Artisan Village

THESIS REPORT

ARTISAN VILLAGE SHILPAKALA „BENGAL‟S HERITAGE ART‟ BAGMUNDI, PURULIA, WESTBENGAL

Submitted in partial fulfilment of the requirement for the award of degree of

Bachelor of Architecture 2022-2023

Submitted by SAON ADHIKARY Guided by Ar Virender Sharma

HINDU COLLEGE OF DESIGN, ARCHITECTURE AND PLANNING SONEPAT, HARYANA (Affiliated by Deenbandhu Chotu Ram University of Science & Technology)

Certificate This is to certify that the B.ARCH thesis report titled “ ARTISAN VILLAGE SHILPAKALA, BENGAL‘S HERITAGE ART” has been submitted by “SAON ADHIKARY (18025006010) in the partial fulfilment of the requirements for the award of the Bachelor‟s Degree in Architecture in the academic year 2022-2023. This is a bonafide work done by the student and has not been submitted to any Institution for the award of any other degree.

Ar Virender Sharma

Dr. Deepshikha Jain

Prof. Heeramani Thapliyal

Thesis Guide

Thesis Coordinator

Principal

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Declaration

I Saon Adhikary hereby declare that the Thesis entitled ARTISAN VILLAGE

SHILPAKALA, BENGAL‘S HERITAGE ART submitted in the partial fulfillment of the requirements for the award of the degree of Bachelors of Architecture is my original design/ research work and that the information taken from secondary sources is given due citations and references.

[Signature] Saon Adhikary Roll. No: 18025006010 Date:

B.Arch. Final Year

Place:

2022-23

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Acknowledgement

I owe my deep gratitude to my parents, teacher, professor H.O.D. Mrs. [Ar.] Deepshikha Jain and most of all our principal professor Mr. [Ar.] Heramani Thapiyal and the Hindu Collage Of Design, Architecture and Planning made me who I am today.

I am very thankful to my guide professor (Ar.) V.K. Sharma inspired me and gave me the confidence to select ―ARTISAN VILLAGE SHILPAKALA, BENGAL‘S HERITAGE ART‖ as my thesis topic and for motivating me to complete it successfully.

I heartily thank to Mrs. Sethal Sidharthan for valuable guidance, suggestion and inspiration in every step till the end of the thesis.

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TABLE OF CONTENTS Page No. Right Side

Chapter 1: Introduction: Architectural Inquiry and Project 1.1 Abstract 1.2 Introduction 1.3 Research Question 1.4 Need for Research 1.5 Thesis Statement 1.6 Aim 1.7 Scope and Limitation 1.8 Project Rationale, Brief, and Methodology 1.9 Architectural Program and Area Statement 1.10 Project Clients, Stakeholders, and User Groups

Context and Location 2.1 Contextual Studies (Field Studies/Site-Specific Studies and Inferences) 2.2 Typological and Non-Typological Studies (Literature Studies and Inferences) 2.3 Site and Site Analysis 2.3.1 Location 2.3.2 Context and History 2.3.3 Physical, Social, Environmental/Ecological, and Legal/Regulatory Dimensions 2.3.4 Inferences Architectural Design 3.1 Siting, Zoning, and Massing 3.2 Conceptual Development 3.3 Master Plan, Structure Plan, Phase Plan (as applicable) 3.5 Built-form Level Architectural Design 3.6 Architectural Details Conclusion 4.1 Architectural Inquiry Reflection and Next Steps References Appendix

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LIST OF FIGURES Page No. Right Side

List of Drawings and Diagrams Drawing 1: (description) Drawing 2: Drawing 3: List of Tables Table 1: (description) Table 2: Table 3: List of Photographs Figure 1: (description) Figure 2: Figure 3: Please Note: _Please do not give reference details here. _Include all references in a citation next to the figure itself and in your Reference List.

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Font size 18 Times new roman bold – Individual Section Headings Font size 14 Times new roman bold – Text Title Font size 12 Times new roman bold – Text Subheadings Font size 12 Times new roman regular – Text Content All Text Left Justified 1 paragraph spacing One line spacing required between subsequent paragraphs Do not italicize quotations but put them in quotation marks Do not use bold anywhere except the paper title and subheadings Use Author-Date and References Convention of the Chicago Manual of Style

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CHAU

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CHAPTER 1: Introduction: Architectural Enquiry and Project 1.1 Abstract To revive the lost cultural value and practices of Indian tribes To uplift the community and improve their income to achieve satisfying livelihood. The intent is to unite the various typologies of artisan crafts in West Bengal, to build a community a place to practise, teach, demonstrate culture. With the aim of fostering this heritage community, the concept of crafts village has been selected as the cornerstone of this design. Thus, the sub-question: How to create an artist village, providing a platform for vocational training and retail, a mixed-use organic development, and cherishing the Art and Craft heritage of West Bengal? Bringing employment and empowerment to the niche of their settlements with exposure to their good practices, providing with better hygiene and sanitation Today, the tribal majority areas, which overlap with the country's major forest areas, are also areas with the highest concentrations of poverty. Somehow this poverty has led to depletion of tribal culture, tradition, vernacular architecture, settlements etc. In the rise of social media the mask makers and dancers are losing their identity. Innocent artisan villagers are going through a tough socio-economic condition due to less care from the development authority even though this place is surrounded by some popular travel destinations Which leads to Detribalisation*.

Artisan village – will not only revive and rejuvenate their tradition and culture but it will circulate and promote it. On the other hand it will help tribal communities financially The proposed project aims to enhance the planning of the current infrastructure and introduce a new approach for boosting the community's quality of life by converting the village into a heritage museum by incorporating the various famous Bengal art and culture as a new tourist destination.

fig : illustration, source: author

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1.2 Introduction „One of the last hamlets of the finest Chau mask-makers‟ Charida is a small village in Baghmundi block that comes under the Jhalda subdivision in the Purulia district in West Bengal. This small village‘s fame is for Chau mask makers. In 2010, Chhau was inscribed in the UNESCO‘s Representative List of the Intangible Cultural Heritage of Humanity and has also obtained the Geographical Identification (GI) tag. Chau mask is an essential part of the Purulia Chhau Dance. That is why Charida is also known as ―Mukhosh Gram '' or Chau Mask Village. Almost 85% people of Charida village are profoundly engaged in mask making activity. Almost a few hundred families in the village are involved in the art of mask making and have been doing this for generations. Artists‘ workshops are found on both sides of the road. Elaborately decorated masks are displayed on the outer walls of the workshop. An angry glance from a demon mask welcomes visitors into the small but elegantly decorated workshops. Hundreds of families in 'Mukhosh Gram' have been making these Chhau masks for generations to earn their bread and butter.

Both Sutradhar and Tribal community people are engaged in this type of cultural activity.

Sutradhar community is eminent for Chhau Mask making while the Tribal community is well known for Chhau Dance. These two communities represent a distinct type of socioeconomic attributes on the environment.Charida village has the distinction of being the only place in the world where masks are manufactured for Chhau dance – a specific ornament used for the acrobatic martial art-based dance. Chhau is a semi-classical dance form of eastern India, which combines both folk and traditional forms along with a dash of martial art. Apart from Purulia, Chhau is also practiced in Seraikela (Jharkhand) and Mayurbhanj (Odisha). The three versions differ considerably and apart from the Mayurbhanj version, the other two are performed with decorative masks. The cultural heritage dance respects the hindu mythological story in the form of Lord Siva, Devi Durga, Ma Kali, Sri Krishna. It tells about the historical journey of Bengal.

fig : illustration, source: author

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1.3 Art of mask making The main process of mask making has not changed much. First, eight to 10 layers of soft paper, immersed in diluted glue, are pasted one after another on the mould. A special layer of mud and cloth is applied and the mask is then sun-dried. Once the mask comes out of the mould, facial features are added by hand using clay. After this, colours are applied and the masks are decorated with beads, ribbons, artificial flowers and leaves. Finally, holes are drilled for the nose and eyes to complete the process.

Over the years, the Chhau mask has gone through several changes. There is a drastic change in raw material. The old decorative materials like reeds and ropes have largely been replaced by plastic. The natural colours have given way to synthetic paints. The artists are now more into making smaller and less elaborate masks.

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1.4 Art of Chau dance

fig : sketches, source: author 14

1.5 Research Question 1. Charida village, an unknown tourist destination certified by UNESCO, can be a tourist attraction?

1.6 Need for Research To rejuvenate Charida village‘s culture. Even though the culture is USECO identified in the list of the Intangible Cultural Heritage of Humanity in 2010,the life style of the people haven‘t changed .Still now they face financial problems and no recognition in tourism.

International Chau artist faces problem in finance. Women in the community needs empowerment and provide them jobs to support themselves. Today, the tribal majority areas, which overlap with the country's major forest areas, are also areas with the highest concentrations of poverty. Architecture itself is a process of designing a functional space for the betterment of humanity. Culture allows us to assert our existence to ourselves to the extent that we are not just ‗now‘ but are - in essence - forever* and if this culture is the only thing on the verge of extinction then it becomes a challenge. Through architecture we can revive and rejuvenate their culture and enhance their cultural imperatives.

1.7 Aim To create an „Artisan village‟ for Tribal Community and for Tourists, by which tribal culture, tradition, art ,residence ,sell and practices can be promoted, rejuvenated and their financial conditions can be improved.

The proposed project aims to enhance the planning of the current infrastructure and introduce a new approach for boosting the community's quality of life by converting the village into a heritage museum by incorporating the various famous Bengal art and culture as a new tourist destination point. Community-based tourism village is increasingly considered as a more sustainable alternative, as it emphasizes the active involvement of the local community as a catalyst in the tourism development . Community based development takes into account environmental, social and cultural sustainability aspects and is a tool for community development and environmental conservation. It can be attained by the development of tourism based on empowerment of local communities by their artisan heritage culture.

1.8 Objective ● ● ● ● ● ● ● ●

To understand the Charida village and their cultural heritage.

To preserve the heritage and culture of the village.

How an artisan village can revive the village.

To design and achieve a good active public-built environment within context.

To study visitors' experience and circulation patterns.

To understand and study how tribal culture blends with architecture.

To design spaces for interaction between indigenous peoples and tourists.

To be able to give tourists a sense of tribal settlements and its function.

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1.9 Scope For tourists it will serve as a mind relaxing place where one can blend themselves in ecofriendly, sustainable activities and atmosphere, experiencing the culture and tradition of tribal communities. It is called an artisan village because it gives the experience of living culture, tradition, art, architecture and activities of the tribal community by living there. Artesian village holds the potential to replicate, accommodate, educate the tourists in categorized spaces. These spaces will have different functions which will represent a whole settlement such spaces are: ● ● ● ● ●

Living Units (Indigenous people/ Tourists) Market area Street performance area Open air theatre Workshops

1.10 Limitation This thesis project will be limited to the designing of ―Artisan Village‖ for the tribal settlement. Wherever the detailed data have not been available reasonable assumptions have been made based on observations and interviews with local people. ● Sustainability can be designed but it shall be maintained and practiced also, through which it will gain stability. ● It is not possible to create a tribal settlement in modern times because modernity has its own perks. It will be better to blend them together concerning more on tribal settlement. ● It is not possible to solve each and every problem architecturally. ● I can't help them financially so I wanted to help them architecturally through my thesis.

1.11 Thesis Statement

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1.12 Mission

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1.13 Case Study In India, there are many concentrated craft centres. From which, very few are recognized to house artisans within it. One can identify the difference in vernacular architecture and spatial organization of the village as it varies from state to state. Three artist villages of different scale and purposes are selected for the extensive research for this document.

1.13.1 Belapur Artist village, India Charles Correa designed a Low-cost incremental housing typology for artisans. Located close to the city centre of New Bombay and spread across six hectares of land. Correa has conceptualised this project on his beliefs about the nature of community and housing. He has developed the idea based on his observations of the spatial hierarchy of individual privacy to the public gathering. He has created a link from the private space of every individual dwelling (doorstep), to the communal courtyard, to the more significant public space (maidan) of the community. According to Davey (2015), the design geometry of the village is a direct interpretation of this syntax. According to Correa (1999 p48) concerning the Indian climate and even keeping the territorial privacy, ‗Open-to-the-sky space‘ is essential to each family. Correa made a cluster of seven houses; wherein there is a central courtyard of 8 x 8m.

Moreover, Correa amalgamated three clusters of seven houses together and made a more significant courtyard of 12m x 12m. Incrementing this model, generates the courtyard of 20 x 20 m, increasing interaction and participation within the user group — the repetitive model of a cluster of houses in the heart of this project. For an artist community where the exchange of ideas and a shared working environment is required, Correa has designed the model which promotes the convention spaces.

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fig : Low-cost incremental housing typology for artisans , source: google

1.13.2 Sanskriti Kendra, Delhi, India The organic development of the project in the foothills of Aravalli ranges has kept natural elements throughout the site. The rainwater channel is a linear cooling pond which starts from the pond and runs down to the stage of the amphitheatre. The existing trees become the dominant structuring element of the layout plan. Individual identity is given to the courtyards and the landscape terraces. The design focuses on the unique relationship between the closedbox and open to sky spaces, the whole continuum of zones with varying degrees of privacy.

The unique hierarchy starts from stepping into the veranda – courtyard space – then under a tree -- and beyond onto the semi-covered terrace with bamboo pergola – onto a balcony and so on. There are no formal boundaries in the site. The primary design focus is on the distribution of function and connection through circulation. Public spaces such as galleries and the governing body are situated near the entrance. Studios and dormitories are distant from the public spaces to avoid any distraction. The site only has 10 percent of built mass as the rest 90 per cent is a judicious mix of formality and informality of hard and soft landscaping.

1.13.3 Shilpgram Artist Village, Udaipur, India Shilpgram is the workplace of craftsmen and a potential pilgrimage place for artists. The village is an effort to present and preserve the tribal culture from four western states of India, which are Rajasthan, Gujarat, Maharashtra and Goa. The village also houses the rural market, performing art centre, vocational training centre and other aspects of tribal life. Along with it, there is a park of sculptures of Indian Gods at the hilltop, exhibiting the statues which have been carved by Indian and foreign artists who have visited the village. The village has spread across 33 hectares of land, accommodating seven huts of Rajasthan, twelve of Gujarat, seven of Maharashtra and five from Goa and depicting their cultural activity and living styles.

These huts have been made by the workers themselves with their rural architectural style using the vernacular materials from native place.

In circulation, a central axis runs throughout the site, connecting continuous pedestrian movement patterns at several intervals. All different type of hutments (see glossary) can be seen in order, as their retail area Is adjacent to the pedestrian path forming a street market culture in the village. The spatial organization of the village is designed based on communal hierarchy. Ishan Jain (2017) discusses that the huts depicting the culture of Rajasthan state, are called Ramaroa. Specially designed for extended family, these huts have a boundary wall which serves the purpose of safeguarding the house from the deserted dust of Rajasthan and even deliver the sense of privacy to the family. It has a kitchen, grain storehouse and weaver‘s workshop area. The roof of the hut is made from the wood of the Jade tree and covered with grass. The other hut from Rajasthan, designed for a middle-class family has stone pillars and roof made of wood. The well-crushed clay has been laid on walls in many layers.

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fig : left hand two images showing the huts from Rajasthan state and right-hand images showing hut from Gujarat state and mud-mirror work on the walls, source: google Shilpgram is the best example of the self-sustained artist community. The art and craft of India, cherishing in the lap of rural craftsmen and exploring the possible linkages with the modern world today. Shilpgram is well stocked with all the functions which an artist village demands. These organically developed functions, lead an idea of such a programme to its accomplishment. An informal settlement entices even an unknown visitor to be a part of it.

Daily performances, workshops with artists, even the retail places provide a direct interaction to common masses with the dying heritage.

1.13.4 Kala Vaarso – Art Event, Surat, India The event brings together rural artisans and craftsmen from 24 states of India at one stage and highlights their art to create a demand for their products. The weeklong event attracts tens of thousands of visitors each day. More than 250 artisans participate in this exhibition, with a variety of 120 art at one platform. Kala Vaarso has been spreading its identity, and through the spectacular public response, it has been growing over the years. The event is handled and designed by the volunteers, who are students of universities. All the creative student body put their best efforts to please the soul of a visitor. The whole environment is designed to depict authentic Indian culture. This event covers all the crafts such as pottery, metal bells making, block printing, lacquered wood merchandise, bandhani art, leather art, batik printing, knife work, rogan painting, recycled plastic weaving, embroidery art, Kachchhi weaving. These artisans are keen to teach their skills to the young generation. The workshops run every day long, providing a chance to learn the rare crafts.

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1.14 Methodology Even though the culture is USECO identified in the list of the Intangible Cultural Heritage of Humanity in 2010,the life style of the people haven‘t changed .Still now they face financial problems and no recognition in tourism.International Chau artist faces problem in finance.Women in the community needs empowerment and provide them jobs to support themselves.Women dance group are coming up slowly so it needs to be supported.

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CHAPTER 2: Contextual studies 2.1 Site study Location: Charida village,Purulia,West Bengal Site Area :10 acres Owner: Forest Department Weather condition: ● Summer time average- 40-degree c max -August min -January, December Winter time average 10-degree c ● Precipitation - 0.2 in to 10.9in max -July min - November

fig: traditional markets in Kerala, source: google

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fig: survey map, source: village office, baghmundi The site is situated on the entrance from the Bagmundi which is the suitable site for the tourists to access the village. Site is under forest department but since there is no trace of trees so the department gave the land for farming in the lease system to the villagers for rice.

The site is proposed for the artisan hub by MSME and UNESCO in 2016(to be confirmed).The site is situated on the extended part of the Ajodhya Hills with a big lake(_)on the North West. The sceneric view of the Ajodhya hill in North with the dense forest of beautiful orange flower tree known as palash which gave a identical landmark. There is a continuous running water stream line from the site also help a natural ecosystem on the site.

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fig : photographs, source: author 24

2.2 Site Analysis

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VEGETATION

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2.3 Physical, social, environmental problems

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2.4 Needs (!) They worked inside of the shop, and outside in the sit-out area,some have separate spaces for working attached to their shop.

The shops are situated in front and their residence is in the back of the shops. Only a few shops are located away from the main road. Most shops are for Chau masks. The shops were owned by generations.

MATERIAL -River clay is used for mask making and paddy clay is used for smoothing the surface of the mask.

-Paper is used from old books,articles,newspapers etc.

-Old saree cloth is used for making the mask firm.

fig : Chau mask shop, source: author

(2) They don't have a proper place to dry the masks and proper sunlight is needed for drying them.

Mostly they keep the mask to dry in front of their shops, open places, in front of the temple, or on the side of the road.During summer, they are not able to make masks because due to the harsh sun, the surface of the mask cracks which makes them unable to use it.

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fig : Chau mask kept for drying, source: author (3) The exhibits are not properly preserved and maintained, it is full of dust and dirt so the items get damaged and worn off.

Folk art center -It is a 2-story building. First floor -exhibition and Second floor -meeting room.Award-winning masks are not properly maintained.Villagers gave a proposal for a new art center because of some legal issues.

fig : Condition of present Folk Art centre in the village, source: author

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(4) The buildings are made out of the mud. All the residence buildings are single story, compact buildings.Plinth is mostly used for daily functions.

fig : Present residence in the village, source: author

(5) On each day of the festival, there was 4 performance held by artists coming from different district to showcase their culture such as, 1)Boule folk songs -Bolpur (226.2 km to Chorida) 2)Dhokra artists -Bardhaman (224.9 km to chorida) 3)Adivasi aakra (tribal dance) -Purulia (60.5 km to chorida) 4)Natuva dance form - Purulia (60.5 km to Chorida) 5)Junoor & korum dance form -Purulia (60.5 km to Chorida) 6)Chau dance (prominent) -Chorida Chau Festival took place from 9-11 March 2023 and was held after 1 year due to covid lockdown.

The people wanted more tourists to visit Chorida village and tag them on their social media for more to know and visit. As you can see that they used the #charida festival place in their shops.

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fig : During the festival, source: author (6) They practise in the empty space in front of their houses and perform it .

fig : Practice space, source: author

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(7) Needs and requirements for the people .

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CHAPTER 3:Program development 3.1 Transition

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3.2 Stakeholder

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3.3 Program development As the whole concept is to accommodate the artist community and provide a platform to educate others, the primary arrangement of the programme depends on the workspace area required by each artisan. The detailed art and craft study suggest housing artisans from 4 different crafts. According to the scale and nature of their art, the major four categories have been decided. The first notion which must be considered in designing the programme is about residing the artisan into the village. The connection of the rural artisan to the urban consumer can be established by designing the retail outlet, where the need for both can be satisfied.

Even though, to balance the living standards of these rural craftsmen in front of the rapidly growing modern society, the craft sector demands the residential infrastructure development for this artisan, as to provide all the essential amenities to this community. The second argument is about the retail outlet space requirement. The programme requires a mixed-use development of the residential and commercial activity, creating an informal atmosphere to the project. The study of Shilpgram artist village suggests the most feasible functional arrangement through the hierarchy of privacy. The literature studies of artisan villages suggest housing 4 types of artisans from each type of art, that in total- a community of 60 artisans at the initial stage of development. The programme of this artist village is divided into two stages. The first stage of development houses ten artists from each art and stage two do the same. After stage two development, the project can expand by repeating the housing model, which is required. The nature of this project is scalable, and the major design elements are spatial organization and circulation. The type -01 model accommodates the Chau mask makers , which requires all separate space for their work area varying in scale from 30 to 50 square metres area. This model incorporates Chau mask makers, potters, metal ornament makers and the artist making bamboo products. The type-02 model accommodates the potters, which requires over 50 square metres of private area. This craft involves pots wheel,kiln,preparation space,retail shop. The type-03 model accommodates the Dhokra, which requires over 50 square metres of area but the nature of this art suggests a shared work environment, including sizable open-to-sky space. The type-04 model accommodates the bamboo artist , which requires over 50 square metres of area but the nature of this art suggests a shared work environment, including sizable open-to-sky space.

Figure 1.The four models of typologies of housing ,artisan 36

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CHAPTER 4:Architectural Design 4.1 Siting,Zoning and Massing

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4.2 Conceptual development

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3.3 Master plan

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