces.

Page 100

(iii) Process:The workpiece used here is also limbra stone. The total time taken to make the workpiece was one hour. The carving began with the a virtual 3-D prototype. The process was documented in Trivedi Corp, Changodar on 28/03/2016. The factory works with an amalgamation of modern and traditional methods focusing highly on efficient production systems and cost efficiency. The prototype was converted into 2-D drawing on Ddx Easy Stone, which is a software supporting CNC machine. Before beginning to carve, the stone to be carved needs to be placed with precision on the CNC machine. Mass production is always better for mechanized production systems. Once the prototype is made, innumerable pieces can be made thereafter of the same design. The pre-programming takes the maximum time, although small elements can be made Process of modern CNC driven stone carving practice

Design development stage (Stage 1)

Production stage (Stage 2)

Final output & administrative stage (Stage 3)

Preparing CAD drawings

CNC machine

Packaging & Coding

Showroom

Virtual 3-D model on Unigraph

Calibration of stone slab on the machine

Transportation

Local market

Preprogramming to define coordinate systems

Entering data and precision in the machine

Installation according to coding

Arranging the stone piece with minimum gap

Carving

Final Product

Figure 60 The organization chart shows the stages of process of stone from design development to the installation stage.

Page 101

Figure 61 2-D drawings prepared before the production of the Jain temple Column. The element experimented is a part of a Jain temple column as shown below.

Page 102

Figure 62 3-D model prepared in Unigraph software before the production of the Jain temple Column part. The element (model) was scaled to half for convenience of the experiment.

Figure 63 2-D drawings prepared before the production of the Jain temple Column. Above is the element made on AutoCad to be made on CNC which is a part of a column.

Page 103

Process image 1: Virtual 3-d prototype

Process image 2: Shaping of the workpiece

Process image 3: Cordinate marking

Process image 4: Unigraphic model with entering tools

Process image 5: Arranging the workpiece with precision

Process image 6: Carving process in CNC machine for

Process image 7: Shaping and finishing

Process image 8: Final product

Figure 64 Photographic mapping of the process of machine made stone Jain temple element for empirical research. Self taken.

Page 104

(iv) Strengths and Weakness of a Modern CNC method of carving (Pre-determined system) This systems strength is that it is pre-determined, as once the commands are ready and the output is virtually known, only then the carving begins on the stone, leaving less room for errors.

Table 11.

Strengths and weakness of CNC carving method through empirical study.

Strengths Weakness • From the process of documentation it was • The CNC mill uses rotary bits. When observed that CNC machines reduce the carving inside corners, a radius is labour intensive work while carving any unavoidable which will have some kind of stone. minimum radius making the corner wider.

• The accuracy of the product is very high as the command given to achieve the exact pattern is fed in the computer which is passed on to the controller and then to the tool. The precision is in decimals.

• The tool is diamond tip and can cut any type of stone. These tools are designed in a way that they can bear maximum abrasion and resist getting blunt in smaller intervals.

• The role of a designer is crucial in this system, as he/she has to look into the design and technical aspects of the element before production stage. The designer needs to be aware of the softwares for virtual models so he can explore options of new designs and patterns. It is a boon if the designer has a background knowledge of traditional stone craft practices in order to achieve the desired outcome.

• The machine at every stage is challenged in such a way that the results are almost similar to a hand made element.

•

Tools deteriorate and wear off with use.

This is significantly noted when the stone is hard.

•

The movement of the tool is limited. The distance is less than 18” in all axes, hence the milling can be performed in this range and designed according to this limitation.

•

The CNC process requires accurate data fed in the program and the virtual model should be accurate to the desired results.

If there is any flaw in this process, the outcome will have the flaw which will need manual efforts to correct.

• No manipulations can be done in the process after the carving has began.

This process is therefore known as predetermined.

• The machine does not recognize the quality of the stone and therefore, due to the equal amount of force, the carving quality varies and the stone chips at times.

• Time is the biggest strength of this system, as what can take 8 hours by hand, the machine can perform in an hour. Hence mass production is possible in machines,which makes the craft reach global networks at a low cost production rate and higher profits.

• As observed in the process, carving can • This process requires a lot of pre be compared to a process of meditation, processing work which requires a handful Wherein the best results can be achieved of professionals like engineers, software in solitude and where your mind needs developers, designers, unskilled labour, utmost focus. programmer etc.

Page 105

KEY NOTES FROM THE CHAPTER

Mapping physical temples

Mapping physical practices

Hutheesing Jain temple - Understanding Jain temple architecture & History -S.W.O.T analysis

Sompura Architects -Practicing traditional style of carving - Interview craftspeople -S.W.O.T analysis

L.D. Institute of Indology - Understanding the construction of an ongoing Jain temple - Interviewing craftspeople on site -S.W.O.T analysis

Trivedi Corp.

-Practicing modern methods of carving -Interviews -S.W.O.T analysis

Interviews

Craftspeople

Designers

Stone workshop owners

Engineers

Empirical research by an experiment on 2 elements

Traditionally hand carved element and documentation of the process

CNC carved element and documentation of the process

Summary of the chapter:This chapter is the empirical study done to add relevance to the question and back the research with not only a literature review but actual field surveys.

The study was 4 folded as shown above. The interviews with the craftspeople and the workshop owners helped me answer some intangible aspects or qualitative analysis of the study. The experiment study helped me understand the process of both the methods and arrive at conclusions derived from the study.

The physical mapping of stone craft practices is an eye-opener to the current state and what was being done which is still practiced in the remote interiors of Gujarat, where mechanization has not yet reached. The factory system of Trivedi has managed to take stone crafts to global markets.

In a competitive world like today this achievement is appreciated but not at the cost of loosing the quality and workmanship. Also noticed in these studies is the shortage of craftspeople in Gujarat which is making all the workshops outsource craftsmanship from Orissa. A question to this is why are the craftspeople in Gujarat diminishing and what are the differences and impacts of mechanization in the traditional carving practice. The answers are further explored in the analysis stage of the research.

Page 106

3 ANALYSIS & FINDINGS

As Dormer (2010) writes,“The advantages of prototyping lie in the experience of making or getting something made, and in recognizing the gap between theory and practice....Making things yourself takes a long time and making anything takes longer than most inexperienced people imagine. (Interview with the author,16.5.95)� (p.149)

Page 107

3.1.1. BRIEF ABOUT ANALYSIS ANALYSIS Construction/ Production Method (Case study mapping)

Visual (Experimental) Expression

Detail (Quality)

Texture (Surficial)

Impression

Depth

Process

Hand Made

Machine Made

Advantages/ Disadvantages

Advantages/ Disadvantages

Socio-economic Impact (observation& Interviews)

Economic Status of the Craftspeople Design

Detail

Market Value

Identity

Time

Elements

Figure 65 A brief on the parameters used to analyze the case studies

The background study gives a gist of Jain temple typology in Gujarat and the two stone craft practices co-existing today - the traditional stone practice of carving with hand tools and the automated mechanized way of production using CNC technology. Initiatives to amalgamate the practice in order to achieve the best results are taken. Sompura architects who follow the age old principals of temple design are now adapting CNC machines to create temple designs with traditional principals and engineered process. Parallelly, Trivedi Corp. is practicing prefabrication of temple elements to produce large scale elements using mechanization. However, as analyzed in both the cases the technique of hand carving is used to add the human touch in the end to add detail. The 10% of the finishing work is done by the craftspeople here. This integration could be either to enhance the work of the machines or hide it.

The difference in the hand work and machine was necessary to understand this. Hence an experiment is performed making two elements of a Jain temple - one made by hand completely and the other by machine. This experiment is done to identify the visual analysis. This experiment also helped to understand the production process and construction method. Sompura’s and Trivedi’s construction method was documented to get a clear idea of the process of production.

The final stage was documenting and interviewing the craftspeople and various practitioners in traditional stone carving and CNC process to understand the dynamics of change, the social impact and the economic status of the craftspeople. The aspects of the users and the identity of the craft were tried to observe. It is important for the craftspeople to survive in this industry even with the use of mechanization. The economic status of the craftspeople needs improvement in order for the craft itself to sustain. It is important to note the analysis are based on Vishal Sompura’s work and does not apply to the whole community of Sompuras.

These analysis put forward not only a practical framework of the craft but a theoretical view point too. The integration of machine and hand work is identified but the craftspeople shouldn’t be treated like machines. Their working condition is similar to that where the mechanization happens. Use of machines and defining its position in the craft is the scope of the study.

Understanding the impacts of their adaptation is the aim of this analysis. There are pros and cons in both the systems if one analysis them. The term craft is questioned once mechanization is involved. Hence re-defining mechanization is necessary. As a designer, it is important to understand the role of machines and craftspeople in the process of making, wherein the craft can be understood as making and machine can be understood as producing. The experiment helps us understand the process of making and producing, therefore finding a mid-way to suit both to its best advantages. Generating the scale is the idea of the analysis to understand the smaller examples to approach bigger cases and issues.

Page 108

In stone craft, the quality of raw material and the craft heritage play an important role in defining the quality of the final output. The motivation to produce delicate and intricate work is as much a function of skill as of desire (Chhiber, Neelam. 2006a).

On the traditional aspect of the craft, the craftspeople are in close contact with the material,involving their mind, body and soul to every aspect of the process. They understand the material and its sensitivity and apply pressure accordingly. In the contemporary aspect, the material is judged in advance, the inputs are given, the result is known and then the process is undergone. Any mistake realized cannot be rectified until the finished product. Time plays the biggest role in both the practices. The implication of virtual environment from a physical in which modeling is done has brought about a change in the creative field like stone carving. The designer plays a role here, in creating and designing this virtual digital set up. Crafting is to achieve uniqueness-one product of its kind in one day. Machines can produce 10 products in one day. It is to cater to the masses.

Both the practices when amalgamated form other transformations, of which mechanization is one and the other impacts are studied in the analysis.

3.1.2. PROCESS OF ANALYSIS In the beginning of the analysis it is important to lay the typology of Jain temples in Gujarat, then to study the influences of history and use of carving in the chronological order. Furthermore, it was also necessary to study the fundamentals of Jain temples. The need to document a temple made in the typical Jain style completely by hand was important to refer. Hence Hutheesing Singh Jain temple was analyzed to understand the temple elements and carving detail. The next step was to understand a current practice of temple making in order to refer the use of mechanization. L.D. Institute of Indology helps in documenting an on-going temple construction with the use of mechanization. The root cause of mechanization which is believed to be invented during Industrial revolution is also studied as raw data which can be referred in Appendix A. The other process of analysis was to study the traditional practice of carving and the CNC practice craft practice. Case 1 analysis traditional methods of carving, teaching craftspeople from masters. The design of the temple is in accordance and acceptance of the Shilpa Shahstras and the craft is socially recognized and in demand due to its identity and recognition of keeping the traditionalism alive. Case 2 analysis modern methods of production of stone carved elements.

In this, the engineer and designer pre-design the model in a virtual environment as accepted by the CNC machine. Skilled labor is appointed to set up the machine and run it. The work done is premanufacturing which is done using BIM softwares by designers and engineers. The final input is given to the machine to achieve the desired output. The machine can perform 8 times faster than manual work. Such analysis on parameters of time, scale, process and design are being carried out at this stage.

The last process is to have one-on-one interviews with the craftspeople working on all the cases to understand their economic status and the understanding of the change of practice. The role of the designer plays in grasping and laying conclusions after judging all the areas of study and prove them with practical findings. The data collected is purely based on these analysis and may differ from other such practices. The literary study is carried out to support these studies which can be read in Appendix B. The analysis will help in re-defining mechanization and the impacts of it in the stone crafts sector which will also result in questioning the involvement of mechanization in other such craft practices in India. The study can become the base for other such inquiries.

Page 109

3.2. VISUAL ANALYSIS Design

Implementation

Figure 66 Autocad drawing of Shri Krishna Temple, Toran, U.K., 2011. Copyright 2016 by Kiran Trivedi, Trivedi Corp. Adapted with permission.

Figure 67 Shri Krishna Temple, Toran, U.K., 2011. Copyright 2016 by Kiran Trivedi, Trivedi Corp. Adapted with permission.

Page 110

Design

Figure 68 Hutheesing Jain temple, Column, Ahmedabad, 19th century

Implementation

Figure 69 Shri Krishna Temple, Column, U.K., 2011.

Copyright 2016 by Kiran Trivedi, Trivedi Corp. Adapted with permission.

Page 111

Visual Analysis:- Comparison of a hand carved and a CNC carved dome Design

Implementation Figure 70 AutoCAD drawing of Shri Krishna Temple, Dome ceiling, U.K., 2011. Copyright 2016 by Kiran Trivedi, Trivedi Corp. Adapted with permission.

Figure 71 Shri Krishna Temple, Dome ceiling, U.K., 2011. Copyright 2016 by Kiran Trivedi, Trivedi Corp.

Adapted with permission.

Page 112

Visual Analysis:- Comparison of a hand carved and a CNC carved dome

Figure 72 Ceiling of temple dome from the Jain temple at Potters bar, Photographed by Ravin Mehta, 2006

Figure 73 Ceiling of temple dome from the Jain temple at Rankapur, 15th century.

The dome in figure 74 is an example of a CNC carved dome. The dome has larger scaled elements as the tool cannot reach to the cornered depths. The dome has been made in parts and assembled together.

The dome in figure 75 is a celebrated example of traditional hand carved dome with fine carving. The dome was first constructed and assembled and then carved with hammers and chisels.

Page 113

Textuality

Surficial Difference

Finishing

Stone Quality

Hand Carved

Machine Carved

The texture is smooth and finished to achieve perfection and quality.

Textuality

Each element is clear. The uniformity is there in similar paters but overall differentiates on different levels.

Surficial Difference

Each element isn’t coming out of the stone but the uniformity makes the element look lifeless

Finishing

Since only one tool is used, some corners are chipped which were later chamfered to correct it.

Uniqueness

All the elements can be made in the same time and same quality. Hence mass production is possible in minimal cost.

The finishing is clear and due to different tools being used the quality of stone is understood and caused no chipping.

Each pattern in the element is unique and if another one of the same design was to be made, it would also be unique to this one.

The texture is quite rough comparatively and the edges are not clear

Figure 74 Visual Analysis:- Experiment study comparing a hand carved and a CNC Page 114

3.3. PRODUCTION METHOD ANALYSIS Issues & Problems identified:The main question similar in all the above case studies are the degree of usage of machines to achieve an end product. Clearly there is a vast time frame involved and differences in what is being compared. For example, Huthessing was built in the 19th century and is an already constructed temple, whereas the Sompura and Trivedi are planners, designers and manufactures of temple complexes with running projects. Even if we compare the temples already built by them, we would have similar findings. Therefore, the involvement of machines is the point of focus here from two decades where Hutheesing could possibly be one of the last temples built completely with hand. As a reference to what existed and what has changed it is also necessary to study a classic. Ranakpur temple in Rajasthan, Dilwara in Mount Abu and Sun Temple at Modhera are such examples. Analysing on the temples above, one can study the transformation and alterations in design, quality and depth of detailing and the impact of these transformation on crafts people are immense. The stone carver, in places like Gujarat and Rajasthan manage to find another field of interest or finds work in the similar field. But there are some reasons for the Orissan craftspeople to leave their home town for years to work in Gujarat and Rajasthan Jain temples.

Parameters that impact the crafts people due to mechanization:- No employment - Migration for better or similar fields of work - Skilled crafts person to skilled labourer to use machines - No innovation - No workmanship of risk and only workmanship of certainty - Crafts person (stone carvers) work with manufactures of stone instead of client’s needs - Understanding the limitations of machines and working around it - Time reduction - Reduction of wages- from an artisan to a labourer - Diversion to other fields - Dying of the stone crafts community - Involvement of the craft limited to detailing and finishing The degree of involvement of machines was different in all the 4 case studies documented, from no use of automated tools to high technology tools. This degree is analysed and mapped.

The alterations of these transformations are qualitative. The above impacts on craftspeople will similarly be drafted and mapped. Interviews are taken from varied craftspeople practicing different degree of carving, Inlay and mural works.

The use of traditional techniques in modern life, “Transitions and transformations in craft techniques: Case Studies of stone carvers” where is there place for traditional methods or crafts in contemporary scenario or are there new business opportunities for crafts men in the sector.

*

All the graphs are based on analysis derived from the case studies & literature reading only Page 115

Consumption Stage Production Stage Material Extraction

Material Components

Packaging

Transportation

Assembly

Completion

User

Consumption

Vehicle Distribution

Main Production Activity Planning

Designing

Accelerate

Drawing

3D Modeling

Programming

CNC Operation

Master Craft person

Finishing

Polishing

Coding

Packaging

Figure 75 Production-to-consumption system in stone carving practice.

Table 12.

Comparative analysis of Orissan v/s Gujarati temples.

Differences Art

Carvers

Community

Style Tools

*

Page 116

Orissa Temple Orissian carving mainly depict human anatomy, which consists of idols of Rama, Krishna, Laxmi, Vishnu, Durga, Buddha & Surya.

Orissian carvers receive formal training in stone carving which results into disciplinal efforts of generation. Carvers can carve from ultra soft white soap stone to the hardest of all black granite.

Regional sub-communities follow this art.

Gujarat Temples Gujarati carving concentrates on patterns and temple elements like toran, dome, celling, column, doors & windows.

Follows the Kalinga style.

Only a few simple tools like hammers and chisels of varies shapes and sizes better known as 'Muna', 'Martual', 'Thuk-Thuki ' and 'Nihana' , in local parlance.

Follows the Nagra style.

The chisel, hammer & needle are broadly called Chini, Hathodi and Soi.

Gujarati carvers inherit the skill, and practice on the stones which are locally available. Mainly the carvers hail from Sompura.

Mainly the carvers hail from the Sompura community born in Patan.

All the graphs are based on analysis derived from the case studies & literature reading only

Hand Tools

Power Tools

Automated Tools

Hutheesing Jain Temple Lalbhai Trust DPM Design, Trivedi Vishal Marbles (Vijay Sompura)

Figure 76 Usage of tools in the 4 studies, comparing the involvement of each tool in every case.

Depth of Detailing:The depth of detailing is the depth of carving of stone used in these varied studies. The depth of carving is inversely proportional to the use of machines. The lesser the machines, the more the carving. The graph of carving from hand tool to machines goes from 3D to 2D figures. However in carvings like jaali work which is through and through cutting, the use of machines provides a better workmanship quality and less faults or cracks.

DEPTH OF DETAILING

Figure 77 direction of carving between a hand tool and machine carving

DEPTH Depth OF ofDETAILING Detailing Depth of Detailing

High

High Medium

Medium

Low

Huthee s ing Jain Temple, Ahmeda bad

Low

LD Institute of Indolo gy, Ahmeda bad

D.P.M Design, Trived i Corp. Pvt. Ltd.

Visha l Marbles (Vija y Sompura ), Ambaji

Figure 78 Comparative analysis of depth of detailing based on carving by hand tool. *

All the graphss ing are based derived from the & literature reading only Visha l Marbles Huthee Jainon analysis LD Institute of case studies D.P.M Design,

Temple, Ahmeda bad

Indolo gy, Ahmeda bad

Trived i Corp. Pvt. Ltd.

(Vija y Sompura ), Ambaji Page 117

The Hutheesing Jain temple and Trivedi stone crafts as shown in the above chart are extremities of the case studies. One possesses complete hand work and the other complete machines. The depth of detailing of these cases are studied below:Case 1:- Hutheesing Jain temple Case 2:- D.P.M Design, Trivedi Corp Pvt. Ltd. Analysis :- Outcome if the tools are changed in both the cases and its impacts.

Impacts on (i) Design ( depth of carving) (ii) Structural integrity (iii) Intangible aspects (I) Design Impact:- Premchand Salat being the architect and master craftsman, the temple is one of the finest explorations of the creative regionalism where the classical is combined with the vernacular. If we assume that Hutheesing was made of automated machines and power tools like drillers the impact on design would be significant. The sculptures and figures of various deities would be 2D and that wouldn’t be as easily recognisable. The details on columns would lack intricacy and flaws which is the beauty of Hutheesing. The temple is morphed stone into wood and temple in to ‘Haveli’ with domestic elements as well as traditional motifs. The jharokas, columns and brackets would not be ornamented to this extent. The repetition in different margins of columns and other elements would be more. Overall, Hutheesing would lack the message of Jainism that is depicted today.

Typical three part temple structure flanked by the circumambulatory is added with the entrance porch as an overlay of gateway architecture from local houses. The use of machines in both cases would have a resultant that is vastly different as the workmanship of skill would be replaced by certainty.

(I) Structural integrity:- The west facing temple has an eight pillared octagonal frame supporting the twelve ring semi circular dome over the Nritya mandapa. This along the axis leads to Gudh manadapa having double the height, volume and walled off space with doors positioned in cardinal directions. The sanctum sanctorum is an attached cell housing five deities in a three bay sanctuary. The temple creates a spatial sequence to attain one to one dialogue with the divine through a shifting movement axis and gradual morphing of spaces. The architectural resolution helps create such conditioning through its space organization and juxtaposition of space making elements. The temple even has the basement enshrining two sub shrines and six deities. The temple structure is flanked by colonnaded circumambulatory with fifty two sub shrines along its passage. The architect has put in principals of Shilpa Shahstra which explains the structural components and integrity. Not that the Shilpa Shahstra mentions the use of tools in the making, it is more defined by its elements and architecture. (iii) Intangible aspects:- Hutheesing Jain temple remains one of the finest work of Jain temple architecture of the 19th century. Jainism flourished in Gujarat after the Solanki period. The Mahavir temple built in 1062 A.D was the oldest in the group. The temple also has a museum attached, depicting stories of Jainism and other significant temples of Jainism in Gujarat. As one enters the temple, the temple care takers are very possessive about the whereabouts and the temple worshippers are even more on the rituals of the temple. The perception of the temple would have been conceived differently had it been constructed with technology. But that would have made the temple far more ahead of its time giving it a different unique perception. *

Page 118

All the graphs are based on analysis derived from the case studies & literature reading only

The temple admirers talk very fondly of the artisans skill and hard work which is the image of Gujarat. Hence the perception of the worshippers and art lovers would differ towards the art, heritage, conception and admiration of the temple.

Process:The process has changed over a period of time, where a stone block took a week to cut, even, draw, eliminate, carve now directly foes from cutting to carving with the help of CNC machines.

In short the same process and time is reduced to less than half. Hence the quality of the product has also changed. The machine provides a high level of accuracy which a skilled craft man can also miss. Hence the increase in quality and decrease in time are one of the major positive parameters of the use of mechanization.

Design Depth Comparision High

Medium

Low Current

Power Tool Hutheesing

Automated

Trivedi Stone

Figure 79 Comparing completely mechanized case to a complete hand made case on the basis of depth of comparison.

Figure 80 Qualitative impacts on parameters of time, process and quality. *

All the graphs are based on analysis derived from the case studies & literature reading only Page 119

Tools:The change in process is related to the change in the process of mechanization. Hence the tools and method of carving has also changed which impacted the quality and the time taken.

The diagram below shows the significant change in tools from hand chisels to CNC and water jet machines leading mechanization in the selected method of craft.

Figure 81 Evolution of tools to mechanized machines entering the stone carving craft.

Scale of Production:The scale of production has changed significantly over a period of time, where a crafts man took weeks to finish a column, now takes few hours. The use of machines has changed the entire production process and the time to do so. There is a vast change in the depth and detail of carving. In the chart below, the time line of one week, a craftsman with the use of traditional hand tools can build one column and the column if tried to make with machines can produce 150 at the same given time. The column’s intervention happened with not only change in tools, but also styles, deletion of ornamentation and limitations of machines and time.

Figure 82 Scale of production from a finished stone cut to size to the stage of carving within 60mins compared in different methods of carving. *

Page 120

All the graphs are based on analysis derived from the case studies & literature reading only

3.4. INTANGIBLE/QUALITATIVE ANALYSIS Gender Analysis:The woman in the craft are involved for polishing of the final product to achieve fineness and everlasting shine. The stone after cutting needs have a levelled surface. Woman due to their soft touch are involved in levelling the stone blocks too. Crafts man participate in the carving process with hand or machine.

Figure 83 Gender analysis of male is to female ratio in the craft.

Hereditary / Non-Heriditary Ratio:The crafts people documented were a mix of hereditary and non-hereditary. The crafts men and women belonging to age group 20-40 were practicing this craft for monetary gains and the artisans of the age group 40-60 are the ones in this craft for years for the carving and the contentment of skill. The craft has been one of the oldest craft of Gujarat.

The manufacturers are the ones who have received the skill and the ownership of the craft through their forefathers.

Figure 84 Hereditary v/s non-hereditary ratio in the craft

Age Group:The age group of carvers are mainly between 20-60 years.

The reasons are varied for their inclination towards the craft. The hereditary carvers are mainly the master crafts men. The young crowd are the apprentices with not more than 2 years of practice. “The main problem in this craft is the unavailability of skilled artisans and sooner it will be a major concern and reason for the drift in the stone cravings from hand skill to machines� - Vishal Sompura

Family Inheritance Inheritance Family

Non- Hereditary 60%

Hereditary 40% Hereditary

40%

Non- Hereditary 60%

Hereditary

Hereditary

Non- Hereditary

Non- Hereditary

Figure 85 Age group categories in the craft

*

All the graphs are based on analysis derived from the case studies & literature reading only Page 121

Experience:The average range years practiced by the craftspeople determine their designation. The people who made and still making the Hutheesing Jain temple are craftspeople from various parts of Gujarat and Rajasthan and some master crafts people from Orissa who master in figures of deities. The artisans practicing with Trivedi crafts for various temples in Gujarat and world wide are designated to be skilled artisans and unskilled labours. The designation of works also include engineers with good knowledge about the latest technology.

Nimish Shah, The oldest engineer at Trivedi Stone Crafts talks about his designation, “I had passed out of Software engineering and joined Mr. Trivedi. I did a course in Italy understanding their use of technology in stones and hence today I am the Senior Engineer where I understand each and every machine being used here.�

Figure 86 Experience and involvement of stake holders in all the 4 cases.

Market Analysis:- There is vast difference to the market these cases serve too, these are one of the Impacts of Mechanization. Trivedi crafts deals with machines which are from Italy and hence involved global connections to his work profile whereas manufactures or temple builders like Sompura deal with the National market serving mainly to Gujarat temple architecture and its outskirts. The Market analysis and their clients are directly related to their use and proficiency in mechanization and degree of involvement with the machines. However, there are other factors to be considered in catering to different markets like their use of principals in the construction of these temples. Trivedi crafts does not remain bounded to the principals of temple construction whereas Sompuras still follow the old traditions and regulations.

Figure 87 Market analysis of Sompura and Trivedi *

Page 122

All the graphs are based on analysis derived from the case studies & literature reading only

Crafts people:- Qualitative Analysis Identity And Culture History And Mythology Innovation General Well-being Region Raw Material Market Social Impact Identity & culture:Craft processes and values are slowly dying and becoming extinct in today’s technology driven digital world.

History & mythology:Crafts and its processes develop over ages and stories, tales and folklores are embedded in the fabric of the entire evolution. Some tales translate directly into physical and tangible manifestations in the products while others remain as passive catalysts.

Innovation:With the advancements in technology, various skill- based professions have either been adversely affected or have been able to make most of opportunities and taken a leap of progress.

Some processes have not been impacted and changed with technology and have retained their dependence on the hand. Others like stone crafts have changed with mechanization and evolved making it a high profile business in private realm.

The adaptation of contemporary designs and simplicity in style have made the job of the stone carver probably easier. But this modernist approach in the Indian cultural context some how feels a lost of integrity and cultural approach. The subtraction of ornamentation and prefabrication has made the use of mechanization a profitable source of income and a craft which dies in hand skills but takes a re-birth with the adaptations of technology.

The crafts people are disheartened, since their skill is no longer in demand but they agree to the demand and the changing social and economical environment forming their affiliation to the craft in other possible ways.

“The story goes as back as the times in history when my father would walk me to the river side, where lengths of colourful patterns waved up and down, with the gushing flow of Ambaji river. Things changed however, open banks were replaced by concrete blocks, flowing river by inert marshes, carving sites by huge machines confined within four walls of the factories, carving got restricted to detailing, chisels replaced hand tools, and now, stone carved handmade are fighting against much faster CNC …” Kiran Trivedi (Son of Late Shri D. K. Trivedi began his journey as a restorer of traditional heritage temples such as Ranakpur and Delwara in 1937. He started mining operations in 1947 at Ambaji located on the Aravalli Range, India. *

All the graphs are based on analysis derived from the case studies & literature reading only Page 123

Contentment:The parameters to gauge the level of contentment amongst the crafts persons are whether they have an emotional attachment with the craft or whether its an ancestral tradition that they are proud of. If the crafts persons are content and value the craft, do they want to pass on the tradition to future generations? The contentment of the craft is their personal satisfaction of practicing the craft and their affiliation with it.

Built environment:The Government of India is taking measures today to improve the quality of the craft and the craft person’s environment which includes loans for raw material, workshop and exhibition spaces.

These measures are taken on crafts that are identified as heritage crafts. Hence the heritage value and the identity of the craft impacts the process and the crafts people practicing the craft.

General well-being & economic condition:For most of the craftspeople, their profession is the source of not just their livelihood but also their joy and overall well being.

There are crafts persons who have inherited the craft from their families and have seen the nature of the craft evolve within their lifetime. For most of these craftspeople, priorities have changed w.r.t to their children; they would like their children to engage in qualified vocations and pursue their education and than carry on with skill based work.

This is due to many reasons, most of which are related to financial and economic security. There are also concerns about social ‘status’ and eligibility , since it is believed that a job is more valued and respected than a skill .

‘I like my job , and I don’t like it also’ says Satishbhai , a master stone carver from Ambaji.

He admires and respects the age-old tradition that he has inherited form his family but is caught in a dilemma between his passion for carving and his financial aspirations. He, therefore, will practice the craft ‘as long as he lives’ but does not encourage his son to take it up.

32 craftsmen α 1 machine

90% of machine work = 1 day 10% of craftsman work = 8 days Figure 88 Work percentage of a machine to a crafts-person as noted and quoted by Trivedi Stones (Kiran Trivedi) *

Page 124

All the graphs are based on analysis derived from the case studies & literature reading only

Figure 89 Percentage of wastage in mechanized v/s hand,made production as noted by Trivedi

Figure 90 The role of different people involved in the process of craft production that need to be considered to understand the impacts of mechanization.

Table 13.

Different approaches to Temple Architecture

*

Social Recognition

Mr. Vishal Sompura

Mr. Kiran Trivedi

Professional Status

Temple Architect

Industrialist & Mining Man

Educational Qualification

Shilpa Shahstra

Geology

Industry Experience

Known as temple architects for decades , restorer of traditional heritage temples.

Mining operations in 1947 at Ambaji, first to bring mechanized marble quarrying and fabrication of stone to India in 1970s.

Social Status

Upper Middle Class

High Class

All the graphs are based on analysis derived from the case studies & literature reading only Page 125

Figure 91 Professional Background of Sompura Architects.

Figure 92 Professional Background of Trivedi Family.

Page 126

KEY NOTES FROM THE CHAPTER

Procedure for analysis

Brief about analysis

Visual analysis

Visual refrences of design and interpretation of modern methods of cetainity

Production method analysis

Intangible qualitative analysis

Comparing temple styles

Gender analysis Inheritance ratio

Usage of tools Experience Depth of detailing

Procedure for analysis

Economic background

Visual comparison Scale of production

Market analysis

Summary of the chapter:This chapter is the most crucial one, as it scrutinizes the data collected in the case studies. The charts and data are purely based on the observations, interviews, analysis and interventions.

They are interpreted as explained and can have another view point.

The analysis focuses on the visual data of CNC methods and how 2-D drawings are converted into virtual models and then carved. The experiment helped me compare the two processes of carving on time, quality, visual differences and surfacial difference.

The mapping of physical temples helped me analyse the differences in the two methods and the results of them. The main study analysed were the physical mapping of Trivedi and Sompura practices which are so different in so many ways. The time spent in both these workshops helped me interact with the number of professionals involved in the practice.

The study gives a holistic view where each type of analysis helps conclude another one. The number of stake holders and practitioners are many but these cases helped me understand the system better. The chapter focuses on various parameters analysed and therefore, draw conclusions.

Page 127

4 CONCLUSION

As Lievin quotes,“India is better placed than any other to create an interface between craft and industry, craft and technology.”

Page 128

4.1. ADDRESSING THE PARAMETERS INVOLVED The Question:- How has mechanization impacted the traditional stone craft production-toconsumption system?

Before we begin to answer the main research question, it is important to understand three main important subjects of the research question. 1) What is the meaning of production-toconsumption system. 2) What kind of people are involved in the envelope of the productionto-consumption system of stone carving practices in Gujarat on whom mechanization has an impact. 3) Redefining mechanization for craft guilds according to a designer & a researcher’s approach.

Production to consumption system

Impact of Mechanization

Envelop of people

Redefining mechanization

Figure 93 Three main subjects to the research question

Before industrial revolution changed the course of production system, the production system was in the hands of the craft guilds. The establishment of the factory system involved a group of people, apart from the crafts-person. This envelope of people have merged now to become a part of the stone carving practice in Gujarat and can rightly be understood to describe the stakeholders of any other craft practice in India which has turned towards a factory system.

The production-to-consumption system of probably any production practice are divided in 4 stages. The preproduction, production, distribution and consumption. The above focus group come together in this system to perform a continuous cycle. Below is a representation on how the system works pertaining to craft practices generically, adapted from Trivedi Corp modern practice of production. From the design to the consumption stage there are many people who are involved in the process from the which form the outer envelope, encompassing the craftspeople.

Page 129

Social Demand Client’s Brief

Pre-Production

Designers Architects Professionals

Design/ Demand

Labour Force

Modelling

Selection of appropriate material Production (2)

Designing Prototype

Output

Research

Design Institutes

Open to Public

Consuming

Recycling

Consumption

Packaging

Preserving

Circulation Distribution

Transportation

Waste

Consumption

Collecting

Distribution

Assembly & Markets

On site or Market for retail

Production to consumption system of stone craft practice Manufactures, Owners Research & Development Labour Force Manager, Engineers Tools Manufacturing Process

Resources Material, Capital, Technical Support

Finishing

Production (3)

Figure 94 Production to consumption system of stone carving current practice. Adapted from Trivedi Corp.

Page 130

The aspects of mechanization that Impact the stone craft practices of Gujarat as demonstrated in the Jain temples are on the following groups:Envelope of people involved in the system thinking module of mechanized craft practice Workshop Owner Managers

Engineers Client Designers

Graphic Designer Architects

Artists CNC Programmer

Crafts People

Stakeholders Catalyst

Built Environment

Labourers Manufacturers

Virtual Modelling CNC Operator

Users

Figure 95 People involved in the current craft practice that mechanization has an impact on

The scope of this study, based on so many empirical researchers is what is the term mechanization, before and after. Does this study change the term in accordance with the analysis and findings.

Any researcher who has empirically studied the minute details of crafts, can discourse the use of digital techniques on traditional practices. It is a matter of debate. Hence it is necessary to state the term in accordance to what the term mechanization means and connects to relevant to this research.

Redefining mechanization Skill with machines

Process of change

Power driven

Applied force

Fast & economic goods

Mechanization

Sake of aesthetics

Nontactile

Craft

Mechanization is a mechanical tool For the process of a non-tactile making To achieve fast and economic outcomes In order to mass produce standard products Parallel to individual hand-based crafted products

Figure 96 Redefining mechanization in a designers perspective.

Page 131

4.2. OPPORTUNITIES AND IMPACTS OF MECHANIZATION The other main question is what are the opportunities that mechanization offers to the stone craft production-to-consumption system? There are some opportunities of mechanization that craft sector can choose to use for their advantage. And from a system which was individual based is now a factory system, based on the below parameters and the core of production still remains oneself. The important point to note it that the change begins from oneself that broadens to affect the society. The choice is in our hands.

Global Advancements (economic growth)

Organization Environment

Mass production and other layers of transportation

Using mechanization as a tool to increase production to consumption system

Community/ Society

Designers Total Organization

OPPORTUNITES OF MECHNISATION

Between Department

New occupation for Crafts people New style of carving

Work Teams

One on One SELF

Figure 97 Opportunities of mechanization

Figure 98 Core of organization

The impacts of mechanization are mentioned below in the system thinking model. Where the core impact is the quality of the design, which is limited to the limitations of mechanization and the craftspeople, who has faced no economic up lift. The next impact is on the traditional practice system, which were based on certain principals and were driven for many years. The market economy has risen in terms of economic condition, but like in any other system of production, the products/goods used now are imported which are cheaper. This has made the Indian production choose mechanization in order to compete with the developing production systems world wise. And the most important one is the other modes of transformation, off which mechanization is one such.

There are some advantages to Quality of Design – Limitations of mechanization mechanization too, which can be used in the favor of the Indian productionCrafts people – to-consumption system like mentioned economic condition in the opportunities, mechanization Traditional Practitioners – is a tool in the end, which can help The shift from a domestic age old practice to a factory global man’s task to be performed better practice. reducing labourer intensive work. The Market Economy – Competitive market which crafts-person’s misconception that demands the use of mechanization is their replacement is mechanization for cheap products/ outcomes due to their lack of knowledge about the Other modes of transformation uses of mechanization. Hence education – Standardization, Apposition, Production, denotation, to the crafts-people on the technologies translation, globalization, commoditization available in the production-toconsumption system so that their value of hand work and their unawareness is not taken to the advantage of the stake holders.

Figure 99 System thinking diagram of the impacts of mechanization on stone carving on Jain temples in Gujarat Page 132

Tools:As discussed in the analysis, the hand tools are now being replaced by pneumatic chisels. The role of hand carving in the manufacturing process is only left to 10 % in the outcome. However in the process of turning mechanized some tools as listed in table 5, page no. 58 are lost. Some of those tools are:Chheni Taku Compass Divider Files Gangsaw Gaj & Some old chisels that are no longer used to cut stone.

Figure 100 Pneumatic chisels

This thesis understands the use and meaning of such tools that were earlier used in cutting, shaping and smoothing the edges of the stone which are now easily done by machines. Comparing the use of machines to make 30% involvement of hand carving would now help in the actual amalgamation process of hand and machine. This number will also add the missing tactile nature to the carving, the depth of detail and the craftspeople community which is now coming to an end in response to the low demand. The figure number 88 shows the current working percentage of 10% hand, if we convert it in 30 % the following diagram helps in understanding the duration of work.

32 craftsmen Îą 1 machine

70% of machine work = 9 hours, 30 mins 30% of craftsman work = 24 days Figure 101 Work percentage of a machine to a crafts person as proposed.

Page 133

4.3. FURTHER QUERIES & SCOPE Role of Mechanisation In other craft practises in India

Advantages of mechanisation and how it can be designed to use to our favour

Role of mechanisation in the domain of Interior Architecture

Other modes of transformation, where mechanisation is one such that is impacting the craft sector in India Education Strategies for Crafts people

A revival strategy so the handmade technique and the availability of craftsmanship doesn’t die

Role of designers in the mechanical oriented craft practice

Scope of mechanisation in crafts reframed in a way to maintain traditionalism using machines and tools

New occupation for crafts people in new system where mechanisation and craftsmanship work had in hand

A concluding remark...

The answer to the question addressed in this research is vast and may differ to other modes of craft practices which possess a role of mechanization in their production- to – consumption system. It is also indefinite to detail out every aspect of the question in detail. The impacts of mechanization has positive and negative responses to the crafts spectrum of India. It is the two sides of a coin that is independent of each other yet co-existent. Mechanization is not a disease that affected the craft practices of India, it is a tool that has impacted. Its impacts have made transformations in the practice. This cannot be eradicated nor endured from the craft culture, but accepted in the traditional ways. An understanding that mechanization is a tool to be used to the advantage of the system, It is a tool which can be churned to our needs. As we always forget, machines have not made man, man has made machines. The impacts of mechanization can be positioned in every sector of crafts without contemplating the position of craftspeople. We must understand and mainly the crafts-people must know that machine can never replace hand work, they are their tools, below the tip of their fingers. The western world has made us believe in the power of the virtual environment so strongly that we often tend to forget the power of making.

This would be grasped while working with them hands-on as empirically studied here, knowing the minute details and know-how of the sector.

As Tyabji (2011) says,“If we don’t listen to craftspeople, there will come a time they wont be there to listen to us” Page 134

EPILOGUE The two toughest part of this research has been the beginning and the end. The quench to find a relevant research question and then to find answers to it. The search for finding relevant cases to demonstrate the role of mechanization has been an experience in itself. Once the goal is set the hard part was over. Understanding the role of mechanization in crafts is written about since years now in every linguistic form. The biggest challenge was to formulate the impacts of mechanization with empirical research.

The conclusion is based on a system thinking module, where there is an envelope of answers and I hope I have managed to reach the core. There are many such modes of transformation out of which mechanization is one such, after industrial revolution which has either affected or changed the traditional systems of craft practices. Hence this research has not ended here, rather this could be the beginning point of other researches based on other materials that mechanization has impacted and other modes of transformation. There is a qualitative analysis to this research also which is the further scope of the study. This research can become a chapter of these larger queries.

This is not the first time a researcher has questioned the integrity of crafts and the influence of mechanization, analyzing the traditional and current practices. This question has been searched in other practices of craft too and in other areas of focus like Gujarat. This and many other such researches should continue in order to make an impact to the issue in hand. I hope this research acts as a starting point for fellow researchers and practitioners, questioning the impacts of mechanization and finding varied solutions to work, opening discussions and debates and suggesting measures for what is best for our society.

The scope and impacts of various transformations due to industrial revolution is vast and complex, the time and efforts required to truly inquire the issue is far more. So I request fellow researchers to take this task ahead from here to achieve a bright outcome on the overall spectrum of craft practices in India. I believe that a much more intense participation is required to address this issue, where in the race to follow the western practices, we might forget our roots which has been built on traditions and integrated methods.

This does not mean we act unaware to western technology and not use it in our favour, but there is a vast difference in blind follow just to achieve profits then adapting what is good for our culture and neglecting what is not. Mechanization has many advantages to the economic growth of our country, we must understand that, but not at the cost of replacing our powers to it. In my empirical study to understand the difference, my major realization was time and quality, which are the two most important aspects of this change. Attention must be given to this mechanism that has helplessly changed the scenario of crafts in India today.

A wonderful book written by Stephen Chbosky called The Perks of Being a Wallflower quotes “We can’t choose where we come from, but we can choose where we go from there.�

This quote can be applied to the crafts sector of India today.

Page 135

GLOSSARY Adivasi

Original inhabitants; primitive

AutoCAD

Software application for 2D and 3D computer-aided design

Bhrahman

The supreme being; the creator

BIM softwares

Building Information Modeling softwares

CAD/CAM

Computer Aided Design /Computer Aided Manufacturing.

CEPT University

Center for Environmental Planning and Technology

Cloister

A covered walk

CNC ­­

Computer Numerical Control

Cornice

Ornamental molding

Derasars

Local name of Jain temples in Gujarat

Devakulikas

Secondary ornate shrines

Dravida, Dravidian

A dravidian; People of Southern Peninsula of India

Garba griha

The sanctum sanctorum in a temple

Ghumat

The circular tower of a temple; the sculpted monolith of Jina

Haveli

Old residential complexes

Jaali

Perforated elements

Jainism

Preaching of the preceptor; Jina

Jharokhas

Windows

Kalinga

The region now known as Orissa

Kirti-stambas

Pillars erected to mark victories in war

Lohars

Traditional castes of Iron smiths

Mandapa

A building consecrated to a deity; an open hall

Motifs

A decorative image or design

Page 136

Mukhmandapa

The entrance porch

Nagara

People of Northern Peninsula of India

Padma Shri

Fourth highest civilian award in the Republic of India

Pediment

A low gable

Salavats

Traditional caste of stone workers

Shahstras

Scriptures

Shikhara

The super structure of the sanctum, sanctorum tower, the dome of the temple

Shilpa

Sculpture

Shilashahstras

Scriptures concerning sculptures

Shilpi

A stone sculptor

Sompuras

Master builder

Tirth

A ford

Torans

Feestons, a symbol of auspiciousness

Vaastu

Site; dwelling;house; a scripture

Vaastushahstras

Scriptured document on sculpture and building construction

Vav

Cylindrical draw well approached by steps

Vesara

People of Central/Deccan Peninsula of India

Vestibule

A hall; a antechamber

Vishwakarma

‘The All Maker’; the master architect of Gods

Page 137

REFERENCES:Selected Articles, Research papers, Journals:• Borgaonkar, Shirin (2011). Stone carving of Rajasthan : An analysis of the traditional and current practice - with a focus on jaali. Ahmedabad CEPT Uni. MIAD Thesis.

• Costin. C. (2005. April. 21). Craft Production. In Handbook of Methods in Archaeology, edited by H. Maschner, pp 1032-1105. AltaMira Press. Retrieved from: https://www. academia.edu/2158157/2005_Craft_Production_Handbook_of_Archaeological_Methods_ • Dutt.R-P. (Indian Edition published 1947). South Asian History -Pages from the history of the Indian subcontinent: British rule and the legacy of colonization. India Today. Retrieved from: January 2007. Archived 27 January 2007 at the Wayback Machine.

• Ekendra. (2012, January 9). Mechanization and its level. Retrieved from: http:// ekendraonline.com/engg/economics/mechanization-and-its-level/ • Gandhi, Shaily M.(2013). Understanding the settlement through the evolution of Jain temples Khambhat town. Ahmedabad CEPT Uni. MIAD Thesis.

• Gartman. D.(1998). Postmodernism; or, the cultural logic of post modernism?. University of South Alabama. Retrieved from: http://web.uvic.ca/~jlutz/courses/hist317/pdfs/PDF%20 on%20Fordism%20%26%20Post-Fordism.pdf.

• Hackett.L. (1992). The Industrial Revolution. Main article retrieved from http://historyworld.org/Industrial%20Intro.html. Retrieved from: http://daniellemckinney.weebly.com/ uploads/1/2/9/6/12962127/research_article_industrial_revolution_updated_2014.pdf.

• Liubov Vetoshkina, (2013). Subjectness and the Revitalization of a Traditional Craft ActivityTheoretical Analysis of Wooden Ship and Boat Building. Center for Research on Activity, Development and Learning. Working papers 3/2013 Retrieved from https://helda.helsinki. fi/bitstream/handle/10138/40096/liubov_vetoshkina_cradle_wp_3_2013.pdf?sequence=3 • Lorenzeti. T and Scialpi. F. (2011,18-19 April). Glimpses of Indian History and Art :Reflections on the Past, Perspectives for the Future, Proceedings of the International Congress Rome. academia.edu. Retrieved from http://www.academia.edu/7581169/ Glimpses_of_Indian_History_and_Art._Reflections_on_the_Past_Perspectives_for_the_ Future.

• Malins. J, Press.M & McKillop. C. (2004. September. 10). Craft Connexity: Developing a Sustainable Model for Future Craft Education. Challenging Craft. Retrieved from: http://www2.rgu.ac.uk/challengingcraft/ChallengingCraft/papers/malinspressmckillop/ jmalinsabstract.html.

• Miller. Daniel, (2011) Power of Making. Retrieved from https://www.ucl.ac.uk/anthropology/ people/academic_staff/d_miller/index/edit/THE_POWER_OF_MAKING.pdf.

• Mohammad Fuad Abulfahem, Mass customization limitation and guidelines in prefabricated construction. Department of Architecture, Building Realization and Robotics Lab, Technical University. Munich, Germany. Retrieved from https://www.irbnet.de/daten/iconda/CIB_ DC25170.pdf Page 138

• Pandya.Y. (2011,October 18). Hutheesing Jain Temple: A creative realism. Ahmedabad , dna. Retrieved from: http://www.dnaindia.com/analysis/comment-hutheesing-jain-templea-creative-realism-1600538.

• Ping. W. (2011. April) Brief History of Standards and Standardization Organizations: A Chinese Perspective, Retrieved from : http://www.eastwestcenter.org/fileadmin/stored/ pdfs/econwp117.pdf.

• Rawi. S. (2013, January 29). CNC Notes. Retrieved from: http://www.slideshare.net/ safwan121/cnc-notes-1 • Saraswat, Smriti, (2010, September 9). Narratives in Interior architecture: Stone crafts as a narrative medium for the ‘Radhasoami Samadh’ Soami Bagh, Agra. Ahmedabad CEPT Uni. MIAD Thesis.

• Saraswat.S & Raheja.G. (2014, December 24) Craft: A Narrative Barometer for InteriorArchitecture Specific Focus on Stone Crafts in Religious Buildings of India. ICoRD’15 – Research into Design Across Boundaries Volume 1. Retrieved from http://link.springer.com/ chapter/10.1007/978-81-322-2232-3_31?no-access=true • Volume 34 of the series Smart Innovation, Systems and Technologies pp 353-362 • Smith, A., 1976, The Glasgow edition, vol. 2a, pp. 26–7. Retrieved from : https://en.wikipedia. org/wiki/Adam_Smith.

• Sompura, Ashish (2012, November) Architect’s voice. vaastuyogam.com. Retrieved from http://www.vaastuyogam.com/wp-content/uploads/2011/11/architect-s_voice.pdf • Tyabji .Laila, (2011). Crafts in the creative economy- Hand Skills In The Age Of Technology.

Retrieved from http://www.iicd.ac.in/wp-content/uploads/2014/04/Paper-1.pdf.

• Vasavada, Rabindra.(1998). Evolving scenario of Architecture in Gujarat: An overview.

Seminar (India) Magazine. Retrieved from http://architexturez.net/doc/az-cf-21243.

• Voyatzaki. M. (Ed.). (2014). Negotiating Converging Cultures Designing and Making Averting a Fourth Marginalization of the Hand. Retrieved from: https://www.academia. edu/10055081/Negotiating_Converging_Cultures_%CE%BFf_Designing_and_Making_ Averting_a_Fourth_Marginalization_of_the_Hand.

Page 139

Books:• Banham, Reyner as quoted in Ots, Enn,(2011, p. 196.) Decoding Theoryspeak: An illustrated guide to architectural theory, Routledge, London & Newyork, • Chibber, Neelem (2006a). Stone craft of India - Volume 1. Crafts council of India.

• Chibber, Neelem (2006b). Stone craft of India - Volume II. Crafts council of India.

• Crouzet, François (1996). “France”. In Teich, Mikuláš; Porter, Roy. The industrial revolution in national context: Europe and the USA. Cambridge University Press.

• Dhaky, M. A. Ed. (1998). Hutheesing Heritage - The Jain temple at Ahmadabad. Ahmedabad: Hutheesing Kesarising Trust 1998.

• Dormer, Petter. (Ed). (2010). The culture of craft. Manchester University Press 2010 • Greenhalgh, Paul (2003). The persistence of craft. NJ, United States of America, Rutgers University Press.

• Jain, Rishav (2015). Identifying the position of crafts in interior architecture : An inquiry into diverse approaches in India post 1990. Ahmedabad SID Research Cell 2015 • Jaitly, Jaya (1990). Craft Traditions of India. Delhi Lustre Press 1990.

• Johnson, Jean C.M (2002). Exploring Contemporary Craft: History, Theory and Critical writing. Coach House Books, Canada.

• Michell, George (1977). Hindu temple : An introduction to its meaning and forms. New Delhi B.I. Pub. 1977.

• Patel,Nimish & others, (2010). Stone buildings of Gujarat. SID Research Cell and Gujarat Mineral Research and Development Society. Ahmedabad CEPT Uni., School of Interior Design 2010.

• Risatti, Howard (2007). A theory of craft. NK, United States of America, The university of North Carolina Press.

• Schodek, Daniel and Others. (2005) Digital design and manufacturing : CAD/CAM applications in architecture and design. New York,Hoboken etc John wiley & sons, Inc. 2005 • Singh, Harihar (1982). Jaina temples of Western India. Varanasi P. V. Research Inst. 1982.

• Thomson, Ross (1989). The Path to Mechanized Shoe Production in the United States.

Chapel Hill and London. The University of North Carolina Press.

• Venturi, Robert (1966). Complexity & Contradiction in Architecture. New York Museum of Modern Art.

Page 140

BIBLIOGRAPHY:Selected Articles, Research papers, Journals:• Chenoby. M. Global Architectures and Standardization. (2014). FCA. Retrieved from: http://www.fcausllc.com/Investor/Webcast/Investor%20Presentations/Global%20 Architectures%20and%20Standardization.pdf • C. WUa.& Y. J. DI a (2009. October 11-15) . Approach to standardization system of architectural heritage. Documentation in China. Kyoto, Japan :22nd CIPA Symposium.

Retrieved from: http://cipa.icomos.org/fileadmin/template/doc/KYOTO/194-2.pdf • Gokmen. S.“Tangle jungle”:An experimental, project to combine collaboration and craftsmanship in digital design pedagogy. Retrieved from: https://www.academia. edu/8983731/_Tangle_Jungle_An_Experimental_Project_to_Combine_Collaboration_ and_Craftsmanship_in_Digital_Design_Pedagogy.

• Kalman , Tracy Cottrell, MS. (2009) Nostalgia Remix Fusing Traditional Crafts And Contemporary Interior Product Design. Retrieved from http://library.uncg.edu/ • Latha, S Types of opportunities and threats affecting the status of stone craft clusters focus on Gujarat and Rajasthan. Ahmedabad CEPT Uni. MIAD Thesis.

• Tyabji. L. Crafts in the creative economy: Handskills in the age of technology. IICD Symposium .Retrieved from: http://www.iicd.ac.in/wp-content/uploads/2014/04/Paper-1. pdf.

• Wolfe, R. (2010. October .20). J.J.P. Oud’s “Architecture And Standardization In Mass Construction”(1918). Modernist architecture: A Database of Modernist Architectural Theory. Retrieved from :https://modernistarchitecture.wordpress.com/2010/10/20/jj-p-oud%E2%80%99s-%E2%80%9Carchitecture-and-standardization-in-massconstruction%E2%80%9D-1918/ • Wolfe, R. (2010. October .28). Walter Gropius’ The New Architecture and the Bauhaus (1925).

Modernist architecture: A Database of Modernist Architectural Theory. Retrieved from: https://modernistarchitecture.wordpress.com/2010/10/28/walter-gropius%E2%80%99-thenew-architecture-and-the-bauhaus-1925/ • Yair,K. Tomes,A. Press, M. (1999. November ). Design through making: crafts knowledge as facilitator to collaborate new product development. 20.- Design Studies Journal. Retrieved from:https://www.researchgate.net/publication/222944445_Design_through_making_ Crafts_knowledge_as_facilitator_to_collaborative_new_product_development

Page 141

Books:• Ahuja. P, Naman (2012. August. 01). The making of a modern Indian artist - Craftsman :Devi Prasad Book. New Delhi: Routledge.

• Adamson, Glenn. (2010). (Ed.). Craft reader. Oxford Berg Pubs.

• Alfoldy, Sandry. (2007). Neo Craft: Modernity and the Crafts. Canada: The press of the Nova Scotia College of Art and Design.

• Bahgi, S. (1993) Modern Architecture In India :Post Independence Perspective. Galgotia Pub. Co. • Coomaraswamy, Ananda (1909). The Indian Craftsman. London, United Kingdom: Probsthain and Co. • Corbin, J & Strauss,A. (Ed.3.) (2008). Basics of qualitative research : techniques and procedures for developing grounded theory. New Delhi Sage Pubs. India Pvt. Ltd. • Farmer, B. , Dr Louw, H.J. & Nappe A. (Eds). (2003. September 02). Companion to Contemporary Architectural Thought. London, USA & Canada : Routledge.

• Johnson, Jean C.M. (2002) Exploring Contemporary Craft: : History, Theory and Critical writing. Canada : Couch House Books And Harbour front Centre.

• Naylor, Gillian (1971). The arts and crafts Movement: A study of its sources, ideas and influences on design theory. England : Studio Vista.

• Nick Callicot, Computer- Aided Manufacture in Architecture. New Delhi: Architectural Press 2.

• Pevsner, Nikolaus (1991). Pioneers of Modern Design from William Morris to Walter Gropius. , England : Penguin Books Ltd. • Pye, David.(1964). Nature of design. Book. New York Reinhold Book Corp.

• Pye. David. (1968). The Nature and Art of Workmanship. London,Cambridge,New Delhi etc Cambridge Uni. Press.

• Ranjan. A & M.P. Ranjan. (2005). Crafts of India: Hnadmade in India. New Delhi: Council of Handicraft Development Corporations (COHANDS) • Rao, Muralidhar. (1995). Vaastu shilpa shaastra. Bangalore : SBS Pub. & Distr.

• Sankaran. P.N. (2011). Artisans of India. Towards Inclusive Development. New Delhi : Serials Publications.

• S.Kappen, (1994) Tradition, Modernity, Counterculture- An Asian perspective. Visthar.

• Tanizaki, Juni’chirzo. (1977). In praise of shadows. Creek Leete’s Island Books.

Page 142

LIST OF TABLES:Table No.

Topic

Page no.

Table 1.

Time-line of stone architecture in India.

34

Table 2.

Stone craft : Position analysis in India.

48

Table 3.

Stone craft: Availability of types of stone in Gujarat.

49

Table 4.

Stone craft: Celebrated temple architecture in Gujarat.

50

Table 5.

Uses of different tools: Hand and mechanically aided.

58

Table 6.

S.W.O.T analysis for Hutheesing Jain temple case study.

70

Table 7.

S.W.O.T analysis for L.D. Institute of Indology case study.

76

Table 8.

S.W.O.T analysis for Vishal Marbles, Ambaji case study.

86

Table 9.

S.W.O.T analysis for Trivedi Corp. case study.

92

Table 10.

Strengths and weakness of traditional carving method through empirical study.

99

Table 11.

Strengths and weakness of CNC carving method through empirical study.

105

Table 12.

Comparative analysis of Orissan v/s Gujarati temples.

116

Table 13.

Different approaches to Temple Architecture

125

Page 143

LIST OF FIGURES:Figure No. Figure 1 Figure 2 Figure 3 Figure 4 Figure 5 Figure 6 Figure 7 Figure 8 Figure 9 Figure 10 Figure 11 Figure 12 Figure 13 Figure 14 Figure 15 Figure 16 Figure 17 Figure 18 Figure 19 Figure 20 Figure 21 Figure 22 Figure 23 Figure 24 Figure 25 Figure 26 Figure 27 Figure 28 Figure 29 Figure 30 Figure 31 Figure 32 Figure 33 Figure 34 Figure 35 Figure 36 Figure 37 Figure 38 Figure 39 Figure 40 Figure 41 Figure 42 Figure 43 Figure 44 Figure 45 Figure 46

Page 144

Topic The research method adopted for the study and the parameters to survey.

Research methodology observed to achieve conclusion.

The use of hand carving in different case studies to identify the involvement of machines.

Visual referencing of the categories of cases studied.

A schematic representation for justifying the selection criteria for Jain Temples of Gujarat.

Shiva Temple at Sander near Mehsana in north Gujarat is a small but important example of 11th century Solanki period architecture of Gujarat Temple architecture.

Geographical typologies of Indian temple architecture.

Temple cities of Jain’s in Gujarat.

Types of Hindu temple shikharas, from simple to complex.

In vaastu, the analogy is extended to explain the various parts of the body as being representations of the aspects of a temple.

Typology chart of Jain temples dating from the 10th century till 21st study.

Typology chart of Jain temples of Gujarat dating from the 7th century till 21st study.

Plan of Neminath Jain temple, Gujarat.

Impact of mechanization can be considered in the above domains largely which are analyzed in detail during the case studies The types of rock formations and its stone types.

Applications of stones craft in India and its sub-categories Hierarchy of people involved in the current factory system of stone carving practice.

Sketch showing marble tools.

Schematic illustration of a typical numerical control system for CNC milling machine.

Schematic illustration of drilling, boring and milling of various paths.

Right hand coordinate system used in drill press and lathe.

The funnel of words that define the process of the research. he 4 different case studies with reasons and aspects to compare each.

The 4 different case studies with reasons and aspects to compare each.

Location of Hutheesing Jain temple and L.D. Institute of Indology, Ahmedabad Campus of L.D.Institute of Indology, Ahmedabad Hutheesing Jain temple, Ahmedabad Map of the temple complex.

Aerial view of the temple complex Visuals of Hutheesing Jain temple, showing kirti stamba, colonnaded hall, back side of the Garba Griha.

Plan of Hutheesing Jain temple,Ahmedabad.

Visual images of Hutheesing Jain temple.

Entrance of Lalbhai Dalpatbhai Institute.

Exterior of Lalbhai Dalpatbhai Museum.

Carving on the exterior at Lalbhai Dalpatbhai Jain Temple.

Carving on temple elements.

Half carved, half machine cut column.

Use of concrete for foundation.

Process images documented on site, on how the carving is stone in stages.

Final elements of the temple.

Location of Trivedi Corp. in Mauriya and Vishal Marbles in Ambaji.

Krishna temple, U.K., Trivedi workshop.

Shri Vardhaman Tatvagyan Jain Tirth - Vanki.

Office space, monitoring, computer drawings, discussions with clients & designing.

Factory and workshop spaces, Open spaces for storage and lifting, semi open for machines.

Shilppa Samruti Vaastuvidyayam written by Nandlal Chunilal Sompura.

Page no.

24 25 26 26 28 31 32 36 36 39 40-41 42-43 44 45 48 51 53 55 57 57 57 61 62 62 63 63 63 65 65 65 68 69 73 73 73 73 73 73 75 75 78 78 78 81 81 81

Figure No. Figure 47 Figure 48 Figure 49 Figure 50 Figure 51 Figure 52 Figure 53 Figure 54 Figure 55 Figure 56 Figure 57 Figure 58 Figure 59 Figure 60 Figure 61 Figure 62 Figure 63 Figure 64 Figure 65 Figure 66 Figure 67 Figure 68 Figure 69 Figure 70 Figure 71 Figure 72 Figure 73 Figure 74 Figure 75 Figure 76 Figure 77 Figure 78 Figure 79 Figure 80 Figure 81 Figure 82 Figure 83 Figure 84 Figure 85 Figure 86 Figure 87 Figure 88

Topic Shilpa shastra in Gujurati.

CNC machines adapted 12months ago from Ahmedabad.

Self taken pictures of Vishal Marbles Ambaji, showing the use of hand carving and machine production.

Self taken pictures of Vishal Marbles Ambaji, showing the built set up of a workshop cum factory system.

Factory working area in Changodar, Ahmedabad.

Hand finishing of carving done by craftspeople.

Lettering on Jaiselmer stone.

Types of pre fabricated carving on different stones.

Images of Trivedi Corp. Changodar and Ambaji quarry.

The figure shows the organization pyramid of traditional stone carving system as documented in Vishal marbles, Ambaji.

The organization chart shows the stages of process of stone from the quarrying stage to the final product.

Photographic mapping of the process of hand made stone Jain temple element for empirical research.

The process chart depicts the professionals that were mapped & involved during the experiment.

The organization chart shows the stages of process of stone from design development to the installation stage.

2-D drawings prepared before the production of the Jain temple Column.

The element experimented is a part of a Jain temple column as shown below.

3-D model prepared in Unigraph software before the production of the Jain temple Column part. The element (model) was scaled to half for convenience of the experiment.

2-D drawings prepared before the production of the Jain temple Column.

Above is the element made on AutoCad to be made on CNC which is a part of a column.

Photographic mapping of the process of machine made stone Jain temple element for empirical research.

A brief on the parameters used to analyze the case studies.

Autocad drawing of Shri Krishna Temple, Toran, U.K., 2011 Shri Krishna Temple, Toran, U.K., 2011 Hutheesing Jain temple, Column, Ahmedabad, 19th century AutoCAD drawing of Shri Krishna Temple, Column, U.K., 2011 AutoCAD drawing of Shri Krishna Temple, Dome ceiling, U.K., 2011.

Shri Krishna Temple, Dome ceiling, U.K., 2011 Ceiling of temple dome from the Jain temple at Potters bar.

Ceiling of temple dome from the Jain temple at Rankapur, 15th century.

Visual Analysis:- Experiment study comparing a hand carved and a CNC Production-to-consumption system in stone carving practice.

Usage of tools in the 4 studies, comparing the involvement of each tool in every case.

Direction of carving between a hand tool and machine carving Comparative analysis of depth of detailing based on carving by hand tool.

Comparing completely mechanized case to a complete hand made case on the basis of depth of comparison.

Qualitative impacts on parameters of time, process and quality.

Evolution of tools to mechanized machines entering the stone carving craft.

Scale of production from a finished stone cut to size to the stage of carving within 60mins compared in different methods of carving.

Gender analysis of male is to female ratio in the craft.

Hereditary v/s non-hereditary ratio in the craft.

Age group categories in the craft Experience and involvement of stake holders in all the 4 cases.

Market analysis of Sompura and Trivedi.

Work percentage of a machine to a crafts-person as noted and quoted by Trivedi Stones (Kiran Trivedi)

Page no.

81 81 84 85 89 89 89 89 91 97 97 98 100 101 102 103 103 104 108 110 110 111 111 112 112 113 113 114 116 117 117 117 119 119 120 120 121 121 121 122 122 124

Page 145

Figure No. Figure 89 Figure 90 Figure 91 Figure 92 Figure 93 Figure 94 Figure 95 Figure 96 Figure 97 Figure 98 Figure 99 Figure 100 Figure 101

Page 146

Topic Percentage of wastage in mechanized v/s hand,made production as noted by Trivedi.

The role of different people involved in the process of craft production that need to be considered to understand the impacts of mechanization.

Professional Background of Sompura Architects.

Professional Background of Trivedi Family.

Three main subjects to the research question.

Production to consumption system of stone carving current practice.

People involved in the current craft practice that mechanization has an impact on.

Redefining mechanization in a designers perspective.

Opportunities of mechanization.

Core of organization System thinking diagram of the impacts of mechanization on stone carving on Jain temples in Gujarat.

Pneumatic chisels.

Work percentage of a machine to a crafts person as proposed.

Page no.

125 125 126 126 129 130 131 131 132 132 132 133 133

LIST OF CREDITS:-

Figure No.

Source

Page no.

Figure 26a,b,c

By the Author

63

Figure 27a,c Figure 27b

By the Author Retrieved from: https://en.wikipedia.org/wiki/Hutheesing_Jain_Temple

63

Figure 29

Retrieved from: https://jaideepprabhu.org/tag/hutheesing-jain-temple/

65

Figure 30a,b,c

By the Author

65

Figure 33 Figure 34 Figure 35 Figure 36 Figure 37 Figure 38

By the Author Retrieved from: http://www.ldmuseum.co.in/ By the Author By the Author By the Author By the Author

73

Figure 40a,b,c

By the Author

75

Figure 42a Figure 42b,c

By Kiran Trivedi By the Author

78

Figure 43a Figure 43b

Retrieved from: http://www.sompurahn.com/ By the Author

78

Figure 44 Figure 45 Figure 46 Figure 47 Figure 48

By the Author By the Author By the Author By the Author By the Author

81

Figure 51 Figure 52 Figure 53 Figure 54

By the Author By the Author By the Author By the Author

89

Page 147

APPENDIX “A” 1.1.INDUSTRIAL REVOLUTION Le Corbusier, who is known as the father of modern architecture, once called a house, “A machine for living in” which should be designed according to the principals of designing an automobile as said by Gartman. D.(1998). He further adds that houses should be produced in mass production on the parameters of simplicity, standardization and mechanization. Hence Gartman.D.(1998) proclaims that it is said that modern architecture is the era of technology where mass production will provide houses to the masses and bring economic growth. (Frampton 1973; 1992). The Etymology of the term “Industrial revolution” was in a letter from 6 July 1799 written by French envoy Louis-Guillaume Otto, announcing that France had entered the race to industrialise (Crouzet, François. 1996).

The Industrial Revolution was set to being about the change in the production process which began in 1760 and continued till 1860s. This period is said to be the period of change, not only in thee production process, but also in perceiving the human race.

Why was there a Revolution?

The two main reasons that brought about the Revolution were:1. The invention of mechanical power to do the work of labourers.

2. Replacing this power in place of humans and animals.

3. The creation of the factory system of manufacturing.

The Industrial Revolution, didn’t just stop at steam engine and automobiles, once the idea was invented, more and more machines were added which increased efficient production. After the World War I, the mechanization industry had boomed which probably lead to another revolution of manufacturing.

Until Industrial Revolution came, the craft guilds and the government for many years was dealing with commerce and industry. After the British rule, this system of governance was cut down, and capitalism grew. The authority of demand and supply instead of rules and regulations changed the system of production and consumption. The British government, therefore put their foot down to govern and let the inventions of mechanization take its place in the methods of production which were free to adopt as best suited to them. (Hackett.L. 1992).

The effects of Industrial Revolution:As the manufacturing conditions changed, the market was adversely affected by it, which also lead a changes in the social and political conditions too. The craft guilds and the farmers were no more getting jobs for hand work and therefore moved to industrial centres in search of work and became factory labourers. Cities with automobiles and fast transportation system grew widely and rapidly and the percentage of farms and villages declines. Although due to the advancements in medicine and sanitation, the working and living conditions of people in the cities improved, which lead to a massive population growth in the mid-18th century. The average span of human life increased due to better living conditions. These changes were bought about in the manufacturing sector too, where the human labour work were replaced by machines. However there were some disadvantages of the factory system too. The domestic system allowed labourer to work from home, in factory system the labour became the tool of the machine.

Although the need for the money made them work for long hours, the workers moved to the factory place and soon slums started to develop. In order to break the monotony of the repetitive working tasks, the labourers would engage themselves in activities like gardening or art but the long hours had completely taken the time set for his farm. The men were forced or work at the pace of the machines. The long working hours were even harder for women and children folk.

The industrial revolution was successful only in the west. The eastern countries did not even begin to industrialize until the 20th century.

Page 148

Hackett. L. (1992) quotes that, “Only Great Britain, the United States, Germany, France, and some parts of the Scandinavian countries had successfully completed an industrial revolution.

Most of the world’s population still worked in primitive agricultural economies. China, India, and Spain did not begin to industrialize until well into the 20th century.”

Production processes:- During the industrial revolution, most of the production took place in workshops which were on the upper level or the rear side where the products were being sold.

The central agent distributed work to the sub-contractors or crafts-person who could manage work in their households. This system was in the pre-urban times where the craftspeople did not have to leave home to go to work as there wasn’t any mode of transportation. The system was in the form of proto-industrialization and remained until the industrial revolution (19th century).

Later with the adaptation of machinery, especially in US and U.K. the master craftsman started increasing the scale of production, which was first made by hand tools or animal powered.

The workshops started growing in size and hence rose the need for a capitalist. The capitalist provided machinery, building supplies, materials, administration and handled sales process and its resulting losses. This system replaced the workshop/domestic system and hence lead to a factory system which is considered as the capitalist form of production. The main cause of industrial revolution in the production scenario was the factory system. The factory system practiced division of labour. Unlike crafts, factories had the opportunity of skilled and unskilled labour. The unskilled labour operated machines and lifted or moved goods. This caused division of labour and caused the system of wages. Where a crafts-person made an entire product from start to finish, the factory system provided the labour to do one work continuously and hence making him very efficient at it which increased productivity. (Thomson, R.1989) Adam Smith gave a very simple example of a pin factory, where he says, workers who were given one small task in the entire making of a pin, were far more productive and efficient than the craftspeople making an entire pin. It means by doing repetitive kind of work, the efficiency increases. Smith’s dictum (Smith, A.1976): It is not from the benevolence of the butcher, the brewer, or the baker, that we expect our dinner, but from their regard to their own interest. We address ourselves, not to their humanity but to their self-love, and never talk to them of our own necessities but of their advantages.

Other systems lead to other effects of industrial revolution like centralization, standardization, and division of labour. Intellectual paradigms of industrial revolution were romanticism and capitalism and socialism.

The factory system resulted in standardization, mechanization, continuous production, centralization, mass production and of-course dividing labour. Standardization means components made to standard or technical specifications in order to optimize production and quality. Standard itself refers to bases or rules derived from economic and social activities for measuring things (Ping. W. 2011. April) Demand for unskilled labour and division of labour stimulated standardization and contributed to mass production. The principals of standardization were unification, simplification and modularization. Mass production uses high proportion of machines and is capital based system. Mass production is the exact opposite of craft production which replaced it after the industrial revolution due to the invention of mechanization, which was ideally replacing the work done by hand or animal powered to the work done by machinery.

Mechanization has many levels which will be explored further.

Page 149

Echelons of Mechanization:Mechanization simply negates the touch or use of human or animal labour. It reduces the satisfaction of the labour in order to optimize production. It is a an important factor of factory system. The next level of mechanization is automation and thus there are many stages before mechanization completely evolved. Mechanization is required to replace the requirement of muscles to do work or produce a product. Using hand powered tools is also a part and an earlier stage of mechanization.

Ekendra says, “Mechanization means that stage in the development of tools and techniques, where the tool passes from being a supplement of the labourer to a point where the machine controls the labour process. This shift in process is dominated by capacities of machine. (2012, January 9). Mechanization is any form is many characterised into 3 stages:- Low (manual power used exceeds 33%), Medium (animal power used is 34-100%) and High (mechanical power used is 67%) as said by Whols Ekendra, researcher of next gen. web. Whols Ekendra (2012, January 9).states these levels of mechanization in general :1. Hand/muscle power 2. Hand-tools 3. Powered hand-tools 4. Powered tools, single functioned, fixed cycle 5. Powered tools, multi-functioned, program controlled 6. Powered tools, remote-controlled 7. Powered tools, activated by work-piece 8. Measurement 9. Selected signalling control 10. Performance recording 11. Machine action altered through measurement 12. Segregation/rejection according to measurement 13. Selection of appropriate action cycle 14. Correcting performance after operation 15. Correcting performance during operation.

Note: Retrieved from : http://ekendraonline.com/engg/economics/mechanization-and-its-level/

You will notice in these stages that the use of the word “hand” and “tool” slowly diminishes with the word “power” and “machine”. If not for industrial revolution and the development of mechanization, had we discussed the stages of it in detail and its impacts. With this came the radical transformation of production itself and status of objects specially made by hand were thrown into question (Risatti, Howard. 2007). In the pre-industrial phase the object was known for its context, skill, function, material and creativity unlike the post-industrial. Because of this shift, that the machine-made and hand-made objects are examined and its impact could be studied. Just as Howard Risatti quotes in his book, Theory of Craft, philosopher Vilem Flusser in his book Towards a Philosophy of Photography, that tools work as a function of man, but man works as a function of machines.

Machine has always created conflicts in First World cultures for about two centuries. Philosophies about machine pessimism and optimism are based on moral prerogatives. Jacques Ellul sums up the phenomenon as also mentioned by Dormer.

It is said that the machine has created an inhuman atmosphere. The machine, so characteristic of the 19th century, made an abrupt entrance into a society which, from the political, institutional, and human points of view, was not made to receive it; and man has had to put up with it as best as he can.

Page 150

1.2.INDUSTRIAL REVOLUTION IN INDIA India, is one of the oldest civilization in the world, with a kaleidoscopic variety and a rich cultural heritage. It has achieved multi- faceted socio economic progress during the period of 68 years since independence. The country has become self -sufficient in agricultural production and the tenth most industrialized country in the world. As much pride I take with its progress, a part of me gets concerned with its inclination to western influence which may not even be suitable to its virtue. It offers a prismatic repository of traditional practices in architecture from years assimilated with the modern approaches in technology today. The conventional method of customizing with handicrafts is getting replaced with the western methods of mechanism with technological developments of designing. Many historians wondered what was happening to countries like India, China and the Middle East during Industrial revolution in Europe. In regards to India, the Marxist historian Rajani Palme Dutt said: “The capital to finance the Industrial Revolution in India instead went into financing the Industrial Revolution in Britain.”

(Indian Edition published 1947). Before the British rule, India was mainly divided among three major kingdoms, the Marathas, the Sikhs and the Mughals and the main source of income was agriculture and cotton. The wealth achieved from these sectors and some technical inventions were stored in palaces under the rule of the kings before the establishment of the British empire.

Designing started to be conceived from drawing to making and now it’s based on digital representations. It’s a transfer of creative control from the craftsman to the designer, from workmanship of risk to the workmanship of certainty. (Pye 1968) This transfer introduced abstract reasoning of geometric designs and minimalism than over physical knowledge of tacit craft skills. (Kolarevic 003; Evans 1997). Pye writes that the machine made products eliminates the uniqueness found in a crafted product. The craft maker doesn’t have a precise design outcome before he begins to carve a stone. There is heavy dependency of decision making based on the variation of the material and design. He uses his tacit skills to determine the outcome at every stage of designing giving maximum preference to material properties and design decisions. (Pye 1968).

There was further division between making and designing during Industrial Revolution, which resulted in replacement of crafts with industrial production. Industrial production harnessed energy from fossil fuels to produce large quantities of standardized products cheaply. For example, during the pre-British invasion Bamboo was used for building construction, after the British invaded India bamboo was replaced by hardwood which was used to build ocean going ships and railway sleepers for transportation necessary for their rule. After the invention of paper, harvesting bamboo was made illegal to locals in order to sell to paper mills in the demand and supply rule they monitered. (Gadgil & Guha 2000). Voyatzaki. M. (Ed.). (2014).

A design process was developed that fused traditional craft techniques, such as sewing, quilting, and weaving, with contemporary interior product design. This design process encompassed textile arts, or products with a textile component, in particular products that soften the environment and today this idea is an industry of tensile structures and pre-fabricated constructions. Developing the process is the key to produce. Henry Ford interestingly defines a mechanized process, “Process is codifying the best way of doing things. Once you find the best way to do things, you standardize.”

“Craft is a fluid, technological activity that cannot easily be categorized into one set of attitudes or life-styles” Richard La Trobe-Bateman

Page 151

1.3.EFFECTS OF INDUSTRIALIZATION ON CRAFTS SECTOR In the beginning of the 20th century, most developed economies in the world were industrialized.

There was a growth in the manufacturing domains and specialized labour, when the desire to meet the communities needs at lower costs arose. This need for economic growth lead to efficient working systems like dividing laborers progressive use of mechanization and factory system.

These methods are known to be irrevocable in the history of industrial revolution and in due course has changed the man kind towards production systems in sub-primitive ways. Where mankind is threatened to live un full filled life of robots (Here we touch the old civilization of handicrafts to the new world-order of the machine). In the end, as Domer says mechanization can have only one objective: to abolish the individual’s physical toil of providing himself with the necessities of existence in order that hand and brain may be set free for some higher order of activity. (Dormer, Petter. 2010). (Ed) The word craft has many meanings and the category of craft is not altogether unambiguously defined. (Costin. C. 2005. April. 21). The traditional understanding of craft is any object which is handmade, only technologies which are as old as the craft are allowed. (Malins. J, Press.M & McKillop. C. 2004. September. 10). These craft objects are handmade, useful products designed by unidentified clusters or individuals producing with culturally and socially confined techniques and style. Such craft comes from skilled mastery of material and technique and a significant amount of practice. In contemporary terms, crafts can be categorized as art and industrial products which are generally made by machine as said by Cathy Lynne Costin in her chapter Craft Production.

From traditional definition to a contemporary definition, we understand that craft has evolved and been re-defined over time. With the use of new age technology and contemporary methods of making. The change in building crafts that has lead them to be called industrial products or elements and from hand skills to mechanization and from traditional to modern questions the impacts of this change on crafts?

Aitken(1999) defined craft as: “Where an ‘object’ has been created with the sole purpose of physically realizing a visual, tactile and/or ornamental or functional quality, without external constraints being placed upon its conception, this object is likely to possess ‘qualities’ which are readily recognized and shared with ‘craft’ products.”

(Malins. J, Press.M & McKillop. C. 2004. September. 10) describes the potter’s wheel as the dynamic game changer, who brought about improvements in productivity basically by succeeding coiling as a technique of improving ceramic vessels, this proves that contemporary techniques can work handy to craft making in order to increase the quality and production of crafted products.

Aitken put forward the view that the World Wide Web, coming empowering computer aided design and manufacturing systems a.k.a. CADCAM together with crafted products could create another system in helping the dying craft sectors and helping to market craft products on global platforms. (Malins. J, Press.M & McKillop. C. 2004. September. 10). Mechanization was implemented to increase efficiency in production, capital and time factor. This lead to questioning its ability to maintain design quality and innovation.

Page 152

APPENDIX “B” ROLE OF INTERIOR ARCHITECTURE Before the industrial revolution, hand skill was the only way of making. The need for distinction of how products are made was due to the introduction of machinery. Before that everything was produced by skilled hand. Now the distinction can refer to things that are made by machines and have nothing to do with hand-skill. Risatti, Howard (2007. p.14.) distinguished the words “craft” and “craftsmanship” not only referred to the quality of making, but they assumed the skilled hand was the source. One of the drawbacks of mass production was craft production.

Craft is a technique of manufacturing without the use of machines, if put simply. It was one of the most common methods of manufacturing before the pre-industrial times. Craft associates in the middle of many different topics, uniting people over various backgrounds, genders, and ethnicities as well as linking history with modernity. The reason for craft’s continuing history is due in part to the fact that craft inspires comfort. Typically craft products are accessible and fit easily within normal everyday life, neither challenging nor intimidating.

The familiarity of craft forms perfectly complementing the individuality of handicraft. Design mainly involves imagination and technical support, whilst craftsmanship requires skilled hand. This concept is also referred by Pye, in his “workmanship of risk” to “workmanship of certainty” being the basic differences of design and craft. The basic difference between a designer and a craftsman is that the craftsman ends with a finished, useful product, whereas the designer ends with a concept or an abstract idea. The designer may or may not always end in a finished product, and even so he does, it would be the second stage of designing. As Pye writes, design “is what, for practical purposes, can be conveyed in words and by drawing.”

(1968. p.17).

The difference is that for the craftsman, his imagination and conceptualization is used during the process of making. In mechanization, there is neither a true designer nor a true craftsman, engineers make machines, designers program them and workers operate it and assemble the finished pieces. Another difference between a designer and a craftspersons is, the process ends with a finished one-of-a-kind product, whereas the designer, even though conceptualizes to form a unique product, results in a specific design, which can be mass produced. Hence mass produce, becomes the goal of the designer and the design limits only to the original piece or a prototype. Similarities between craftsmanship and designmanship is that both need to be cutely aware of the material properties and a technical manual script to manipulate. However, a designer should preconceive these notions and a craftspersons conceives these manipulation during the process of making itself. Machines provide the possibility of mass production, which increases cost-effectiveness which is he major problem of hand-production. Thus a designers role comes into the picture by accelerating designs according to the capabilities and limitations of the machines.

Costin writes that, Crafting is best viewed as any transformational process involving skill (knowledge, talent or proficiency, effort), aesthetics, and cultural meaning and consider the results of that crafting (verb) to be crafts (noun).(Costin. C. 2005. April. 21).

We are left with machines mechanizing most of the objects, rather than crafting it,this has affected the value of craft and craftsmanship, hence the craftspeople should be aware of the influence of design and the culture of industrial production on the prestige of their profession.

Page 153

APPENDIX “C�

TERMS OF REFERENCE Definitions:- The information and nomenclature presented in the document will remain consistent with the interior architecture industry. But even though the terms used may refer specifically to this field, the concepts identified are likely applicable to multiple levels of architecture and design industry. The definitions used for the purposes of this research include the following: Interior Architecture:- A cohesive term encompassing the outer envelope as well as the internal environment of a building or a built form. Is is designing a space which has physical boundaries and human interaction in them. Lot of old structures, maintaining their structural elements are being changed or re-designed for adaptive use or certain structures requires a change in design if the purpose of it has changed. Interior architecture deals with such type of re-designing. The terms generally used to define the domain of Interior architecture are spatial arts, environmental design, computational design, form changing and generative design. Interior architecture merely means designing any interior spaces, where there is an interaction of human to human or human to environment or designing an interior keeping in mind the architectural significance. In relation to crafts, there are five streams noted in Rishav Jain’s book (2015) that show the position of crafts in interior architecture domain. Those streams are Continuation, Standardization, Apposition, Translation, and Denotation.

Standardization:- Walter Gropius (1969), in his early works applied the use of industrial forms and elements on the basis of materiality and design. He was a promoter of standardization and the aesthetics of his machine made designs. Standardization is referenced to the production of objects and has its norm of the establishment of standards for industrial production.

Standardization must give as much attention to crafts as to industrial production.

Craft production:- Craft production is producing goods or products which are hand aided and tactile independent of the use of tools. Craft production or domestic system was a method of manufacturing products before the industrial revolution. The term was also used as a production of hobby items in the handicraft sector.

Pre-fabrication:- Pre-fabrication encompasses the construction of all building components that are a part of a larger final assembly (Gibb 1999,1). Prefabrication is an off-site manufacturing process that takes place at a specialized facility in which various materials and building systems are joined to form a component or part of a larger final installation (Haas et al. 2000, 4).

Modular:- Modular is a term that is identified with standardized units or dimensions which can be involved as the basis of design or construction. Modular construction is process of defined by using pre-fabrication at an off-site location which are transported as largely finished components to a building site. The main idea is that there is no on-site work and the entire assembly is done on pre-fabricated components. The Modular Building Institute (MBI) categorizes modular structures being completed 60-80% ff-site and the remaining on the final location. (Permanent Modular Construction 2011: Annual Report, 2-4). Modularization also saves time in construction or production of standardized types which is pre-assembled and just the final assembly is done before packaging or installation.

Centralization:- From individual and scattered workshops to small factories was the main idea of a factory system which rose during industrial revolution. Concentrating production in a particular location, which lead to capitalism. All the activities of the production process was particular location, which lead to capitalism. All the activities of the production process was Page 154

centralized leading to higher scale of production.

Mass production:- Industrialization introduced mass production concept along with other strategies like mass distribution, mass marketing and mass media1. Mass production covered most industries in our life and one of the newsiest industries which adopt mass production strategy is building construction industry. It basically means to produce quantitatively maintaining quality and standard. Crafts cannot be mass produced, as the main criteria of craft is uniqueness.

Hand tools/tools:- The main difference between a tool and a machine is the way tools use energy and how they connect to the human hand and body and hence to the object. Tools don’t alter the direction, speed or the magnitude. They simply use the energy, transferred by hand or arm to the material in the same direction. Just like in stone craft with the use of a hammer and a chisel. Tools act as an extension and not as a replacement of the hand. Due to this they relate and affect the craft object as if a skill is traditionally applied and related to it, unlike in machines. Since they are manually operated, they do not reduce the body to be a mere source of power, as do machines. Tools require a level of expertise or skill, they demand manipulative skill of the user. The quality of their performance is directly proportional to the quality of the object crafted. The hand-eye-mind coordination is the key and hence these objects are referred to as “well-crafted”.

Apposition:- As also mentioned in the thesis “Identifying the position of crafts in interior architecture”, by Rishav Jain, Apposition means the coming together of two ends. The amalgamating of old and new to create a balance. The integration of traditional and modern approaches to invent something which characterises both. The relevance of this term in interior architecture denotes to the country’s cultural and economic status in times of globalization.

Continuation:- The state of being in a particular position or being carried on. Something which is attached and held on too. Continuation here refers to basing on principals which are traditional and moving on with contemporary terms. The principals of continuation would be traditions, culture, ethics which life on or are preceded ahead.

Translation:- Changing or converting one form of medium into another. It refers to a transformation from one phase to another with addition or subtraction of design decisions and improvisation. It is not a linear process like repetition of what is existing but intervened with design decisions and set parameters.

Design/Designer:- Design is considered to be the most difficult term to define. Paul Greenhalgh’s observation is that craft had become divorced from design. A designer is the one who conceives design and creates products of creative imagination. He is compelled to design in order to mass produce, making of multiples. Designer, like the craftspersons should also understand the material properties and have a good sense of shape and form with the knowledge of machines and technical scripts to manipulate machines.

Craft:- Paul Greenhalgh uses examples from history to define craft in chapter 2. He writes there are many partially formed definitions of craft creating a confusion of ambiguity, defining the word according to the moment. Like Pye preferred to define workmanship rather than craft.

Hence as Peter Dormer says craft means a process over which a person has detailed control that is the consequence of craft knowledge. In India, Craft has deep meanings and associations Page 155

which are influenced from spirituality, religion and everyday life. Craft wholly depicts history, evolution, growth, skills transferred from one generation to another.

Mechanization:- The word “machine” usually conjures visions of large factories and complex engines like those that power today’s automobiles. Hence it seems like machines have little to do with craft objects or its tools. However machines may not be as complex as they appear to be just like hand tools. And they are made to serve similar functions just like craft objects and tools. But once you understand the role of a machine deeply, you will find the difference in the relationship of a machine and human body and the object it produces which is completely different from a relationship of a crafted object with human hand and body and the tools used to make the. Hence it is necessary to examine the tools and machines on a similar platform to understand these relationships. Mechanization plays a big role in relation to design and modern industrial production systems. Like tools machines are used as kinetic energy and are used in the performance of a process of making. A machine is defined as “ any system formed and connected to alter, transmit, and direct applied forces to accomplish a specific objective”. Here the key words are “alter” and “transmit” which determines that it is an applied force and not a direct one like in tools. The definition of a simple machine is “the Balance, Leaver, Pulley, Wheel, and Screw.” Where as a tool is defined as an instrument or apparatus of manual operation, “usually, one held in and operated directly by hand” like knives, hammers, saws, hoes, chisels and shovels. Their applied function is generally adding, subtracting or re-figuring a material like cutting, piercing, tearing, carving etc.

Technology:- Everything that takes a tool to produce can be traditionally defined as technology.

Using a brush to paint, a hammer to carve or a needle o sew is a technology. However with time, just like crafts the definition of technology has also modified. Technology and crafts are interrelated as one is the means and the other is a process of production. In contemporary terms technology is the integration of machines and information to create processes of manufacture or the distribution of knowledge in ways that depend on the vagaries, whims or decisions of individuals as attempted to define by Peter Dormer. “Technology is morally, socially and politically neutral, though its exploitation may require adjustments of social and political structure, and its consequences may call moral attitudes in question.” (Banham, Reyner as quoted in Ots, Enn, 2011, p. 196.)

Computer Aided Design or Computer Aided Manufacturing (CAD/CAM) and Computer Numerical Control (CNC):Computer Numeric Control (CNC) milling machines, 2-D laser cutting devices, and 3-D full scale printing procedures can remove hand craft completely from the manufacturing process, eliminating the interpretation of design. The two virtues of CAD/CAM is that it can be very fast and it produces consistent results. CNC is the process of machining physical objects from 2D or 3D digital information. A microprocessor in each machines reads the G-Code program that the user creates and performs the programmed operations. CNC formulates a tool, a computer which converts the design made by CAD software into numbers or numeric data. There numbers acts as coordinates which controls the movement of the cutter or tool used to shape the product. Neal French has differentiated craft and CAD/CAM where he defines that in craft the relationship is between a person, a tool and real material. In CAD/CAM the relationship is only between the person and the tool.

Page 156