Cultural district at Hamirsar Lakefront, Bhuj by Siddharth Tataria

Date- 26/11/09

PRATIBIMB… Cultural District at Hamirsar Lake front, Bhuj, Kutch.

Siddharth Tataria, Design Dissertation, B Arch Final year, Bharati Vidyapeeth College of Architecture, Navi Mumbai

P r a t i b i m b……..Cultural District at Hamirsar Lake front, Bhuj, Kutch.

INDEX OF CONTENTS 1. SYNOPSIS 1.2 HISTORIC URBAN SETTINGS. 1.3 INFERENCE

2. REGIONAL STUDY 2.1 KUTCH REGION 2.2 STUDY OF REGIONAL ARTS & CRAFTS 2.2.1 NON-TEXTILE CRAFTS 2.2.2 TEXTILE CRAFTS 2.2.3 KUTCHI MUSIC 2.2.4 BHUJ 2.2.4.2 CITY ANALYSIS

3. CASE STUDIES 3.1 NATIONAL CRAFT MUSEUM ( Pragati Maidan, Delhi) 3.2 JAWAHAR KALA KENDRA (Jaipur). 3.3 DESERT SETTLEMENTS OF KUTCH.

4. SITE 4. 1 RELOCATION AND REHABILITATION. 4.2 EXISTING STRUCTURES.

P r a t i b i m b……..Cultural District at Hamirsar Lake front, Bhuj, Kutch.

5. AIMS AND OBJECTIVES. 6. CONCEPT. 7. DESIGN METHODOLOGY. 7.1 CONSTRUCTION TECHNIQUES 7.2 THE FUTURE…

8. BIBLIOGRAPHY.

P r a t i b i m b……..Cultural District at Hamirsar Lake front, Bhuj, Kutch.

1. SYNOPSIS

1.1 HYPOTHESIS The architectural heritage of India is not only enormously rich but also extremely varied. Manifestations of this unique heritage can be seen in all their diversity in different regions of the country. The classical architecture of India has been well documented and fairly well preserved, the vernacular are threatened by new demands for change and development.

Himachal Pradesh

Kutch

The last decade is also significant for two other developments which have touched architecture not only in India but throughout the world. Firstly the scope of historic conservation has widened. It now includes the urban fabric and other historical and cultural areas. Archeology too has extended its horizons into the realm of architecture and urbanism. Secondly, the search for some meaning in architecture, with a view to locate ‘Indianness’, started during the eighties.

P r a t i b i m b……..Cultural District at Hamirsar Lake front, Bhuj, Kutch.

The purpose of this search was – Not to present here an architectural tradition for imitation or emulation, but to examine architecture of a specific region and a specific type of built environment, within the vernacular traditions. Gain insights into the nature of built form which responds to the forces at work in a particular context . This habitat is threatened by the stresses of ‘development’ in which forms from the urban areas are imitated without considering their relevance. This process is difficult to stop even when the change is not necessarily for the better.

The question arises: If change must come, what form should it take? Should it relate to the traditional form of the habitat? What should change and what should continue? When people build, they create a habitat where generative forces are culture and context. While a ‘culture’ is the sum total of human understanding, values and accomplishments, ‘context’ represents the constraints and potentials that a physical environment has to offer. A traditional habitat today is not the result of a one-time effort but is the culmination of hundreds of years of understanding and responses to a particular context.

Tamil Nadu

Rajasthan

P r a t i b i m b……..Cultural District at Hamirsar Lake front, Bhuj, Kutch.

Working under different constraints and restrictive local conditions, they respond directly to the situations as they find them, and achieve rich and expressive forms. This directness of approach lends to a natural and contextual order which eliminates superficiality. This approach is not restricted to the house form alone, but permeates each and every element of the living environment from a house to an entire settlement. Functionalism has ruthlessly rejected decoration in architecture, but vernacular shelter is quite often decorated. Even in these instances, theory is still supported by the subordination of decoration to structure, embellishing but not concealing the structural method employed. The regional context has been a very important parameter in evolving forms and patterns of the human habitat. The limitations imposed by nature have often proved virtues. Constraints have resulted in harmony within the built environment. Although architecture of this kind is usually rural, it still provides ideas and teaches lessons which can be useful in an urban context.

P r a t i b i m bâ&#x20AC;Śâ&#x20AC;Ś..Cultural District at Hamirsar Lake front, Bhuj, Kutch.

1.2 HISTORIC URBAN SETTINGS.

Architecture is generated by various layers-physical as well as cultural. Complexities of urban development and the magnitude of the present-day cities have created another form of human habitat diverse and anonymous. In India historic urban settings have a distinct identity to themselves. They are a reflection of the past, the present and the future possibilities. The monuments from almost every culture have, for centuries, captured the imagination and awe of people. Apart from being imposing and beautiful, they are replete with value, and community pride. There is an entire world of decision-making which surrounds their conservation, however, it is usually disjointed and piecemeal: committees are formed to-defend, maintain, and in some cases, rebuild them; funds are donated and allocated locally, collected internationally and expended critically when it works well and otherwise when not; institutions are set up to identify and create awareness about them; and multinational banks support conferences and seminars around the world to discuss them, establish policies regarding them, and dissuade the world's art market from destroying them. Unfortunately historic urban settings in general - the communities of people who live around and in these historic buildings - do not receive the attention or support they deserve to maintain a vitality and quality characteristic of historic areas, to protect the integrity of their structures, and to stimulate local economies as populations, occupancy and economies change. The context of a historic urban area offers qualities that attract new populations, investors, tourists and resources to improve the existing housing stock and expand civic and basic services almost always vulnerable to erasure.

P r a t i b i m bâ&#x20AC;Śâ&#x20AC;Ś..Cultural District at Hamirsar Lake front, Bhuj, Kutch.

The earthquakes of Bhuj, India, and Bam, Iran, are tragedies that need not have happened as they, did. Had there been a recognition of the vulnerabilities of these historic places, actions might have been taken to save lives, property and local ways of living. How many more historic areas will we need to lose before national and local governments and the international community provide support for their retrofitting and their continued existence? How many more unique places will disappear and with them the examples of past skills, details and configurations which store lessons for the future?

Historic places cannot be ‘frozen’ in time, nor can we pretend that they remain constantly ‘alive’. As they change, they must be encouraged to adapt within a set of performance guidelines that will recognize them as assets and resources for the future.

1.3 INFERENCE. So what is needed today is a common platform for the people to interact and be aware of their of their cultural and architecture heritage and give exposure to the rich architectural and cultural heritage of their region. opportunity to the local artisans to showcase their art and handicraft, since like architecture, art is also generated by various layers-physical as well as cultural. Make use of local materials and technology, and create designs that will respond to the site conditions and context of the region.

So there is a need for cultural district which will provide a common plane for all these activities to take place.

P r a t i b i m b……..Cultural District at Hamirsar Lake front, Bhuj, Kutch.

2. REGIONAL STUDY.

2.1 KUTCH REGION The Kutch region in western part of India is a particularly interesting setting to examine the architecture which have taken shape over a long period of time. There are different physical constraints, with variations. In Kutch, the people who use the environment also build it, not only the dwellings but most of the artifacts as well. A strong and cohesive force has dictated a simultaneous development of architecture and crafts expressing a dominant interlink between them. This gives identity to the entire living environment.

P r a t i b i m bâ&#x20AC;Śâ&#x20AC;Ś..Cultural District at Hamirsar Lake front, Bhuj, Kutch.

People and place. Kachchh, a vacant expanse of continuous yellow sands stretching till the horizon, seldom a view of huts or settlements, where few people in a group with their livestock and camels move slowly from one place to another in the scorching heat, sandstorms and completely barren- this is Usually the initial hazy mental picture of kachchh There is instead a mix of dry lands with green farms and occasionally coconut orchards which made- vivid that Kachchh, had a diverse landscape The desert region lies toward the north called as Great rann of Kachchh and in Southeast called Little rann. The southern coastal area 15 green and well irrigated. fertile and well-watered irrigated land wadis 15 few, scattered along the coastal strip Kachchh 15 not entirely a desert but has a delivered intermix of variable rather hostile geography divided into 3 linear parts The northern area of Kachchh is mainly saline desert (Great rann The central belt 15 banni grassland on and tableland with thorny trees-ganda babal prosopis juliflora) a semi desert stretching east to west as low rocky hills scattered by riverbeds and streams which are perennially dry. The southern coastal part, where, water available is good has almost all types of flora and fauna with khajur and neem trees grown in large numbers. Kachchh district (22.50 to 24.50 N Lat., 68 degrees to 72.00 If Long) 15 the westernmost part of Gujarat state and second largest district in India bordering Pakistan, It 15 3 massive thickset peninsula between the great Deserts of 51ncl and Thor and Arabian sea italy area of 45,000-5cl.km. 15 Mostly covered by salt marshlands of the rann Kutch 15 a unique landmark in India, which has land and desert surrounded by seawater During the monsoons the two Rann get flooded and for many inhabitants, Kachchh becomes like an island cut off from the surrounding regions by swamps and salt marshes The shape of Kachchh resembles the back of tortoise and hence 15 called " Kachchho" Or "Kachchhch" which means tortoise in the local Kachchhi language

P r a t i b i m bâ&#x20AC;Śâ&#x20AC;Ś..Cultural District at Hamirsar Lake front, Bhuj, Kutch.

The climate is unrelentingly hot arid dry in the north and hot arid humid in the South with a vast diurnal range of temperature (Max.48' C to 20 C), especially in winter. The scanty monsoon rains averaging a few centimeters annually (below 40 cm) fall mainly during the months of July and August These are inadequate even for the region's low requirements The winds mainly flow from South and Southwest directions for major part of the year. On the whole, there is a precarious ecological balance, which 15 being increasingly endangered by the swelling population-, of human as Well as domestic animals added by recent rapid depletion of underground water due to reckless drawing of water using electric pumps The landscape and ecosystems, of Kachchh vary from the Great Rann grasslands of Banni, the Dhand marshes. Kala Dungar (black mountain in Paccham the plains of Lakhpat and Jakhau. the mangrove swamps of Mundra and Koteshwar the little Rann and ;Gulf, Kachchh with coral reefs anti creeks. Various flora and fauna enrich the diversity of landscape of Kachchh.

Through the centuries is believed that various hardworkng people - hospitalable and tolerant with shrewd business instincts. renowned for their traditional skills - have settled in this unpropitious land. Kachchh was historically mentioned earlier by Greeks and the periplus. It had the ruling and successors of samma Rajputs, Lakho Phulani, Jadejas and lastly the Rao. Kachchh is a land with its own glorious history marked up to the Britishers by wars between local dynasties and Muslim invaders and more often by ferocious internal feuds between the dominant Rajput clans it was a nation state with Bhuj as its capital. For about 400 years ruled by the gracious Rao's family. It merged with Indian Union 1948 after the partition of India and became part of Gujarat State. Before the accession with India, Kachchh had its own Currency called - "Kories"

Kachchh like India is 3 land of multi - religious communities and ;groups of people living together in harmony. People belong to mainly Hindu, Islam and Jain religious. The social

P r a t i b i m bâ&#x20AC;Śâ&#x20AC;Ś..Cultural District at Hamirsar Lake front, Bhuj, Kutch.

structure is based on caste system, as still prevalent in several parts of India. However these religious with other castes and sub-castes (like Lohana. Rajputs, Patels) co-exist peacefully without communal tension

The traditional basis of Kachchh's prosperity has been its foriegn trade to various Parts of the world and its people arid its people were seafarer trader-,. Kachchh beig in island it has great coastline of around 350 Km and had overseas trade connections with the various contries of eastern and western world. BY the nature of its terrain- desert and marshlands Kachchh was on the fringe of the great historical trade routes. It is vivid by important ports of Kandla, Baluchistan, Persia and Gujarat, Kathiawar and Marwar of India.

The importance of ports of Kachchh declined due to rise of Bombay in the later half of 10th century, This started the process of migration to various parts of the world particularly Great Britain and East Africa for employment and business. Many people came to Mumbai (Bombay) and settled here to become succesful businessmen in trade and industry Kachchh being the border, after the independence, migration continued due to the tension in the region by the partition and also scarcity of rainfall restricted agricultural activities. Today there is no permanent employment or uniform income source for youth, Migration still continue and the people have to find work in various places of India. Scarce rainfall constraints farming activity and besides trading people are engaged in salt production (up to 40 % of national production), cattle breeding cottage industry, handicrafts, textile printing and recently as construction labour.

The various pastoral communities stay in the desert region like Rabaris, Harijans Ahirs, Maldharis and are believed to have migrated from north India and Pakistan about 1000 years ago. This part is known as Banni region. They stay as communities in small settlements called Vandh scattered all over Kachchh. Mainly cattle, camel and sheep herders with few doing agriculture, they lead a nomadic and semi -nomadic life. Lord Krishna is their main deity. As livestock farming is the main occupation, ghee curd and other milk products are in abundance while buttermilk with bajra roti and jaggery are

P r a t i b i m bâ&#x20AC;Śâ&#x20AC;Ś..Cultural District at Hamirsar Lake front, Bhuj, Kutch.

important parts of a meal. These communities are extremely proficient in various handicrafts. Craftsmanship forms an integral part of the lifestyles expressing their distinct identity. The handicrafts and arts of kachchh show connection and influence of designs from Sindh of Indus Valley civilization (e.g. Mutwa or Sindhi embroidery) the terracotta has close resemblance to the pottery found in Indus valley and Dholavira. Dholavira is an archaeological site near Khavda village in northern tip of Kachchh where the excavations have shown clear association with Indus Valley. It was discovered in I 968 and is one of the fifth largest after Mohen-jo-daro and Harrappa. It suggested three superimposed layers as settlements The tools, beads, small working rooms with equipment found in the topmost layer during excavation indicate that they had production of objects and trade with other, parts of the world. These associations and language arts and crafts, myths etc. suggest that the oriqin of Kachchh is from Indus valley civilization.

P r a t i b i m bâ&#x20AC;Śâ&#x20AC;Ś..Cultural District at Hamirsar Lake front, Bhuj, Kutch.

2.2 STUDY OF REGIONAL ARTS & CRAFTS:

2.2.1 NON-TEXTILE CRAFTS 1. LAC TURNED WOOD

OVERVIEW: A handful of families from Kachchh’s semi-nomadic Vadha community settled in craft villages like Nirona and Jura where they use the technical and artistic skills of their forefathers to sustain the lac turned wood craft tradition. The Vadhas traditionally moved and worked, where needed, throughout villages bordering Kachchh’s Great Rann. They carved and coloured wooden furniture and household accessories for many local communities. The descendants of these artisans now work in the villages where their families have settled. These are Kachchh’s few remaining lac turned wood artisans. Lac turned wood is practiced using simple tools, a self-made lathe, a string attached to a bow, and sticks of coloured lac. Artisans work at lathes built into the ground in the centre of their village. Each is demarcated by two sharpened iron rods which are bent

P r a t i b i m b……..Cultural District at Hamirsar Lake front, Bhuj, Kutch.

toward each other at ninety degree angles and fixed in the ground. The distance between them is dependant upon the length of wood the artisan is turning because the wood must be held firmly between the rods’ pointed ends. The artisan begins by carving the wood. He sits at his lathe, wraps the string of his bow around the piece of wood, and secures the wood with his foot. With his right hand, he pulls the bow back and forth to turn the wood. With his left hand, he holds a chisel to the wood as it turns. The artisan uses an array of chisels and varying degrees of pressure to carve the wood into functional forms. Lac has been used in Indian craft for centuries. The Certeria lacta, an insect indigenous to Kachchh as well as other parts of India, secretes a protective resin to protect herself and her eggs. This resin, called lac, is collected from Babul trees, heated, and mixed with groundnut oil and colour to form a thick, opaque, decorative wood coating known as lacquer. Traditionally, lacquer was colored with vegetable dyes though, more recently, artisans use brightly coloured chemical dyes. The artisan returns to his lathe with a piece of colored lacquer in place of his chisel. He once again turns the carved wood. The friction created by this turning causes the lac to melt against the wood, coating it in colour. The first colour is a base upon which the artisan adds layers of colours which can be chiseled away, rubbed off, marbled, or engraved to achieve various designs and effects. There is a wide variety of products that are shaped and decorated by Kachchh’s lac turned wood artisans. The most commonly crafted products are kitchen utensils including chakia-velan (chapatti roller and board), chamcha (spoons), thaveta (spatulas), khandani (mortar and pestals) and spice containers. Artisans also produce decorative household items such as charpoy (bedsteads), bajot (stools) and gotani (furniture legs) and recreational items like toys, maachi (walking sticks) and dandia sticks that are used in the region’s traditional folk dances.

P r a t i b i m b……..Cultural District at Hamirsar Lake front, Bhuj, Kutch.

2. METAL BELLS

OVERVIEW: The unique melodic tones that emanate from Kachchh’s metal bells give voice to a centuries-old craft tradition that the Muslim Lohar community brought to Kachchh from Sindh, Pakistan. These metal bells, burnished in copper and brass, have long adorned the necks of cattle, camels, sheep, and goats which graze in Kachchh’s arid plains. The bells signify each animal’s status and position in the herd. There are 14 standard sizes which range in length from 2 cm to over 30 cm; size 0 is the smallest and size 13 the largest. Only the head of the herd is worthy of wearing the heavy tehra number bell. Today, the use of Kachchh’s traditional bells has expanded; they hang in entranceways, are combined to make wind chimes, and are used as other forms of festive decoration. Finely tuned bells are used as musical instruments. Kachchh’s traditional metal bells are handcrafted by Lohar artisans working in 28 bell making units in Nirona, Bhuj, Nakhatrana, and Ratadia.

Metal bell craft requires highly refined skills and combined family inputs. First, men shape each bell. They hammer rectangular strips of recycled metal into a cylindrical

P r a t i b i m b……..Cultural District at Hamirsar Lake front, Bhuj, Kutch.

hollow. Then, they weld a dome-like metal crown to the bell’s cylindrical body. Next, artisans bend and attach a metal strip to the crown so the bell can be hung. Once the bell is shaped, women dip it in a solution of earth and water. They cover the wet bells with a mixture of powdered brass and copper. The bell, with its powdered coat, is wrapped in a pancake of local clay and cotton and placed in a kiln to bake. After it is properly baked, the cotton is peeled away and any excess clay is rubbed off. Each bell is buffed and polished to accentuate its unique metallic lustre that is tinted with shades of yellow, gold, red, and brown. A ringer, made of a dense wood called sheesham, is attached inside the bell, converting the hollow metal object into a musical work of art. Artisans carefully hand set each bell’s tone with a tool called an ekalavai, a skill that Kachchh bell makers have mastered. The quality of a bell’s tone is a reflection of the artisan’s skill and three factors: the size and shape of the bell’s body; the size and shape of the ringer, and the shape and curvature of the bell’s bottom rim.

3. KACHCHH POTTERY

OVERVIEW: In Indian mythology, Bhrama, the Creator of the Universe, made a clay model of man into which he breathed life. The Indian potter is also known as Prajapati, the creator of man. Kachchh’s Kumbhar community of potters has a strong religious connection to their work. They believe that the god Sankara has blessed them with protective fire and work that will always be enough to sustain their families. Ritual and beliefs have supported the craft for centuries. Indian tradition teaches that porous earthenware absorbs dirt and negative energy. Rules of ritual pollution therefore require people to

P r a t i b i m b……..Cultural District at Hamirsar Lake front, Bhuj, Kutch.

discard and replace earthenware during festivals and significant occasions such as births, marriages, and deaths. This belief has ensured a local market to support the craft.

In Kachchh, the Kumbhar community moulds local clay into countless forms of decorative earthenware. They craft a wide variety of vessels such as matka for water storage, ketli to hold tea, and kulada to keep buttermilk. The variety of pottery and ornamental design is as diverse as the numerous communities which call Kachchh their home. Kumbhar women use red, black, and white clay paints to decorate each piece of pottery with distinct community-specific designs. For example, they paint scorpion emblems for pottery used by the Rabari community of nomadic sheep and goat herders: for Kachchh’s Jat community, they paint replications of elaborate embroideries.

Clay is collected from the banks of local lakes. Artisans transport the clay to their village by tractor or donkey cart. There, they beat the hard lumps of clay into a fine powder. This clay powder is mixed with water and kneaded into an elastic dough. The artisans sit at their potter’s wheel and as the wheel spins, they give shape to the dough, turning it into a vessel. Once the potter has perfected the pot’s shape, he removes it from the wheel and sets it in the sun to dry. When properly dry, the artisan strengthens the vessel by beating it with a wooden beater and stone anvil. Next, Kumbhar women decorate each clay pot with naturally coloured clay paints. Finally, the vessels are inverted and piled into a kiln. Local kilns are typically triangular pits lined with sesame seed straw, thorny brushwood, and ash. The clay pots are covered with layers of vegetation, straw and buffalo dung. They are fired for 14-15 hours. After firing, the pots and ready for use.

P r a t i b i m b……..Cultural District at Hamirsar Lake front, Bhuj, Kutch.

2.2.2 TEXTILE CRAFTSAJRAKH BLOCK PRINTS

OVERVIEW: The Khatri community, whose ancestors have been printing with Ajrakh blocks for centuries, migrated to Dhamadka, Kachchh from Sindh. Ajrakh printing, a form of block printing, began as a localized art. The Khatri community, whose name means “one who fills or changes colours,” printed using local natural dyes and water from the Dhamadka, the river that gave their village its name. Traditionally, artisans used combinations of fifty hand carved ajrakh blocks to decorate clothes for men from Sindhi pastoral communities living in their village and its surrounding area. For the women in these communities, artisans printed malir fabrics that signified social and marital status. Ajrakh means both “keep it for today” and “like the blue night sky with stars sparkling in the darkness.” Kachchh ajrakh is distinguished by the use of traditionally designed blocks and four colours— red, black, blue and white. Traditional ajrakh printing continues in craft villages such as Ajrakhpur and Dhamadka.

Ajrakh block printing follows a lengthy and demanding process composed of several steps. Tradition teaches that the longer an artisan waits before beginning the next step, the more stunning the final print will be. Printers prepare fabric for printing by tearing un-dyed fabric into 9 meter lengths, washing it to remove starches, wax and impurities and then dying it with myrobalam. Artisans select a wooden block from their collection of blocks carved with traditional designs. This first block is coated in lime and Acacia

P r a t i b i m b……..Cultural District at Hamirsar Lake front, Bhuj, Kutch.

gum and carefully pressed onto the cloth at regular intervals. It acts as a resist, leaving a white outline around future prints. Artisans continue the process by selecting and coating blocks in dye, aligning them with previous prints, and pressing them carefully onto the fabric. Jaggery and gram flour are used for black designs; alum and tamarind for red. Artisans use fuller’s earth and alum to resist dyes. After each colour of print, artisans rinse and sun-dry the cloth. After the printing is complete, the cloth is washed, dyed in one of many natural colours, and once again laid in the sun to dry. If artisans choose to finish the design with bright white detail, they use meena-based dye. The two-week printing process results in stunning printed cloth in traditional form. Kachchh block printing has evolved to become one of regions prominent creative industries. Artisans have adapted their craft to meet the growing demands of new markets. The vast majority of today’s block printed cloth is produced for clothing and home accessories. Printers now work with an expanded collection of blocks, many of which they have designed. To meet the demands of the textile market, most Kachchh block printers have moved from traditional natural dyes to a larger colour palette of chemical dyes. Despite the craft’s evolution, there are environmental and marketdriven challenges which must be addressed for this craft to remain a viable livelihood in the future.

BANDHANI TIE AND DYES IN KACHCHH

Kachchh’s Bandhani artisans are from Khatri communities, of which the majority are Muslim. Many are descendants of printers who worked for nobility, supplying aristocrats with elaborate head wraps and gowns. Therefore there is a great wealth of technique and skill in Kachchh which is evident in today’s bandhani tie and dyes.

P r a t i b i m b……..Cultural District at Hamirsar Lake front, Bhuj, Kutch.

Designs, motifs, base cloth composition and colors are community specific, event specific and sometimes are even are geared to age, social and marital status of the wearer. The influence of Kachchh’s arid desert landscape in design and motifs is unmistakable. Bandhani techniques are used to dye fabrics from woolen shawls and fine cotton to silk fabrics, depending on the communities and the markets to whom the artisans are catering.

HANDLOOM WEAVING IN KACHCHH

Over 600 years ago, the Meghwal community from Rajasthan migrated to Kachchh, bringing with them the art of handloom weaving. Traditionally, weavers used hand spun yarn provided by Rabaris, a nomadic community of sheep and goat herders. Weaving was a local art which provided Kachchh communities with blankets, cloth, and traditional dress. Kachchh weaving is known for its incorporation of distinctive traditional motifs and colours in medium to heavy weight textiles. The value of Kachchh handlooms exceeds aesthetic appeal; its value is created by the hands of skilled artisans who weave their tradition and way of life into each piece. There are currently 1200 weavers who work in 210 villages in Kachchh; 800-900 practice the craft full time. Approximately 2,400 women are engaged in preparatory and finishing processes.

P r a t i b i m b……..Cultural District at Hamirsar Lake front, Bhuj, Kutch.

2.2.3 Kutchi musicThe music of Kutch showcases its diversity just like its culture. Each tribe which came to Kutch brought its own culture music and instruments which over years have given unique identity to Kutch. From the Sufism influenced music form of maldharis (cattle herders) which traces its origin in Sindh, to the bhajan influenced by saints of Kutch, Saurashtra , Marwad and Dhamaal of Sindh tribe which traces its origins to Africa , all find a place in eclectic culture. It very difficult to trace origin of some old form of music like Dhorr sung by Rabaris. Many of the folk instruments are simple like Ghado-Ghamelo, Manjeera, Surando, Morchang, jhanj, jodia-pava etc. but the constant use for generation has redefined the music to such an extent that it has become extremely complex with vast depth. Even the style in which they are played, makes it unique to Kutch. The age old classical music of Kutch was very different from Indian Classical music. It had its own raags, raghinis, and taals(rhythms). This is seen clearly in the music of Kutch even today. Majority of the artists who have sung or played an instrument in this album are engaged in profession like cattle herding, truck driving , daily wage labour ,manufacturing of handicrafts , autorickshaw driving etc. for thei livelihood. The classification of the music styles into broad categories is based on our understanding and perception only and is in no way the only way of doing the same. A) Music With Sufi Influence. “Allibn” Abd al-Qannad, a famous sufi saint said “Sufism consists of extending a „spiritual station‟ and being in constant union. Music is very highly revered among Sufism as it is considered helpul in achieving this union. In kutch the stong influence of Sufism is seen in many music forms practiced by Muslims and Hindu communities, especially, the cattle owners who are close to nature. Due to its religious nature, the music is taken very seriously but the element of spontanelty is also widely seen among the people, who are willing to break into a song whenever the mood suits them. The nomadic or semi nomadic communities staying in the grasslands, spent long periods of time alone with cattle and in order to pass time use music or play instruments to entertain themselves. This time alone in vast open lands

P r a t i b i m b……..Cultural District at Hamirsar Lake front, Bhuj, Kutch.

has brought a calm and serene spirituality in their soul which relected in their simple but very soulful music. The musical forms influenced by Sufism Kaai,Bheth, Waai, Maulund, Dastaan.

Classification of Kutchi Music Influence

Musical forms

Sufism

Kaafi, Dastaan, Bheth, Waai, Maulud.

Lok geet

Shram geet, Lok geet, Lagan geet.

Hindu devotional

Bhajan, Doha chhand.

Instumental

Folk instruments of Kutch

P r a t i b i m bâ&#x20AC;Śâ&#x20AC;Ś..Cultural District at Hamirsar Lake front, Bhuj, Kutch.

2.2.4 BHUJ-

The Hamirsar lake

Bhuj is situated in the Kutch district of Gujarat. It is the administrative city of Kutch and therefore occupies an important place. The first people, the first streets The history of Bhuj's development begins with a nod to popular legend. It is said that Rao Khengarji 1 (1510-1585) arrived at the periphery of present day Hamirsar Lake, Today, the Hamirsar assumes a central place in the city's creation myth, and is at the core of all popular explanations of the pattern of development to come . As Khengarji's little settlement developed over a hundred-year period, Bhuj's social complexion continually changed with the arrival of more and more people who would monopolize the supply of specialized goods and services to prosper financially.

The early settlement probably consisted of a small market street, connecting temples and mosques in a straightline not far from the lake.

P r a t i b i m bâ&#x20AC;Śâ&#x20AC;Ś..Cultural District at Hamirsar Lake front, Bhuj, Kutch.

The City Changing.

In the 1960’s and the1970’s the urban development stepped up, eclipsing the old neignbourhoods and small catchments in a quest to find more space for people. Unfortunately, development seemed to be worsening over the years, and it characterized much of the city’s urban development.

As more and more people descended upon the city, four kinds of development seem to have occurred to consolidate the town of Bhuj and shape it roughly in its present formThe first, rather ambitious, stage probably began with Khengarji ordering the expansion and strengthening of the pond around which his settlement had originally taken place.

Hamir's pond slowly became the Hamirsar, ringed with retaining walls which have since witnessed several attempts at restoration and rebuilding. Subsequently, the Rao may have imported salaat builders and Gurjar suthaars (carpenters) to build a complex of apartments for himself not far from the Hamirsar, and adjacent to the market street. This architectural complex was one of the first major acts of building Bhuj.

P r a t i b i m b……..Cultural District at Hamirsar Lake front, Bhuj, Kutch.

Next, the main bazaar’s permanent outline was cemented by slowly built neighbourhoods against what was later to become bazaar street edge. The city began developing very quickly in the 1970’s. the city was very quickly changing, because people needed more space. In 1970, permission was granted to demolish the historic fortifications encircling the city. There were no apartment buildings in the very early 1970’s, they started showing up somewhere in 1974, this boom changed the face of the city. Unfortunately, development seemed to be worsening over the years, and it characterized much of the city’s urban development. Bhuj development has degenerated into a chaotic hodge-podge of buildings deigned with no regard for either proportioned aesthetics or principled development regulation.

P r a t i b i m b……..Cultural District at Hamirsar Lake front, Bhuj, Kutch.

THE DEVASTATING EARTHQUAKE.

Kutch District Five districts in the State of Gujarat were severely impacted, but the worst affected was Kutch, where more than 90 percent of the deaths and 85 percent of the asset losses occurred. This district is a sparsely populated region and vulnerable to cyclones and drought, as well as earthquakes. Four towns, including the district’s largest – Bhuj -- and more than 400 villages were severely hit, destroying lives, infrastructure, buildings, the economy, and livelihoods. Small enterprises, schools, health clinics, rural and urban water systems, and electricity and telecommunications systems were damaged or destroyed. A joint assessment by the World Bank and Asian Development Bank a month later found that 19,000 handicraft artisans in Kutch were the most severely affected. The City of Bhuj Bhuj was one of the worst affected towns in the district; almost 50 percent of its walled city alone was considerably damaged. Over 7,000 people perished in Bhuj, most of them in the walled city area. Over the years, poorly framed building regulations had been weakly enforced, and this had exacerbated congestion in the city. Many historic buildings had to be demolished during the rubble removal, making retracing the original street form and architectural character difficult. Social and economic assets (both public and private sector) such as schools, hospitals, community halls, town halls, markets, libraries, colleges, recreational buildings (a local gymkhana, an open-air theatre) and religious buildings were badly affected. The state government found itself searching for an appropriate regulatory framework in the absence of specific regulatory measures that would respond quickly to the earthquake and the complex challenges of reconstruction.

P r a t i b i m b……..Cultural District at Hamirsar Lake front, Bhuj, Kutch.

Heritage Conservation : The cultural and historical roots which constitute a city’s heritage make it a unique place in which to live and work. Historic buildings in the city reflect different aspirations and mark important events down the centuries. Therefore ,the process of acknowledging them , restoring them and integrating them into new development would be an important step in project of reconstruction The conservation of Bhuj’s heritage structure must remind citizen of their past , instill a sense of confidence and civic pride in their new city , and open new avenues for tourism as an important economic activity .

2.2.4.2 CITY ANALYSIS: Existing situation: It is crucial to understand Bhuj’s evolution and historic character in order to chart a course for its future, in the aftermath of devastation earthquake ,which destroyed much of its historic fabric .The city dates to 16th century AD. It is largest and most historic city in Kutch and was the seat of a regionally powerful monarchy until Kutch’s integration with Indian union soon after the country’s independence. The city grew around the Darbargarh , a complex of royal apartments and palaces at core of walled city. Ordinary life around the Darbargarh revolves around the falia , or neighborhood , much as in case of Ahmadabad ‘s pols. Much of this residential fabric has disappeared in the course of modern – day urban development , and much of it has been destroyed in the earthquake . It is the unique residential architecture , in addition to city’s landmark monuments and fortification ,which must be conserved as much as possible and promoted for tourism if essential character of city is to be retained .

P r a t i b i m b……..Cultural District at Hamirsar Lake front, Bhuj, Kutch.

ANALYSIS: In both pre and post-disaster scenario, heritage resources in the city and the tourism industry have been under - utilized and underdeveloped .The following progress must be addressed in the process of redevelopment: The Issues: A lack of consistent urban form: Over years , the real estate areas has mushroomed and eclipsed historic area. Only the Darbargarh area and selected neighborhoods in walled city stock of city has disappeared , and the skyline is threatened by unregulated development . This trend has produced an inconsistent and visually jarring landscape which pits ungainly measures to be taken for development of consistent urban form that recalls the historic character of city . These are reflected in urban design guidelines proposed as part of the Development Control Regulation of the plan . Unauthorized development of , which has choked the medieval street pattern and threatens water bodies , vavs and channels: Commercial and residential streets in the walled city were narrow and congested prior to earthquake ,with buildings abutting each another at very close quarters . In the earthquake , many historic buildings were damaged by debris of the neighboring structures . A considerable challenge in networking roads and improving infrastructure would be to accommodate historic buildings that obstruct proposed layout. Historic vavs and tanks are in danger of being encroached upon. Erasure of historic areas in earthquake : Many historic neighborhoods in the walled city , such as Ghodar chowk, Paburai Falia ,Soniwad, Delo and Jhethi Wandi , which did not suffer extensive damage have have had to be erased almost completely to facilitate the removal of collapsed G4 and G5 category structure of modern construction. A change in neighborhood life before and after earthquake: Community groups have dispersed , large parts of walled city have been abandoned ,and historic houses remain derelict. In the BHADA , many historic building are badly in need of retrofitting . A fundamental challenge is to restore a sense of community in new neighborhoods, and to echo historic urban layouts as generators of new urban form in design of neighborhoods.

P r a t i b i m bâ&#x20AC;Śâ&#x20AC;Ś..Cultural District at Hamirsar Lake front, Bhuj, Kutch.

Inadequate tourism infrastructure : Even prior to earthquake , Bhuj lacked sufficient hotels , tourism friendly services , proper transportation and restaurants . After earthquake the commercial primacy of Soni Kansara Bazaar, Saraf Eazaar and Danda Bazaar , was adversely affected. This has had a negative impact on tourism . New initiative sare necessary to redevelop and enhance the city’s potential of tourism.

Inadequate capacity – building in urban local bodies and service industry : There is a little sensitivity amongst municipal officials and local public institutions to conserving heritage and promoting tourism . The tourism industry is underdeveloped , and requires professional training.

P r a t i b i m b……..Cultural District at Hamirsar Lake front, Bhuj, Kutch.

The Potentials: Based on the above analysis, several potential improvements could be made to boost tourism and conserve the heritage and Natural environs of Bhuj. Development of heritage and natural sites as tourist destinations: Key heritage sites and water bodies could be developed for Cultural tourism. These would principally include Bhujio Fort, Hamirsar Lake front, and the Darbargarh in the Walled City. The sites could offer a number of family entertainment and recreation facilities, in addition to heritage as an attraction. Preparation of heritage regulations: There is considerable potential to regulate the unsightly development of residential properties, and to provide incentives for conservation such as loans, relocation options, tax incentives for conservation, and transfer of development rights. Restoration of historic buildings: There is potential to relocate buildings which may have to be demolished to clear land for road networking. This is, particularly the case in the Walled City. In some instances, road networking could accommodate historic buildings. Conservation and recreational zoning: There is potential to zone for heritage conservation, tourism and recreation. Conservation zones could tale both heritage buildings and ecological features into consideration. Conservation of religious centres: Keeping in mind the public sentiment, it should be possible to conserve and develop all religious buildings, with or without historic values.

The earthquake gave the state government an opportunity to completely rethink the applicability of existing planning, regulatory and development mechanisms in an unlikely context. Also due to the earthquake, Bhuj has got national as well as international exposure.

P r a t i b i m bâ&#x20AC;Śâ&#x20AC;Ś..Cultural District at Hamirsar Lake front, Bhuj, Kutch.

3. Case studies.

3.1 National Crafts Museum ( Pragati Maidan, Delhi): The National Crafts Museum was setup in 1956 by All India Handicrafts and Handloom Board primarily as a resource centre. Its objective is to preserve the artistic and the cultural heritage of India. Located in the Pragati maidan complex in New Delhi the museum is spread over 8 Acres and comprises of overall 3 sections: The Display Galleries and store. Village complex. Craft Demonstration Area. The Transition between various spaces is via three interconnecting courtyards. The courts form a central link between the office court, smaller work courts, display areas, demonstration and performance areas. The museum’s village complex is a remnant of a temporary exhibition on the theme of rural India set up during Asiad Games. Now spread over 6acres, the complex is now a integral part of the museum. There are more than 25,000 items of folk and tribal arts, crafts and textiles in the permanent collection. Less than half of the total floor area of 5,500 sq.metres is open to the public; the rest of the collection is stored in special areas for use of the very finest craftsmen who are selected from all over India to come and study these archives.

P r a t i b i m b……..Cultural District at Hamirsar Lake front, Bhuj, Kutch.

Administration-259 sq.m Museum shop- 68 sq.m Library-176 sq.m Temporary exhibitions- 244 sq.m Craft display area- 1202 sq. m Village crafts-476 sq. m Temple crafts-412 sq. m Darbar crafts- 314 sq. m Amphitheatre- 259 sq. m Performance area-103 sq. m Sitting area- 156 sq. m Textiles gallery- 1207 sq. m Conservation lab- 80 sq. m Cafeteria- 160 sq. m

Craft Museum: There is a separate entrance to craft museum from the road. The building of the complex maintains a very low profile. The entrance is at a higher level which leads to shaded passage. After moving through it one descends down to the museum complex level. After descending down from stairs, one gets a spontaneous experience of transformation to the world of rural environment. The courtyard at the entrance of craft museum gives a very pleasant character, due to its well preserved vegetation and placement of informal seating in a random way. The brick paving adds flavor to the created rural environment.

P r a t i b i m bâ&#x20AC;Śâ&#x20AC;Ś..Cultural District at Hamirsar Lake front, Bhuj, Kutch.

Concept: This Craft Museum, casual and accepting of the artisan’s vernacular, is organized around a central three interconnecting courts, going from village to temple to palace, a metaphor for the Indian street. One can visit any particular exhibit, or alternately, progress through all the various sections in a continuous sequence through the spine. The exhibition galleries, the store, the administration areas, the library, the conservation lab are situated around a series of open to sky courtyards. Finally, one exists via the roof terraces-which form a amphitheatre for folk dances, as well open air display for large terracotta horses and other handicrafts.

Walking along this spine, one catches glimpses of the principal exhibits that lie on the either side. Towards of the sequence, the exhibits get larger and include fragments of actual buildings-since the crafts of India have always been essential elements of its architecture.

P r a t i b i m b……..Cultural District at Hamirsar Lake front, Bhuj, Kutch.

It is a walk through open and semi-open passages, covered with sloping tiled roofs and lined with old carved wooden jharokhas, doors, windows, copper utensils, storage jars and perforated iron screens. The progression of built space is spontaneous and comparable to any traditional Indian settlement which grows without any formal planning.

Trees in the centre of the courtyard cut down the intense glare of the sun give shimmering shade on into the courtyard.

P r a t i b i m bâ&#x20AC;Śâ&#x20AC;Ś..Cultural District at Hamirsar Lake front, Bhuj, Kutch.

3.2 Jawahar Kala Kendra (Jaipur).

P r a t i b i m b……..Cultural District at Hamirsar Lake front, Bhuj, Kutch.

Concept: The ruler Maharaja Jai Singh who built, the fabled pink city of Jaipur was moved by two sets of mythic ideas and images. The first one was the Navgraha Mandala, the mandala of nine planets, which was the origin of the city plan of Jaipur city-with one of the planets moved to the opposite corner to avoid an existing hill. The second one was the ideas of science and progress.

LibraryGround floor- 807 sq. m First floor- 511 sq. m Art galleryGround floor- 637 sq. m First floor- 457 sq. m Workshop Ground floor- 238 sq. m First floor- 141 sq. m Parijat Art Gallery: Ground Floor – 277 sq. m First floor- 144 sq.m Alankar Art Gallery: Ground Floor- 698 sq. m Budh Art Gallery: Ground floor- 600 sq. m First floor-664 sq. m Cafeteria: 527 sq. m Administration: Ground floor: 205 sq. m First floor: 205 sq. m Performance areas: Open: 1023 sq. m Enclosed: 699 sq. m

Thus the city of Jaipur, double-coded like: the clarity of its main arteries, the positioning of the principal buildings, efficiency of water management system, the transformation between past and future. Like the city, the Jawahar Kala Kendra, it is double-coded, a contemporary building based on an archaic notion of the Cosmos: the very same Navgraha mandala, with one of the squares moved aside, so as to provide point of entry, and to recall the gesture that created the original plan for Jaipur.

P r a t i b i m b……..Cultural District at Hamirsar Lake front, Bhuj, Kutch.

Workshop area symbolizing the character of Jaipur streets.

Sitting area in performance area representing step wells.

P r a t i b i m bâ&#x20AC;Śâ&#x20AC;Ś..Cultural District at Hamirsar Lake front, Bhuj, Kutch.

Representing intersecting streets and chowks at intersections of Jaipur walled city.

P r a t i b i m bâ&#x20AC;Śâ&#x20AC;Ś..Cultural District at Hamirsar Lake front, Bhuj, Kutch.

3.3 DESERT SETTLEMENTS OF KUTCH ( BANNI REGION)

KUTCH MAP SHOWING THE BANNI REGION Banni Region: Banni is very sparsely populated region in Kutch. For ages, the people here have been involved in a traditional occupation and there has been a little change in their lifestyle. About ninety percent of its population is Muslim, mostly of Jat origin. The rest are mostly Harijans who are mostly Hindu of lower caste. Most of the hamlets in Banni show a very thematic and typical pattern of organization and clustering. Even though there are some differences in plan types of these hamlets, there is still a strong theme underlying the types of dwellings, the construction forms and other elements. Construction materials are limited to clay, wooden sticks and thatch which have resulted in a uniform character throughout these settlements.

P r a t i b i m bâ&#x20AC;Śâ&#x20AC;Ś..Cultural District at Hamirsar Lake front, Bhuj, Kutch.

Clay floorscape, developing into varied platforms, rises vertically to form the walls of circular houses. The walls terminate in pure conical roofs made of thatch. The roof overhangs and protects and shades the sculptural walls which are sometimes adorned by colourful geometric and floral patterns. The decorations are made with earth colours to create a harmonious, yet distinctive environment.

Spatial Organization of hamlets: Does not conform to any predetermined or consciously laidout street pattern. It is an act of spontaneous and organic growth and depends on the need of the community. The meandering paths are defined by the edges of the platform which indicate dwelling spaces, both external as well as internal. The paths, or the narrow spaces between such plalforms, form the main arteries of a settlement. The houses bordering these paths usually are oriented away from the paths in order to ensure privacy.

P r a t i b i m bâ&#x20AC;Śâ&#x20AC;Ś..Cultural District at Hamirsar Lake front, Bhuj, Kutch.

THE BANNI HOUSE

The typical Banni House: The house is composed of the platform and of single cell constructions, specially the circular bhunga. There may be one, two or even three such bhungas (circular built space) juxtaposed in close spatial relationships. One or two rectangular chokis( rectangular built space). There are smaller elements, without definite shape, used for washing, bathing and sometimes storage of fuel. Platform is the main connecting element for different bhungas and chokis,which are never interconnected directly with one another. It is the process of multiplication of such single cell spaces which generates the growth of the house. As the family needs increase, an additional space is constructed and it is connected to the platform to increase new space in the domain of the house.

P r a t i b i m bâ&#x20AC;Śâ&#x20AC;Ś..Cultural District at Hamirsar Lake front, Bhuj, Kutch.

SECTION THROUGH THE HAMLET.

PLAN HARIJAN HAMLET, LUDIA P r a t i b i m b……..Cultural District at Hamirsar Lake front, Bhuj, Kutch.

Ludia Village: There are two communities, which constitute the population of Ludia, namely the Jats and Harijans. The hemlet studied here is inhabited by lower caste Hindus who are engaged in house-building activities, besides wood and clay crafts. In this organically structured village, there are no streets, the residual spaces between houses are used for movement. The houses of Banni do not open into internal courtyards nor do they share walls with adjacent houses. The most significant element of these houses is a platform, a kind of counterpart of courtyard. The platform is evtensively used for outdoor living, with women extending their work. Bhungas and Chokis are so juxtaposed on a platform as to create a ‘sense of place’ and an outdoor area, which is also the main activity area. The otla(raised platform) is the multiuse core of the living space. The link in the spatial hierarchy is the semi-covered space, stretching between the bhunga and kitchen, often enclosed along one side by a grass and a twig wall called traati supported on a random framework of ballis( thin section wooden supports). Flat grass roof called chamod provides additional privacy and filters the harshness of the desert sun and converting it into muted light, enhancing the quality of the space. Bulks of the activities are carried out here. The periphery of this cluster is defined by a thorny bush which works as a fence.

Wall decorations make this cluster visually distinct and beautiful.

P r a t i b i m b……..Cultural District at Hamirsar Lake front, Bhuj, Kutch.

Socially, the house of the headman forms the nucleus of this Harijan cluster. It is also the most elaborate and well constructed house. While the major part of the village surrounds it on three sides, the fourth side is used for growth and extension. Notions of privacy are not so strong in the Harijan community as in the adjacent Muslim community.

P r a t i b i m bâ&#x20AC;Śâ&#x20AC;Ś..Cultural District at Hamirsar Lake front, Bhuj, Kutch.

MUSLIM SETTLEMENT:

P r a t i b i m b……..Cultural District at Hamirsar Lake front, Bhuj, Kutch.

Platform as a connecting link between the different modules.

semi-covered space, stretching between the bhungas

P r a t i b i m bâ&#x20AC;Śâ&#x20AC;Ś..Cultural District at Hamirsar Lake front, Bhuj, Kutch.

4. SITE

The is located towards north side of the Hamirsar River Lake.

P r a t i b i m bâ&#x20AC;Śâ&#x20AC;Ś..Cultural District at Hamirsar Lake front, Bhuj, Kutch.

4. 1 Relocation & Rehabilitation. From, Draft Development Plan, Bhuj 2011 AD BHADA Submitted to : Gujarat Urban Development Company, Gandhinagar.

Relocation & Rehabilitation. Part 2.2.1: Cases for relocation in the walled city. In the case of individual dwelling units affected by town planning, the owners can accept the relocation package of the government or can accept compensation after the preparation of town planning scheme. In the case of multiple dwelling affected by town planning, the owners will have to accept the relocation package of the government. Part 2.3: Key features of government resolution for Relocation & Rehabilitation for private housing. The houses which might obstruct and do not conform to the development regulations, will be relocated. The beneficiaries holding less than 100 Sq. m and those holding more than 100 Sq .m and also flat owners will be offered 125 Sq. m if they opt for a land nearby and 150 Sq. m in case they opt for land at a place more than 2km distance from inner town. The beneficiaries whose present land holding is more than 125 Sq. m will have option of buying the additional 25 sq. m of land depending upon availability. It will be at market rate decided by the District level land price committee Surrender of the original plots will be compulsory. The cost of the land allotted to the beneficiary will be the cast of the plot as per existing Jantri plus the development charge at the rate of Rs 300/ Sq.m. If the cost of the land surrendered by the beneficiary is more, the difference will be paid to him on surrender of his land.

P r a t i b i m bâ&#x20AC;Śâ&#x20AC;Ś..Cultural District at Hamirsar Lake front, Bhuj, Kutch.

Table 2.5: Relocation Sites. Sr. No Location

1. 2. 3. 4. 5. 6. 7.

Area (Sq.mt )

Near Rawalwadi and Kailash Nagar. Between police Quarters and Jail Quarters. South of Bhujia hill behind R.T.O Office. Off Mundra road, Behind B.S.F Camp. South of GEB South of Bhujia hill near N.R.I Nagar On Bhuj Madhapar road (near military area) TOTAL

No of plots that can be Accommodated. 977164 3909 321741 1287 122158

489

306009 143024 172125 498722

1224 572 689 1995

2540943

10165

Map showing Relocation sites

P r a t i b i m b……..Cultural District at Hamirsar Lake front, Bhuj, Kutch.

4.2 Existing structures

Existing structures in the site. (Marked red)

The Old Court: Built in late 19th century. It was once the office of diwan of Kutch up until the state’s merger with India in 1948. Modestly proportioned, the building was part of cluster of three similar structures, of which two collapsed in the earthquake. The structure is designed in Neo-Classical style. The surviving bulding is badly damaged. The building remains in the state of disrepair and its restoration is possible. It requires urgent conservation and adaptive reuse. The Naniba Sanskrit Pathshala: This publicly administered building is significant both in terms of history and current status. A late-19th century one-storey structure made of red sand-stone, the Naniba Pathshala was commissioned by Khengarji’s III queen. It is the first successful example in Bhuj of the complete restoration and adaptive reuse of a publicly administered building after the earthquake. Prior to earthquake, the building housed government offices on its ground floor and the Institute of Desert Ecology on its first floor. During the earthquake its roof caved in and part of its first-floor walls collapsed. The building was subsequently

P r a t i b i m b……..Cultural District at Hamirsar Lake front, Bhuj, Kutch.

restored by HUDCO and now rented for offices of Gujarat Pollution Control Board. The bulding is under the ownership of Roads & Building department, Bhuj. Fateh Mohammed’s Khordo (house): This imposing two-storey bulding is located next to the Naniba Sanskrit Pathshala. It was flanked by two similarly styled structures of the same vintage, but they were demolished due to extensive damage beyond repair after the earthquake. It is a rare example of the Kachchhi Baroque which characterized the mid-to late-18th century architectural boom sponsored by Maharao Lakhpatji. The main building was constructed sometime in the early 19th century to house Jamadar Fateh Mohammed, the distinguished soldier-statesman of Kachchh. A wealth of ornamental detail summarizes all the features common to high style and the vernacular Kachchhi architecture of the period, including ornamental jharokhas, the characteristic Kachcchi door complete with gokhalas , projecting balconies on the roof, medallions and gargoyles, and fenestration with elaborate lintels and window surrounds. The khordo’s interiors are of elaborately carved teakwood, and include quaint doors and fenestration that are rare to see in today’s Bhuj.

In the early years after Kachchh’s union with India, it was used as the office of the district collector and previous to the earthquake, offices of Forest department. The building withstood the earthquake partly, owing to its thick walls. It lies in a neglected state and is in the danger of collapse. It requires urgent retrofitting measures and conservation. Fort wall:The historic fortifications of the old city were built in 1723, but they have witnessed much decay in the intervening years- crumbling in sections during the 1819 earthquake and again in 2001, demolished along the southern edge in the 1960’s in response to development pressures. Now it remains vulnerable to encroachments and demolition. Pavdi Ghat: This ghat, with its signature raised platform supported on four sides by stone walls, dates most probably to the early 18th century. It takes on social significance on public occasions such as when the lake overflows after a good spell of rain, celebrated with

P r a t i b i m b……..Cultural District at Hamirsar Lake front, Bhuj, Kutch.

ritual diving competition. The ghat was severely damaged in earthquake, but it has recently restored. Darbargarh: (city palace complex) The darbargarh consists of four buildings, each tied to the other in a series of courtyard like arrangements, and dating back to atleast mid- 1500s. The oldest surviving of these four, the aina Mahal, was once the pleasure palace of Raos and Maharaos of Kutch was badly damaged in earthquake of 2001. Commisioned in the 18th century, the “Glass Palace” presents a potpourri of interior art which draws from Kachchhi vernacular, Mughal and Dutch influences. It has been recenltly restored and is used as a museum. The other parts of the palace have crumbled in the earthquake and require urgent conservation. The Prag Mahal, the royal darbar and mansion built in the Victorian Gothic style by Maharao Pragmalji II in the mid 19th century, stands adjacent to the Aina mahal. In 1865, the late Rao Pragmalji, from designs prepared by Colonel Wilkins of Royal Engineers, began a lordly building on site formerly used for stables and outhouses. A clock tower, 150 feet high, is connected with main building by covered galleries . The Clock Tower survived several aftershocks in 2001 earthquake, but its masonry has been displaced markedly, leaving impression that building is in the verge of collapse. Kotha Vav The royal family used to draw water from this well. Patwadi Gate and Sheikh Pir Dargah: The gate is perhaps of greater historical and social importance to the city than its other four gates. A youth named Sheikh Laghasa sacrified himself after which work promptly began on the fort. The construction of historic fort walls of Bhuj city started with Patwadi Gate. A shrine was built to commemorate him, marked by a dargah opposite the gate.

P r a t i b i m b……..Cultural District at Hamirsar Lake front, Bhuj, Kutch.

5. AIMS AND OBJECTIVESAims: Develop a cultural district which will reflect the local culture of Bhuj and the Kutch region. To create a platform for local artisans to give exposure to their art and craft. To conserve the architecture heritage and convey its importance to the masses and authorities. Design intervention that will act as a catalyst for further lake front development in Bhuj city. Objectives: To create a pedestrian street which will link all the heritage buildings in the site Create workshop area for artisans so that they can interact with artists to interpret their art and craft to suit contemporary needs. Provide a work shop area for visiting artists, art students and art appreciation courses. To provide space for Art & Handicraft museum and Fine Art to showcase the rich tradition of vernacular art and music and their history. To provide space for city museum that will showcase the history of Bhuj and its rich architectural past. Provide space for sale of art and handicrafts of local artisans. Provide exhibition space for any informative exhibitions taking place. Provide space for visiting artists to showcase their art. Space for performing artists to perform and rehearse. Create an outdoor performance area for performing arts, musical events etc.

P r a t i b i m bâ&#x20AC;Śâ&#x20AC;Ś..Cultural District at Hamirsar Lake front, Bhuj, Kutch.

Provide space for display of Modern Art to give exposure to the artisans and the local people about current trends in art. Provide space for imparting knowledge to local people as well as visitor through Seminar Hall and Library. Provide street side art galleries which can be used by upcoming artists to showcase their talent. Provide Ethnic restaurant that will serve local and regional cuisines to the visitors. To provide space for refreshment for visitors through food stalls, food courts. Provide information to tourists on places to visit in Kutch. Provide accomodation facilities for visiting artists and artisans.

Requirements: Art & Craft Museum (Fateh Mohammed’s Khordo (residence): Info on: Place of origin of art. Particular community practicing particular type of art. Display of art & craft pieces. Area : 360 sq. m

Performing Arts Museum Info on: Place of origin of art. Different types of Singing and Dance forms Particular community practicing particular type of art. Display of Musical Instruments. -800 sq. m City Museum ( Naniba Pathshala) City museum to showcase the history of Bhuj and its rich architectural past.

P r a t i b i m b……..Cultural District at Hamirsar Lake front, Bhuj, Kutch.

440 sq m Art Gallery – Display of work of visiting artists. Improvisation on traditional art forms by artists to suit new trends. -1000 sq m Modern Art Museum ( Old Court): 140 sq m Exhibition space 250 sq m Auditorium (450 capacity) 800sq m Green rooms- 100 sq m Rehearsal area- 130 sq m Artisan workhop area Dyeing- Ajrakh Printing- 55 sq. m Batik Printing- 55 sq. m Tie and Dye (Bandhni)- 55 sq. m Weaving- Woolen- 55sq. m Kharad- 55 sq. m Mushroo- 55 sq. m Leather work- 25sq. m Copper bells- 25 Sq. m Wood work- Wood carving- 25 sq. m Lac on wood- 25 sq. m MudPottery- 25 sq. m Mudwork and Mud Painting- 25 sq. m

Workshop area for Visiting Artist-200sq m Dining area- 100 sq m Sale of art and handicrafts- Modules 3.5m x 2.5m- 15 no.

P r a t i b i m b……..Cultural District at Hamirsar Lake front, Bhuj, Kutch.

Ethnic Restaurant- (100 capacity) -600 sq m Food court Food stalls Amphitheatre -500 capacity. Library- 100 sq m Seminar hall- (50 capacity) 60sq m Conference room- 40 sq m Administration- 150 sq m Tourist enquiry Ticketing counters. Accomodation for artists- 12 no 50 sq m Dormitories for artisans- 15 no Parking Four wheelers- 100 no Two wheelers- 200 no Bus- 3 no

P r a t i b i m bâ&#x20AC;Śâ&#x20AC;Ś..Cultural District at Hamirsar Lake front, Bhuj, Kutch.

6. CONCEPT The culture of any place is reflected on its streets. This case is more strong in Indian context. India’s streets are truly a reflection of its culture. Indians take to streets on all important festive occasions, whether they are celebrating a wedding, a victory, or a religious event. For a large number of poor Indians, indeed, the streets are the stage where the drama of their entire life unfolds.

Steps, courtyards, roads, footpaths are used to draw Rangoli.

Street shopping

P r a t i b i m b……..Cultural District at Hamirsar Lake front, Bhuj, Kutch.

In India, Street food can often bring an insight into the history of the city's people, the geography of the land and is one of the best ways to taste authentic local culture.

The hustle-bustle of the Indian street

A number of activities take place in the Indian streets, the old people of a neighbourhood sit on a Otla (platform) and chat. It is a recreational area for them.

India’s streets are truly a reflection of its culture.

P r a t i b i m b……..Cultural District at Hamirsar Lake front, Bhuj, Kutch.

7. DESIGN METHODOLOGY

A Pedestrian street is introduced in the design which will reflect the local culture. This street will act as a main spine for circulation linking the heritage buildings in the site. It will infuse the defunct area and heritage building with life and activity. This street will have elements like street side displays, bazaar street, food street, plazas around the heritage buildings This street has two main entry points towards extreme ends. One entry is through the Historic gate towards the west, and the other entry is from the city palace side towards the east.

The site presents a diversity in architecture style. It is a reflection of history of Bhuj’s architectural history. The Fateh Mohammed’s Khordo which will house the Art & Handicraft museum and Naniba Pathshala which will house the City museum are in traditional Kutchi architecture style and the other building, The Old Court is in Neoclassical architecture style. Also the city palace adjacent to the site is in Victorian Gothic style. This presents a interesting transition of architecture styles that were prevalent during the historic days. This Street will emphasize this aspect.

P r a t i b i m b……..Cultural District at Hamirsar Lake front, Bhuj, Kutch.

At the meeting points of the street coming from the opposite sides a chowk is introduced.

On the two sides of the chowk there is a existing Temple and a Mosque. A bazaar street and a food street terminating at the chowk are introduced as in the case of traditional Indian cities. This chowk binds all the four elements Temple, Mosque, Bazaar street and the Food court to create a interesting transition of spaces.

A Plaza is introduced in the area having traditional heritage structures. This plaza puts in the same perspective, the Heritage structures, the Historic fort wall to create a pure traditional ambience. There is a central portal structure in the plaza acts as a physical connecting link between the two heritage structures. This plaza can be used for street theatre and plays with the Historic fort wall as back drop or the heritage building as backdrop. The Historic fort wall can be used to make murals which will change according to festivals which gives a dynamic character to the plaza.

There are connectors at regular intervals leading to the lake front promenade and the amphitheatre.

The amphitheatre is merged with the Ghats adjoining the lake. Otlas (sitting platform) as elements are merged with the Ghats along the lakefront. There is a viewing deck which extends along the line of the Historic fort wall to give a panoramic view of the site and the lake.

P r a t i b i m bâ&#x20AC;Śâ&#x20AC;Ś..Cultural District at Hamirsar Lake front, Bhuj, Kutch.

There is a connecting narrow street leading to the workshop areas. This street is narrow to create a transitional ambience from plaza to the workshops. The workshops for the artists are placed on the opposite side of the narrow street. The work shop area for the artisans consists of circular modules, the interface between two modules creates a working space. The whole area is raised on a platform. This platform forms the connecting link between different modules as in the case of vernacular desert settlements of Kutch. Coming towards the east of the Chowk, there is Old Court which houses the Modern Art Museum. This is in neo-classical architecture style. Plaza is introduced around the heritage building with other structures overlooking the plaza. There runs a display street between the Foyer of the Auditorium and the Modern Art Museum. When one exits the modern art museum he sees two vistas leading to the lakefront, aligned to the viewers perspective. The vista in front of the Modern art museum is aligned with the axis of the same structure. The Art Gallery overlooks the plaza. It goes around an existing tree and this space is enclosed with two portals to create an interesting space at the entrance of Art gallery. This space and plaza gives shape to art gallery. The external walls of Art gallery can be utilized for display of murals. Sitting spaces are created around the plaza to create a sense of inclusiveness. The museum Fine art and the administration building are arranged so as to create a narrow street with external display areas.

P r a t i b i m bâ&#x20AC;Śâ&#x20AC;Ś..Cultural District at Hamirsar Lake front, Bhuj, Kutch.

7.1 Construction Techniques

Traditional materials and construction methods will be utilized that suit the regional context and that will be locally availableThis will also give generate opportunities for local artisans.

P r a t i b i m bâ&#x20AC;Śâ&#x20AC;Ś..Cultural District at Hamirsar Lake front, Bhuj, Kutch.

7.2 The Future… This street can extend to the traditional Saraf bazaar of the Bhuj city through the City palace complex to create a corridor linking all the important heritage structures of the city.

ENTRANCE TO THE CITY PALACE COMPOUND WHICH EXTENDS TO SARAF BAZAAR.

SARAF BAZAAR

P r a t i b i m b……..Cultural District at Hamirsar Lake front, Bhuj, Kutch.

8. Bibliography. BooksBhuj, Art, Architecture & History- Azhar Tyabji Draft Development Plan, 2011 AD, BHADA EPC (Environmental Planning Collaborative), Babtie Consultants (India), JPS Associates, Theotech Engineers.

Mud Architecture of Indian Desert. Kulbhushan Jain & Minakshi Jain

The Black Hills. Rushbrook Williams

Internet : 1. www.vibrantgujarat .com 2. wikipedia

P r a t i b i m b……..Cultural District at Hamirsar Lake front, Bhuj, Kutch.