Integrated Handicraft Park for Chikankari cluster, Lucknow

Thesis submitted in partial fulfilment of the requirements for the Award of the degree of

BACHELOR OF ARCHITECTURE

By ADARSH RASTOGI 2015BARC067

Semester : 10th , Year : 2020

DEPARTMENT OF ARCHITECTURE SCHOOL OF PLANNING AND ARCHITECTURE BHOPAL

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Declaration

I Adarsh Rastogi, Scholar No. 2015BARC067 hereby declare that, the thesis titled Integrated Handicraft Park for Chikankari Cluster, Lucknow, Uttar Pradesh, submitted by me in partial fulfilment for the award of degree of Bachelor of Architecture at School of Planning and Architecture, Bhopal, India, is a record of bonafide work carried out by me. The design work presented and submitted herewith is my original work and I take sole responsibility for its authenticity. The matter/result embodied in this thesis has not been submitted to any other University or Institute for the award of any degree or diploma.

Name & Signature of student Date: 20.07.2020

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Certificate

This is to certify that the student Mr Adarsh Rastogi, Scholar No. 2015BARC067 has worked under my guidance in preparing this thesis titled Integrated Handicraft Park for Chikankari Cluster, Lucknow, Uttar Pradesh.

RECOMMENDED

_________________ Asst. Prof. Sanmarg Mitra Thesis Guide

ACCEPTED

___________________ Prof. Piyush Hajela Head, Department of Architecture July, 2020, Bhopal

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Acknowledgement I would like to thank my mentor and guide Ar. Sanmarg Mitra for the constant support throughout the thesis semester. His valuable support and inputs have helped me shape this design thesis.

I would like to thank some of my amazing juniors Ateet Singh, Yashwant Rawat, Madhukar Gupta not only for their constant support & help during this period but also for those sleepless nights, midnight talks & refreshing songs. Thanks to Madhukar and Sauhard, for putting their heart in model making.

Further I would like to thank Ankur, Vishal Keswani, Arnav Nayak and Ajinkya Jamadar for their mental support and refreshing talks which kept me going throughout this period.

I would like to express my gratitude to all the faculty

members at SPA, Bhopal and all my batch-mates for their continuous support and love throughout these five years.

Last but not least, I would like to thank my parents, my siblings and my cousin for always being there for me. Thank You!

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Abstract Chikankari is a famous craft of embroidery from the Awadh region in the state of Uttar Pradesh. This traditional embroidery is a centuries-old art form which is still being practised and is trending in the fashion industry. But this traditional art form also has a dark side of the bad socio-economic conditions of the artisans, making them struggle even to survive. On the one hand, Chikan products have a very high market value having consumers all over the world and on the other hand, the artisans are struggling. The profit being made from the product is not benefiting the artisans. So there is a huge gap between the consumer and artisans which is resulting in the bad socio-economic conditions of them. These bad socio-economic conditions are forcing them to stop practising this centuries-old art form and to not let their children enter in the field. This is a great threat to the existence of the craft itself. The main reason behind this gap is the presence of middlemen in the process. The unstructured practicing has lead this craft and the artisans to depend on middlemen. The whole process of chikankari has around 7-8 steps which involve different stakeholders. In the current system after every step the product comes back to the middleman and then he/she passes it to the other. That’s how they create a monopoly and make the maximum profit out of it.

So, the intent of this project will be to propose a suitable built infrastructure for the cluster in order to organise the industry and to integrate all the stakeholders in the process of Chikankari under one roof. This will eventually eliminate the role of middlemen and bring the consumers-artisans closer to each other, resulting in better socio-economic condition of artisans.

Keywords- Chikankari, artisans, socio-economic condition, Process of chikankari, Integration, working conditions, workspaces.

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Contents I.

Chapter 1: Introduction .................................................................................................................. 1 A.

Introduction ................................................................................................................................ 2

B.

The Chikankari Craft and threats ................................................................................................ 2 1.

The Process- ............................................................................................................................ 2

2.

Uniqueness of the craft- ......................................................................................................... 4

3.

Significance- ............................................................................................................................ 4

4.

Threat to the craft ................................................................................................................... 5

5.

Socio-economic condition of the artisans: a threat to the craft............................................. 6

6.

Parameters of Analysis- .......................................................................................................... 6

7.

NGOs- An organized way of practicning ................................................................................. 8

8.

Analysis ................................................................................................................................. 10

9.

Conclusion ............................................................................................................................. 12

10.

Few of the major issues identified from the study- .......................................................... 12

C.

Scope of intervention................................................................................................................ 13

D.

Aim ............................................................................................................................................ 13

E.

Objectives.................................................................................................................................. 14

F.

Methodology............................................................................................................................. 14

G.

Project Title ............................................................................................................................... 15

H.

Project Brief .............................................................................................................................. 15

II.

Chapter 2: Literature Study........................................................................................................... 16 A.

B. III.

Understanding the ways to translate the qualities of textile craft into architectural language 17 1.

Introduction- ......................................................................................................................... 17

2.

Literature Review- (Origin of the Argument) ........................................................................ 18

3.

Aim- ....................................................................................................................................... 20

4.

Objective- .............................................................................................................................. 20

5.

Methodology- ....................................................................................................................... 20

6.

Data Collection (Case studies)- ............................................................................................. 20

c)

The Lymph by Architect Sergey Makhno .............................................................................. 23

7.

Data Analysis and Research Findings- ................................................................................... 28

8.

Conclusion-............................................................................................................................ 31 User Study ................................................................................................................................. 32 Chapter 3: Site details and Context .......................................................................................... 34

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Site ............................................................................................................................................ 35

A.

About the Site- .............................................................................................................................. 35 Site Proximity from clusters- ......................................................................................................... 36 Site Proximity- ............................................................................................................................... 36 Site Context-.................................................................................................................................. 37 2.

Site Profile- ............................................................................................................................ 38

3.

Site Details- ........................................................................................................................... 39

B.

Local Bye laws- .......................................................................................................................... 42 Water Table- ................................................................................................................................. 43 1.

C.

Inferred Zoning from Site Analysis ............................................................................................ 51

IV.

Chapter 4: Live Case Studies ..................................................................................................... 52

A.

Khamir Craft Resource Center, Bhuj, Gujarat ........................................................................... 53 1.

Context-................................................................................................................................. 53

2.

Objective of the Case study- ................................................................................................. 53

3.

Inferences- ............................................................................................................................ 57

B.

Self Employed Women’s Association, Lucknow, Uttar Pradesh ............................................... 60 1.

Context-................................................................................................................................. 60

2.

Objective of the Case study- ................................................................................................. 60

3.

Inferences- ............................................................................................................................ 62

C.

Living and Learning Design Centre, Bhuj, Gujarat..................................................................... 65 1.

Context-................................................................................................................................. 65

2.

Objective- .............................................................................................................................. 65

3.

Climate Responsiveness ........................................................................................................ 68

4.

Services ................................................................................................................................. 68

5.

Materials ............................................................................................................................... 69

6.

Inferences ............................................................................................................................. 70

D.

V.

Climatic Analysis- .................................................................................................................. 43

Kalhath Institute Lucknow, Uttar Pradesh ................................................................................ 71 1.

Context-................................................................................................................................. 71

2.

Objective- .............................................................................................................................. 71

3.

Inferences- ............................................................................................................................ 73

Chapter 5: Comparitive Analysis and Area Statement.................................................................. 74 C.

Comparative Analysis of Case studies- ..................................................................................... 75

B.

Area Programming- ................................................................................................................... 78 vii

VI.

Chapter 6: Concept Development & Design Proposal .............................................................. 81

A.

Design Development ................................................................................................................. 82

B.

Design Concepts and Proposal for Workshop Area- ................................................................. 85 1.

Reviving the Karkhana System- ............................................................................................. 86

2.

Exhibiting the Process- .......................................................................................................... 87

3.

Restorative Workspaces- ...................................................................................................... 87

4.

Artisans’ suitable workspaces-.............................................................................................. 87

C.

Design Concepts and Proposal for Visitor’s Zone- .................................................................... 91 1.

Showcasing the evolution of Chikankari motifs- .................................................................. 92

2.

Translating the qualities of Chikankari into architecture- .................................................... 92

3.

Planning as a Chikankari composition- ................................................................................. 92

D.

VII.

Design Concepts and Proposal for Housing Area- .................................................................... 95 1.

Revisiting the domestic architecture- ................................................................................... 96

2.

Chabutara and Jharokha- ...................................................................................................... 96

3.

Community green- ................................................................................................................ 97

4.

Hierarchy of Spaces- ............................................................................................................. 97 Chapter 7: Bibliography .......................................................................................................... 100

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List of Figures Figure 1- Process of Chikankari, Source: Author..................................................................................... 3 Figure 2- Existing and Proposed Model, Source: Author ...................................................................... 13 Figure 3-Motifs of Knot (Source- Gottfried Semper) ............................................................................ 18 Figure 4-Motifs of Knot (Source- Gottfried Semper) ............................................................................ 18 Figure 5-Weaving patterns of mats and panels (Source- Brown Deidre, Maori Architecture: from fale to wharenui and beyond. Auckland:Raupo. 2009) ............................................................................... 19 Figure 6-Interior of Wancho House (Source- Author) .......................................................................... 19 Figure 7-Maison Folies Cultural Complex, Lille (Source- Machining Architecture by Lars Spuybroek) 21 Figure 8-Jalisco Library, Mexico (Source- Machining Architecture by Lars Spuybroek) ....................... 21 Figure 9-Carpet house Model, Textile Pattern, flow lines of pattern (Source- Machining Architecture

by Lars Spuybroek) ................................................................................................................................ 22 Figure 10-Use of Textile like material in architecture (Source- Dominique Perrault’s official Website) .............................................................................................................................................................. 23 Figure 11-The Lymph (Source: Sergey Makhno Architects Website) ................................................... 24 Figure 12-John Lewis Department Store (Source- FO Architects official Website) .............................. 26 Figure 13-Jean Boudain Stadium (Source- Wikipedia).......................................................................... 26 Figure 14-Polish Pavilion at Shanghai Expo 2010 (Source- WWA website) .......................................... 27 Figure 15-Polish Pavilion and John Lewis Store Respectively (Source: WWA website & FO Architects website)................................................................................................................................................. 27 Figure 16-Stitches of Chikankari (Source: Chikankari-A Lucknawi Tradition, Paola Manfredi) ............ 29 Figure 17-Traditional Chikankari dress (Source: Chikankari-A Lucknawi Tradition, Paola Manfredi) .. 29 Figure 18-Floral Motifs of Chikankari on muslin cloth (Source: Chikankari-A Lucknawi Tradition, Paola Manfredi) .............................................................................................................................................. 30 Figure 19-Nawab era painting showing the interior of a court (Source: Chikankari-A Lucknawi Tradition, Paola Manfredi) .................................................................................................................... 31 Figure 20- Chikankari creators, Source- Author.................................................................................... 32 Figure 21- Site, Source-Author .............................................................................................................. 35 Figure 22- Site Context, Source-Author ................................................................................................ 37 Figure 23- Monuments near Site, Source-Author................................................................................. 37 Figure 25- Site Dimensions, Source-Author .......................................................................................... 38 Figure 24-Site Sections, Source-Author ................................................................................................ 38 Figure 26- Vegetation on Site, Source-Author ...................................................................................... 40 Figure 27-Buildable Site, Source-Author............................................................................................... 42 Figure 28- Khamir Floor Plans, Source-Author...................................................................................... 54 Figure 29- Khamir Sections, Source-Author .......................................................................................... 55 Figure 30- Khamir Circulation, Source-Author ...................................................................................... 56 Figure 31- Passive Lighting at Khamir, Source-Author .......................................................................... 59 Figure 32- SEWA Floor Plans, Source-Author ....................................................................................... 61 Figure 33- Flow of Material, Source-Author ......................................................................................... 62 Figure 34- Space requirement for each activity .................................................................................... 63 Figure 35- LLDC Floor Plans, Source-Indigo Architects ......................................................................... 67 Figure 36-Window Profile, Source-Author............................................................................................ 68 ix

Figure 37- Cooling Tower, Source-Author ............................................................................................ 68 Figure 38- Services views, Source-Author............................................................................................. 69 Figure 39- Kalhath Floor Plans, Source-Author ..................................................................................... 72 Figure 40- Kalhath Views, Source-Author ............................................................................................. 73 Figure 41- Site Zoning, Source-Author .................................................................................................. 82 Figure 42- Site Plan, Source-Author ...................................................................................................... 83 Figure 43- Site 3D view, Source-Author ................................................................................................ 84 Figure 44- Key plan showing workshop area, Source-Author............................................................... 85 Figure 45- Skylight ................................................................................................................................. 88 Figure 46- Double roof .......................................................................................................................... 88 Figure 47- Wash Station ........................................................................................................................ 88 Figure 48- Workshop area Plan, Source- Author .................................................................................. 89 Figure 49-Key plan showing Visitor's Zone, Source-Author .................................................................. 91 Figure 50- Visitor's Zone Plan, Source- Author ..................................................................................... 93 Figure 51-Key plan showing Housing area, Source-Author .................................................................. 95 Figure 52- Isometric Showing Heirarchy of spaces, Source- Author..................................................... 97 Figure 53- Housing Area Plan, Source- Author ..................................................................................... 98

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I.

Chapter 1: Introduction

1 | Integrated Handicraft Park for Chikankari Cluster, Lucknow

A.

Introduction

India is a land full of traditional and cultural richness. Every region is blessed with some traditional practices, festivals, performing arts and crafts. All of them collectively sing the narrative of region’s evolution for centuries. Most of these art-forms originated and evolved locally but there are many which were brought by the invaders during the dependence period. These foreign art-forms came to India and were adapted by locals, centuries of evolution and practice made them as much Indian as other art-forms are. Chikankari is one such example.

Chikankari is a famous craft of embroidery from the awadh region in the state of Uttar Pradesh. This traditional embroidery is a centuries-old art form which is still being practised and is trending in the fashion industry. But this traditional art form also has a dark side of the bad socio-economic conditions of the artisans, making them struggle even to survive. On the one hand, Chikan products have a very high market value having consumers all over the world and on the other hand, the artisans are struggling. The profit being made from the product is not benefiting the artisans. So there is a huge gap between the consumer and artisans which is resulting in the bad socioeconomic conditions of them. These bad socio-economic conditions are forcing them to stop practising this centuries-old art form and to not let their children enter in the field. This is a great threat to the existence of the craft itself. So the intent of this project will be to propose a suitable built infrastructure for the cluster which helps them to preserve the craft and benefit the artisans’ community. It will also focus on the socio-economic status of artisans’ community and how it can be improved by built infrastructure. The project will also explore the possibilities and examples which can help in bridging the gap between consumer and artisans.

B.

The Chikankari Craft and threats

1.

The Process-

Chikankari is a magical craft which transforms simple looking cotton and chiffon cloth into beautifully rendered clothing pieces. The chikan word has originated from the Turkish word ‘Chic’ which means perforation (Jali work done in buildings). Because of such nature chikan cloths are generally worn in summers. Traditionally the chikan work was embroidered only on muslin cloth with white thread on it. The decades of demand and improvisation had led its way to other types of cloths like- cotton, malmal, tanzeeb, organdie and silk. And currently it is done on all types of cloths including- Voil, Lenin, 2 | Integrated Handicraft Park for Chikankari Cluster, Lucknow

Chiffon, Rubia and Khadi. But among all of them cotton, silk and chiffon are prominent.

The process of chikankari starts with the procurement of the cloth selected for the item being made. After that it is cut according to the need and then stitched depending on the nature of the item. Then it is sent for the block printing, where the workers print the selected design on it with the help of the carved wooden blocks and dyes made up of kacha rang (Blue powder), binder and glue. After the printing, it is given to the artisans to do the selected type of embroidery work (chikan work) on it and then if required the jali work is done. After the work is done it is sent to dhobighat to be washed and get rid of the dye. Since it is kacha rang it doesn’t require heavy chemicals to wash. After drying it is set to be ironed and packed to be sold in the market. Chikan work is done on a variety of items like- Sarees, Kurtas, Suits, Table covers, bed sheet and cushion covers etc.

Figure 1- Process of Chikankari, Source: Author

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2.

Uniqueness of the craftThe chikankari craft is claimed to be one of the most unique embroidery techniques practiced in the world and found impossible to be imitated in any other part of the globe. All of this is due to the variety of stitching styles involved in the embroidery. There is said to be a library of thirty-two types of stitches and more. All of the stitches carry a local name and are found very rarely known by a single artisan. These stitches areSidhaul Makra Mandarzi Bulbulchashm Tajmahal

PhoolJali Phanda Dhoom Murri Gol Murri

Jora Pachni Tepchi Kauri

Hathkati Daraz Ulti Bakhiya Jaali

Janjeera Keel Kangan Bakhiya Dhaniya patti

Lambi Murri Kapkapi Karan Phool Bijli Ghaspatti

Rozan Meharki Kaj Chameli Chane ki patti

Among all these Bakhiya, Murri, Tepchi, Keel, Jaali, Phanda are most commonly seen in the practice.

3.

Significance-

a)

Historical Significance The first known use of chikankari embroidery was mentioned as ‘flowered garments on finest muslin’ at the royal court of Samrat Chandragupt Maurya in 3rd century BC. But the chikankari which we know today started its journey during the Mughal era in the Awadh region of India. It is believed that this craft came to India with the Mughal empress Noorjahan (Queen of jahangeer) from Persia. In the year 1722, when the capital of Awadh was shifted to Lucknow from Faizabad, Mughals found the skill of Hand block printing among the locals and later it was used to trace the design on the cloth, it made the process of Chikankari a lot easier. Later Mughal empress taught this fine embroidery work to their servants (Kaniz), who further taught it to their

4 | Integrated Handicraft Park for Chikankari Cluster, Lucknow

family members and neighbours and gradually it became so famous among the locals. The embroidery became a part time earning source of many households of rural areas.

b)

Economic Significance The practice of chikankari craft is the source of bread and butter for thousands of families. The artisans associated with the craft are more than 70,000 in the whole Awadh region. According to media reports The formal business of chikankari generates a revenue of more than 100 crores annually. The whole industry provides employment to lakhs of people and also helps the state to promote its tourism and gain an identity.

c)

Social Significance (Identity to the region) The chikankari craft is a well-known craft among all Indians. The support from EPCH and other gov. policies, the craft has earned a global identity. It’s a matter of pride for the region and the people associated with the craft. Recently the craft was given Global Identification Tag and the government also exempted chikan products from the GST. The above aspects of significance suggest that it is a craft having much importance in the society. If it gets vanished in future, the impacts will harm the society through all these aspects. Even if it doesn’t get vanished but the artisans get replaced by machines, it will lose all its significance and it will have major impact on economic status of artisans’ communities.

4.

Threat to the craft

The handicraft of Chikankari has earned so much of global recognition in the past few decades. But apart from its glamour in the fashion industry, the craft has also seen so many ups and downs in the past and it is still struggling with few serious threats. The beauty and uniqueness of the craft has never let its demand to go down but the crisis has always been seen on the manufacturing part. And most common reasons behind them have been the government policies, inequality in profit sharing, monopoly of middlemen and non-systematic structure of the manufacturing process. All of these above mentioned reasons make an impact on the socio-economic condition of the 5 | Integrated Handicraft Park for Chikankari Cluster, Lucknow

artisans, which further results in the disillusionment of the artisans from the field. In the past many a times, the craft has experienced the impactful disturbance in the supply chain. At the times when MGNERGA was launched and the demonetization happened, so many artisans migrated from the craft, which weakened the flow of production of the craft. In the case of MGNREGA, artisans left the field to get more wage and regularized income and in case of demonetization the lack of cash in the hands of contractors, worsened their economic condition and forced them to leave the field.

These cases and few studies done on the people related to field, show that the artisans are suffering due to bad socio-economic condition and they wish not to continue practicing this craft.

5.

Socio-economic condition of the artisans: a threat to the craft

In case of a handicraft, artisans are the most important stakeholders; they are the reason behind the beautiful exhibitions which attract the global attention. They are the ones who pass the traditional knowledge from one generation to the other to continue the legacy of the craft. But when it comes to their parcel of the generated profit, no one cares about their quality of life and economic weakness.

In a study done on the Socio-economic condition of the chikan workers in Kakori block of Lucknow, researchers Seema Awasthi and Padam S. Bisht found that the artisans community is drowned in poverty, the amount of daily wage was hardly enough to keep up their families. The lack of proper working spaces has also created many health issues practising the community. The poverty has lead their families to illiteracy, mal-nutrition and unhygienic lifestyle. They also lack the basic amenities like- pakka houses, LPG connection, clean water supply etc. Most of the families are under debt due to loans they had taken in past to fulfil their needs. To analyse their socioeconomic condition the writers used parameters such as- Their income, Association with any organization, their living and working conditions, literacy level of the family members, their health conditions.

6.

Parameters of AnalysisSocio-economic condition of artisans

Workspaces

Daily Wage

Lighting conditions

Regularity of payment

Ventilation

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Amount of work they get

Hygiene

Working hours

Congestion

Working days

Amenities

Productivity

Services (water supply, power supply etc)

Facilities provided by authorities

Furniture and equipment

Shama Parveen, an independent artisan who is currently working for a contractor associated to an emporium in the main city and distributes work of chikan in the area, says she is practicing chikankari for 12 years and earns not more than 600-700 rupees per month. The money she gets paid, depends upon the work she does. Usually, she gets to work on a single heavy work product which takes around one and half month (4-6 hours of daily work) to be completed and gets sold on a price of minimum 8000-10000 rupees in the market. The money is paid after the completion of work and then the new work is provided. After the hard work and wait of more than a month, the artisan who stitched the every bit of the cloth gets a penny in the name of wage. When asked about the working space, she told that there is no fixed space to do the job, they are dependent on the daylight for the proper visibility, so most of the time work is done in semi-open areas irrespective of physical comfort, hygiene and ventilation.

Kiran Sahu who runs a centre/group of 30 women in Kakori said that she is practicing the craft from last 20 years and is associated to an emporium in the city through a contractor. Due to the lack of built infrastructure, she only describes and distributes the work to the artisans to do it at their homes. This lack of infrastructure resists this centre to organise the informal working process. The permanent contract and regular work gets them a better wage of 1200-1500 rupees per month (depending upon the work done) than an independent artisan. But even that is not enough to run a small family, Even after being the supervisor, she herself has a grocery store to support her family. She also told about their working process saying that they are only responsible for the embroidery work rest of the work is taken care by the contractor only, they take work only in bulk of 100-200 pcs.

Md. Niraaz, a supervisor of a centre of 25 artisans says that his centre is associated with a chain of emporiums in the city and does quality work only.

The smallest piece made in the centre is sold at minimum of 2500 rupees.

They have fixed the price of an amount of work (3 big phools) which is done in a single day at 65 rupees. But if someone works more than the fixed work in a day, he/she gets paid more. So, usually an artisan earns around 2000-2500 7 | Integrated Handicraft Park for Chikankari Cluster, Lucknow

rupees/month. His salary is fixed at 3000 rupees irrespective of work produced by the centre. Due to the lack of built and un-built infrastructure, he only describes and distributes the work at the centre and then artisans take the work to their homes.

Moazzam khan, a wholesaler & retailer of chikan products in Chowk area of Lucknow says that in the manufacturing process, the middlemen/contractor makes the maximum money. Most of the artisans practice in the outskirts of the city, which forces the wholesalers to hire a contractor to get the work done from the far areas. After each process the product reaches back to the contractor and then forwarded to the next service provider. In the whole process no two service providers know each other. All the work happens through the contractor. And that’s how they make the maximum profit.

After talking to each of the stakeholders in the process, few major issues came in to knowledge, which are- the presence of middlemen/contractor, lack of built-unbuilt infrastructure, lack of organization in the practice. All of these contribute to the irregular and less wage of artisans hence resulting in their bad socio-economic conditions.

7.

NGOs- An organized way of practicning

On the other hand the NGOs working in the field are providing better wages to the artisans and have better organised working culture. Yet their organization size isn’t enough to facilitate a large number of artisans. The no. of artisans in the field are much more than the artisans associated to any organization. The main reasons behind the NGOs not being able to cater a large no. of people are the lack of built infrastructure to accommodate all the stakeholders of the process. NGOs have tried to bring all of them under one roof but the processes like washing and zari work were requiring a large space. The other reason was the distance of the workplace from their houses.

In this case only the local artisans who are residing near the workplaces were able to join the hands with the NGOs. But for the artisans residing far from the place, it was a genuine reason to not getting into organised practice. When asked to artisans in the Kakori block they were ready to come to the city if the accommodation is provided as it will open the doors for better income, regularity of wages, regular work and in turn the craft will enrich. But none of the NGO has enough built infrastructures to provide them accommodation and other facilities.

For understanding the problem related to lack of enough built infrastructure, Two organizations were studied. Which are8 | Integrated Handicraft Park for Chikankari Cluster, Lucknow

1. Self Employed Women’s Association (SEWA, Lucknow) 2. Kakori Chikankari centre, Kakori(Lucknow) SEWA started in 1982, to help the women to practice the craft and earn something to help their families. Today it has various centres across the city and around 7000 workers including all the stakeholders who are associated with it. The NGO provides spaces for Cutting, Stitching, block printing, embroidery, ironing and packing. They don’t have enough space to accommodate the washing process and housing for the artisans. This limits its scope for the local artisans only. Though it is working in a smooth way while providing a better wage of 4500 rupees per month. The workers have fixed working hours with a lunchbreak in between.

SEWA has their own emporiums all over the city and they do exhibitions all over the world this is why they are a globally known brand. They organized this informal process by providing built infrastructure for the whole process including the selling part.

The similar case was with Kakori chikankari centre, which works for a Mumbai based fashion designer and sells their product directly into the market without any middleman in the process. In the Kakori Chikankari centre, the local women from all around the kakori village used to come to work. Working hours were fixed so the monthly wage. The centre pays them around 4000 rupees per month. They have the spaces to accommodate the process of cutting, stitching, embroidery, ironing and packing. There was no space for washing process and there was no need of space to reside the workers as they were coming from not more than 500 m radius. But the size of the centre was much smaller than the SEWA Lucknow. When asked to local independent artisans why they aren’t working there they said that the centre has a capacity of 50 artisans which is not even 10th of the no. of artisans in Kakori.

These two models are working smoothly in the field, the key behind their success was to remove middlemen from the picture and it was possible only by bringing all the steps of the chikankari process under one roof which needs built infrastructure and by providing it, they are tackling all the problems artisans were facing earlier. The Models of Chanderi and Maheshwar are such an example in which they were provided infrastructure to accommodate all their process and provide them better facilities. This opened the doors for better life quality of artisans, recognition to the craft and inclusion of modern technologies in the process. This also helped the 9 | Integrated Handicraft Park for Chikankari Cluster, Lucknow

artisans to collaborate with fashion designers and transform the craft according to the present day’s demand.

Chanderiyaan- Chanderiyaan is a foundation started in 2009 to revive the dilapidated craft of chanderi sarees. They established Resource centre at Raja-Rani mahal, Chanderi which consists of raw material bank, computer centre to train artisans to join hands with technology, workspaces, training centre and an online platform to sell their products. The project helped the craft to survive and to get recognition all over the world. In this case the built infrastructure helped the local independent artisans who were dependent on contractors for work and resources (Loom, raw materials) got a chance to stand on their own feet.

Rehwa Society, Maheshwar- The same type of intervention was done with the Maheshwari Sarees in which the royal family of Maheshwar, the Holkars set up a centre called Rehwa society in the Ahilyabai Fort in 1979 to revive the dying art. The main objectives of Rehwa society were to revive the traditions of hand-weaving of Maheshwar, to uplift women artisans by providing them a source of income and to provide with healthcare, housing and education to the artisans and their families.

8.

Analysis Criteria of Analysis

Independent artisans (unorganized)

NGOs/Centres (organized)

1200-1500₹/month

4000-4500₹/month

None, paid after the work done

Paid monthly

No regularity

Regular work

Working hours

No fixed timings

8 Hrs/Day + 1hr lunch

Working days

Whole week

6 days a week

Productivity is less as they work at home and work along with the daily activities

Productivity is more as they have fixed working hours and better working conditions.

None

Basic education to artisans, Primary education to their kids Health assistance etc.

Wage

Economic parameters

Regularity of payment

Amount of work they get

Productivity

Facilities provided by authorities

10 | Integrated Handicraft Park for Chikankari Cluster, Lucknow

Workspace parameters

Lighting conditions

Ventilation Hygiene Congestion Amenities Services (water supply, power supply etc) Furniture and equipment

They prefer to work in daylighting

Majorly dependent on artificial lighting & daylight too

Natural

Natural, Active ventilation

Nothing considered

Not considered

Usually work alone

25 workers/20sqm room

None

Drinking water, toilets

Dependent on personal expenditure

Available

No specified furniture Standard embroidery frames

Designed furniture to maintain posture

It is clearly visible that the organised practicing of the craft is much more efficient and profitable than the unorganised one. On one hand the artisans have better economic conditions and on the other hand there is no certainty about the work & wages. The availability of workspaces and their condition is also a major factor, which defines their work process as organised or unorganised.

In each of the discussed cases the availability of built infrastructure was the fine line between their organised and unorganised nature. In the organised practices the built infrastructure was used as a tool to uplift the economic status of the artisans’ community. These organised practices have tried to bring few of the steps in the process under one roof within their limits of built infrastructure. This has brought down the role of middlemen in the whole process. Where in unorganized practicing the artisans are dependent on middlemen, in organised practices there are no middlemen. This saves a lot of money as well as makes its way direct to the artisans. Although none of the NGO had the facilities of washing and exhibiting, few of them were lacking block printing too. If these steps also brought together with the other ones, it’ll produce even better results. The provision of required built infrastructure will fulfil this need of the chikankari craft.

Thus the architecture will work as an economic tool which may have other socio-economic impacts also. In her article ‘Architecture as an economic tool’, Varsha Subbarao suggests that the quality architecture attracts tourism and consumerism which have a direct relation to the economy of a community/place. The better designed spaces also boosts the moral of the workers and increases their productivity which too contributes to the 11 | Integrated Handicraft Park for Chikankari Cluster, Lucknow

economic betterment. The sustainability of the projects also have an impact on economics of the state.

9.

Conclusion

From above models it is clear that the built infrastructure plays major role in the process of improving or organizing a sector. It is the only hurdle between the artisans and a better life. The above cases can help us to understand that architecture can be used as a tool to uplift the socio-economic status of a community. The quality architecture can fulfil their need of built infrastructure and provide them better spaces to work in which will destroy the possibility of health issues caused by lack of enough light, ventilation and hygiene. The quality architecture will also ensure the better functioning and organized practicing of the craft along with attracting the consumers and tourists to experience the traditional artform and buy it from an authentic place. Thus it will bridge the gap between the artisan and the consumer,to ensure artisans a better socio-economic status. This will result in artisans having security in the proffesion. On a larger scale it will provide a security to the craft to sustain well.

10.

Few of the major issues identified from the study-



The bad socio-economic condition of artisans due to less wage, resulting in the disillusionment of artisans from the craft.



A large percentage of the profit is being swallowed by the middlemen due to unorganized practice.



Artisans residing in far areas. This forces them to depend on middlemen to get work.



The workplaces are not suitable for proper production due to lack of electricity supply, working space, storage capacity for raw material.



Due to improper working conditions, health related issues are also prominent and there is no awareness about the health & safety measures especially the eye which gets deteriorated day by day.

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

Common facilities such as washing and dyeing are absent in most of the clusters.



No facility for the improved washing techniques and ironing including the chemicals used for the washing and dyeing. There is a requirement of a proper effluent treatment plant.



There is a lack of innovation in the Design & product development since there is no Design Centre or Designers to provide them support.



Training of youngsters, including women is the biggest challenge as due to low wage, most of the youngsters does not want to adopt this as a profession.

C. Scope of intervention To bridge the gap between consumer & artisans and to improve the socioeconomic condition of the artisans it is necessary to bring the whole process of chikankari under one roof and provide them built and unbuilt Infrastructure. This will eventually organize the unstructured informal practicing of the craft as well as it will eliminate the middlemen/contractors from the picture who are the main reason behind the profit not reaching to the artisans.

Figure 2- Existing and Proposed Model, Source: Author

D. Aim The aim of this project is to design an integrated facility for chikankari artisans and other creators where all the steps of Chikankari craft will take place under one roof. The project also aims to design visitor specific areas in order to exhibit the craft and its evolution.

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E. Objectives The objectives of the project are as follows-

F.



To Integrate all the steps of chikankari



To provide the artisans with better working environment



To maintain the flow of material within the facility



To cater the artisans and visitors simultaneously



To exhibit the process or making of the Chikankari craft



To take inspiration from the Chikankari craft to design the facility



To understand the area requiremnts



To develop a concept in order to design the facility Methodology

14 | Integrated Handicraft Park for Chikankari Cluster, Lucknow

G. Project Title Integrated Handicraft Park for Chikankari cluster Location Lucknow, Uttar Pradesh Proposing Authority National Centre for Design and Product Development, Ministry of Textiles, Government of India H. Project Brief An Integrated Handicraft Park (IHP) will work as proper solution to the problems and issues being faced by the practitioners. It will bring all the steps of the craft’s journey under a single roof and will provide built, un-built infrastructure to the under privileged artisans community. The establishment of an Integrated Handicraft Park will provide a permanent platform for the bringing together of the urban populace and crafts communities. The purpose of setting up of Park is to setup an integrated facility which would facilitate the production, finishing, packaging and sale of craft articles.The campus will consist of following facilities1. Workshop 2. Training Facility 3. Housing 4. Raw material bank 5. Design centre 6. Warehouse 7. Common Convention Centre, 8. Dhobighat for washing of products 9. Guest House 10. Display areas/Shops/Showrooms 11. Other basic infrastructure facilities

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II.

Chapter 2: Literature Study

16 | Integrated Handicraft Park for Chikankari Cluster, Lucknow

A. Understanding the ways to translate the qualities of textile craft into architectural language -Author

1.

Introduction-

The interrelation between these two disciplines architecture and textile started with idea of the first human being who tried to make his shelter and his body coverings from the same material. The requirement of permanency and stability shaped the architecture what it is today. The architecture is more permanent and monumental than the fashion and art trends as they are followed for a less period of time. Though it has been seen many a times in the history when these two disciplines have influenced each other as both of them serve the same purpose to provide shelter to human body at different scales and both of them represents the identity of an individual or a community. Both of them represent the culture and lifestyles of a particular community. The designers of both the fields have many times taken inspiration from the other in order to translate a particular type of language or style of that discipline into others’.

The architectural design most of the times has been done through a concept driven approach. These concepts vary from their form, functions, orientation, circulation etc. Many a times they are inspired by something very significant to the local context be it architectural or non-architectural. Biomimicry is one such example, in which many designers have tried to imitate or mimic some creature or plant in many different ways. In biomimicry, the designer of the inspired product/output tries to imitate a creature’s form/ its structure/ its function/ its working pattern etc. to achieve a building/product which partially behaves/looks same as its inspiration. This research tries to explore a similar type of design conceptualisation with respect to a particular textile craft- Chikankari.

Many significant architects have explored this kind of relationship while taking inspiration from a textile to apply it to their buildings. One of them is Lars Spuybroek of Studio NOX coined a term for it called ‘Textile Tectonics’ in his book NOX: Machining Architecture. Although the first person who started such research was a German architect and theorist named Gottfried Semper who influenced many architects of 20-21st century including Spuybroek. His work was extensively about the art and architecture. He believed that the first abode made by a human being originated from arts, it didn’t just required structure but also the weave/knots, the textile.

This research will try to explore many architectural projects and their nonarchitectural inspiration to find out many possible ways in which a nonarchitectural thing can inspire the architecture of a building or place. After finding out these possibilities it will also try to put them with respect to Chikankari craft, and how they will be applied in our case.

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2.

Literature Review- (Origin of the Argument)

(Mari Hvattum, Gottfried Semper and the problem of Historicism) Gottfried Semper explained that humans capture creative laws of nature through rituals and practices. And while looking for the translations of these rituals into tangible form he looked at textile art. He called it Urkunst, and explained it as a primordial embodiment of joining many parts into a whole.

One such example he took is Knot, it was figure which mediates between the technique of making, the ritual and the work of craft/art. Further the motif of knot was developed into some more complex processes of the weave, wreath, seam and braid, each constituting symbols of ordering.

Figure 3-Motifs of Knot (Source- Gottfried Semper)

After his findings of the original motifs of art, Semper started mapping their development and their inclusion in the architecture. He traced back the motif of wall and argued that the walls today, have evolved their solid form (stone and masonry walls) from a woven fence made up of branches and grass (flexible material as similar to textile). Thus he declared, “The beginning of buildings coincide with those of weaving.” His findings also suggested that the enclosures in architecture, has a link to the textile dresses or clothing that encloses the human body to cover it.

Figure 4-Motifs of Knot (Source- Gottfried Semper)

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In his illustrations of various knots, Semper tries to represent the potential of the textile craft to be transformed into a structural arrangement and its quality to be able to define a space. Semper believed that textile art had a major influence in the development of architecture which can be still seen in vernacular architecture of various places. But in today’s contemporary architecture this influence is rarely seen. Major reason being, the use of inflexible material which is too un-textile in nature.

The Maori Architecture (A native architecture from New Zealand) and Wancho Architecture (A vernacular architecture from India) partially proves Semper’s arguments.

Figure 5-Weaving patterns of mats and panels (Source- Brown Deidre, Maori Architecture: from fale to wharenui and beyond. Auckland:Raupo. 2009)

The wall panels woven of bamboo sticks, roof mats woven of sword grass and the joineries showcasing the use of knots and ties shows the clear influence of textile art. Something similar is seen in the Wancho architecture too where this influence is not just limited to architecture but it can also be seen in hunting equipment, partition panels etc.

Figure 6-Interior of Wancho House (Source- Author)

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3.

Aim-

The aim of this research would be to find out many possible ways in which a non-architectural (majorly textile) thing can inspire the architecture of a building or place.

4.

Objective1. To explore architectural projects which are inspired by textile/ fashion/ clothing etc.

2. To explore the meaningful use of textile in architecture.

5.

Methodology-

This research is based on a qualitative methodology. The data is collected through sources such as- books, articles, research papers, works of architects/designers, exhibition catalogues and websites.

6.

Data Collection (Case studies)-

“I am not attracted to straight angles or to the straight line, hard and inflexible, created by man. I am attracted to free-flowing, sensual curves. The curves that I find in the mountains of my country, in the sinousness of its rivers, in the waves of the ocean, and on the body of the beloved woman. Curves make up the entire Universe, the curved Universe of Einstein.” -Oscar Niemeyer 20 | Integrated Handicraft Park for Chikankari Cluster, Lucknow

a)

Architectural projects by Lars Spuybroek-

Advanced computing tools have given the architects power to achieve dynamic curved forms; this has resulted in an increased interest of architects in executing complex but soft geometries. Many internationally renowned designers and architects Including Lars Spuybbroek, Shigeru Ban, Dominique Perrault etc. have done projects which showcase the major influence of textile in architecture.

Starting with Lars Spuybroek of Studio-Nox based in Rotterdam. He called his technique of using textile techniques as computing techniques to explore forms and structures, as ‘Textile Tectonics’ or ‘Soft Constructivism’. His StudioNox also told the ways of defining Textile architecture or Architextile, which are- The Architextile may work at the aesthetic level or at structural level or at the methodological level. Respective examples of each1. Undulation in façade (Aesthetic Level) 2. Interlacing, weaving and braiding of structural members (Structural Level) 3. Using textile techniques to create forms instead of Ideas. (Methodological Level) (1) Maison Folies Cultural Complex, Lille (2001-2004) In this project Spuybroek used the architextile on pure aesthetic level by applying Semper’s Bekleidungsprinzip, in which a flexible surface is draped on a tectonic volume.

Figure 7-Maison Folies Cultural Complex, Lille (Source- Machining Architecture by Lars Spuybroek)

(2) Jalisco Library, Guadalajara, Mexico (2005) In this project Spuybroek used the architextile on the structural level to showcase the semperian notion of textile becoming architectural style of the building.

Figure 8-Jalisco Library, Mexico (Source- Machining Architecture by Lars Spuybroek)

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(3) Carpet House In this project Spuybroek took a floral pattern of carpet to pick the flow lines of it then he resized it, inflated it and translated its stems into structural materials to achieve the final form. With the help of computing tools, he applied textile technique into methodological level of architecture.

Figure 9-Carpet house Model, Textile Pattern, flow lines of pattern (Source- Machining Architecture by Lars Spuybroek)

b)

Architectural projects by Dominique Perrault-

The next architect on this list would be Dominique Perrault of DPA, Paris. He is known for his extensive textile based architectural and urban designs. His research work has explored the emotive, atmospheric, functional and structural effects of textile based architecture. Perrault’s work is more concerned about the spatial potential of textile surfaces than its tectonics. His works in architextile showcase fleeting effects such as speed, liquidity, softness and other qualities of textile in a spatial setting.

“The excitement, for Perrault, is in the use of the mesh to protect people with the architecture and to encourage them to reconsider their use and sense of the city, ‘to stop and experience another ambience, another quality. It’s neither in nor out, it’s more subtle than that. It’s an emotional attitude”

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Figure 10-Use of Textile like material in architecture (Source- Dominique Perrault’s official Website)

In a way it can be said that Perrault’s work to relate textile to architecture is qualitative rather than quantitative (in case of Spuybroek). His works focused upon the spatial quality of a place and how one feels inside it while still having a flexible barrier between him/her and the outside. He used it create a Inside out kind of situation in architecture. He used it to provide a sense of space/volume without fully covering and packing the architectural space to its users.In his works he tried to translate many properties of textile such as- it’s translucency, its softness, its lightness, its mesh like weaving and its texture by developing a textile like metal mesh during his 16 years practice. c)

The Lymph by Architect Sergey Makhno –

It was an experimental project by a Ukrainian Architect Sergey Makhno in collaboration with clothing brand of designer Irina Dzhus. This project tried to combine Architecture, textile and product design in order to create a common ground for all three disciplines.

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Figure 11-The Lymph (Source: Sergey Makhno Architects Website)

The project was named after a metaphorical context. Lymph is a kind of connective tissue which protects the human body from pathogenic agents or viruses. Architecture, clothes/textile and product design in a way perform similarly in the life of humans. They collectively create an environment to feel people comfortable in.

The project showcased an unusual synthesis of architecture, product design and clothing/textile in which each component compliments each other. And that’s how a new visual aesthetic appeared.

To achieve this synthesis among all three disciplines, designers picked elements from one discipline and tried to apply it to the other discipline. They tried to imitate majorly the colour scheme and the texture of the clothing in architecture and vice versa. Also the nature of elements such as- boldness, simplicity, roughness, smoothness, softness can also be seen equally present in each discipline.

In the first case the rough texture and grey color of the exposed concrete is translated as thick opaque textile with similar color and rough texure. The boldness of the concrete is translated as bulky looking clothing with straight edges. Similarly in the second case the textures are smooth in all components as well as the color scheme.

The project shows us how the qualities of textile can be translated into architectural property of a space with respect to the appearance of both the disciplines.

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d)

Projects with influence of lace work and embroidery motifs-

The chikankari textiles are majorly filled with the embroidered lace work which is the main feature of this textile craft. Chikankari consists of more than 32 stitches of thread used for embroidering motifs on the plain cloth (Mostly cotton and Muslin). When trying to understand the ways to translate the features of textile crafts into architecture, one cannot leave the feature of embroidery, especially in case of chikankari.

In most of the architectural projects which have translated this feature, it has been used for very decorative, conventional and technologically rooted uses in design. Many architectural designers have sought to create facades and envelopes for buildings which are much inspired from the lace works and their patterns. The designers who used this concept considered the motifs of the lace works within the definition of the textile. e)

John Lewis Department Store, Leicester by FOArchitects-

In this project Foreign Office Architects used a lace related fabric design pattern. They used a two layered glazed façade both having printed lace patterns on it with enamel paint. This technique is called sputtering. The dense pattern slightly increases the opacity of façade while providing a limited view from inside to outside and vice versa. The reflective print of the pattern also provides partial protection from sun and privacy. The project uses the lace work patterns solely for the ornamentation purpose to get an appearance which is based on an 18th century textile material. The translucent patterned façade was a result of net curtains of Leicester’s hosiery industry, translucent Sarees of Indian population there and the fabric business of the store.

To find the perfect pattern for the façade, the architect picked a few fabric patterns from the archives of the John Lewis, combined them and then made it more geometrical. The applied pattern to the façade became an optical device seen from both the sides. The glass box building with fabric screen was described as ‘Layered Transparency’ by the founders of Foreign Office Architects.

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Figure 12-John Lewis Department Store (Source- FO Architects official Website)

f)

Jean Boudain Stadium, Paris-

The Stadium has been designed by brothers Rudy (Architect) and Romain, Riccotti (Engineers). The whole stadium is covered with a semi-open canopy made up of advanced material such as Ultra high performance Fibre reinforced concrete to achieve a highly perforated mesh. The final output of this was a thin canopy with holes which gives off a fabric lace like apperance. The idea beniffited the project with natural ventilation performace and also made the concrete canopy much lighter.

Figure 13-Jean Boudain Stadium (Source- Wikipedia)

In this project the textile/lace inspired canopy/façade is translated in many ways. The façade shows similarity in apperance with the lace work while also using it for the functional purpose of ventilation in the building and it also becomes a perforted shell sort of structure to showcase its influence with respect to the structural system.

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g)

Polish Pavilion at Shanghai Expo 2010-

The polish pavilion at 2010 Shanghai expo was a double façade structure designed by Polish Firm named WWA. The driving theme of the project was on folk culture motifs. So to incorporate this theme into the pavilion, designers cut out the lace shaped motifs from the outer façade of the pavilion. This was done through the CNC laser cutting machines to detail the motif cut outs on the plywood which was later mounted on steel structural frame.

The project does not showcase its direct relation with any textile craft, however the folk cultural motifs which inspired the project are part of the polish textiles and local lace making traditions. The perforated skin of such buildings also opens up the scope of lighting design as its perforations lets it to look like a lantern from outside at night. Both polish pavilion as well as John Lewis department store uses this opportunity to enhance the visual perception of the built mass at the night time.

Figure 14-Polish Pavilion at Shanghai Expo 2010 (Source- WWA website)

Figure 15-Polish Pavilion and John Lewis Store Respectively (Source: WWA website & FO Architects website)

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7.

Data Analysis and Research Findings-

The above mentioned projects showcase multiple ways in which the qualities of a textile craft can be translated or utilized in architecture of a building.

However all of them cannot be adapted in case of Chikankari craft. So, it is important to categorize these projects in order to find commonality and differences in their approaches of design process. To do this categorization we must need some parameters which can be easily found in these projects and help us to put similar projects in the same section. So these common parameters can be as follows-

A. Quality of the textile craft used B. Level of intervention in the building C. General purpose

No. 1 2 3 4 5 6 7 8 9

Name of Project

Quality of textile used Maori & Wancho Weaving Houses Pattern Maison Folies Undulated Cultural Complex Form Jalisco Library Weaving Pattern Carpet House Printed pattern Works of Translucency Dominique Perrault of Textile The Lymph Texture & color John Lewis Lacing Department Store Pattern Jean Boudain Lacing Stadium Pattern Polish Pavilion (Shanghai Expo 2010)

Traditional Cultural Motifs

Level of General purpose Intervention Methodological Weaving of mesh/panels/mats Aesthetic Façade creation Structural

Structural Frame

Methodological Form Creation Functional + Aesthetic Aesthetic

Space Divider/ Physical barrier Appearance

Aesthetic + Functional Aesthetic + Functional + Structural Aesthetic + Functional

Ornamented Façade Perforated Canopy Ornamented Skin of the building

Table 1: Analysis of projects based on parameters, (Source: Author)

After listing all the parameters for each project, we have a set of aspects for every parameter. Now it is important to asses each of them in context of chikankari (Textile Craft). And check if these have potential to be developed 28 | Integrated Handicraft Park for Chikankari Cluster, Lucknow

in architecture while taking the inspiration from Chikankari only. -With respect to Quality of textile used- The first quality under this parameter is the weaving pattern of the textile craft. The projects which are under this particular division uses the weaving pattern of a textile craft to weave panels, meshes, mats to create partitions in a similar manner and in some cases it is even used to create the structural system of the building. This technique is one which Gottfried Semper used to argue that textile art has a major influence in the development of architecture.

Figure 16-Stitches of Chikankari (Source: Chikankari-A Lucknawi Tradition, Paola Manfredi)

Although if we see this in context of the chikankari textile craft, there is no particular weaving pattern of the cloth used for it. However it’s 32 type of stitching patterns can be used as an inspiration to design the partitions, meshes and the structural layout for the building. They can also help to create some joineries of structural and non-structural members.

-The second division being the undulated form, it will be hard to keep as an associated quality of chikankari as it is a very general textile quality. Although the chikan cloths are generally wore very crisp and with creases on its curvy surfaces, the undulation or the flowing nature is not a very prominent feature of it. However if we take only the nature of its form into consideration, the built forms need to be composed with crisp edges/lines and also curvy forms.

Figure 17-Traditional Chikankari dress (Source: Chikankari-A Lucknawi Tradition, Paola Manfredi)

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-The third division is the printed/embroidered patterns (Also lacing patterns).

Most of the designers/architects have used this particular quality majorly for the aesthetics purpose while also incorporating some functional aspects with it. If it is seen in the context of chikankari, it has a very vast set of such patterns which can be utilized in the design. Chikankari being a embroidery based textile craft, it has many iconic motifs and patterns which are widely known in the region. Their incorporation in the design will enrich the aesthetic value of the building as well as it will contextualise the built environment. The motifs of chikankari are the folk cultural motifs which are being embroidered on the cloth for centuries. These patterns and motifs can still be seen on the heritage buildings of the Awadh region.

Figure 18-Floral Motifs of Chikankari on muslin cloth (Source: Chikankari-A Lucknawi Tradition, Paola Manfredi)

-The fourth quality is the opacity of the textile. In case of Chikankari the embroidery is traditionally done on a translucent muslin cloth and lite cotton which makes the inner portion partially visible. The dense use of embroidery tries to hide it wherever required. Its light nature lets the wind percolates inside to touch the body through its small perforations and makes it a perfect wearing for the summer months. This quality can be utilized to create an airy 30 | Integrated Handicraft Park for Chikankari Cluster, Lucknow

yet enclosed space while making the outside visible from inside and vice versa. However in the present time the chikankari is done on most of the cloths which are quite opaque in nature.

-The Fifth quality is the colour and texture of the textile craft. If we see Chikankari with respect to these two, the colour scheme of this textile is mostly within the light colour tones which makes it visually soothing and very light in summers. Although traditionally it was done only on white muslin cloths and with the time other colours (which are bright and dark) also came into picture.

Figure 19-Nawab era painting showing the interior of a court (Source: Chikankari-A Lucknawi Tradition, Paola Manfredi)

In the times of Nawabs, the buildings in Lucknow used to be made to compliment with the chikan clothing of the region. Their colours were kept light and the surfaces used to have motifs and patterns such as Chikankari.

The similar can be done in our case by adapting a similar colour scheme for our buildings.

The texture quality of chikankari textile is similar to cotton and muslin which are slightly rough yet smooth. The reflectivity and shine are pretty low. Similar texture can be achieved with the use of exposed concrete and plastered wall and metal meshes. Use of Textile materials such as PVC and canvas sheets is also a possibility.

8.

Conclusion-

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With the above mentioned analysis and findings we have found some of the qualities of textile which a potential to be translated into architectural language and also the possible ways in which it can be done. The parameters such as Qualities of textile, Level of their intervention, their general purpose helps us to understand this relationship in a better and simple way. Although all of these cannot be applied in our case as it is specifically focussed on Chikankari Textile craft. So in the last section it has been checked if these are possible in our case or chikankari has this potential to be translated or not. The analysis says that it can be done by using its stitches, motifs, floral patterns, translucency, flow lines, Colour scheme and textural quality in the built environment.

B.

User Study

More than 90% artisans in the chikankari craft are women. The history of the craft clearly justifies this much percentage of women in the craft. From decades, women have practiced this craft to get economic freedom and to support their families economically too.

Independent women artisans practice the craft along with their domestic activities. which earns them a very little income and doesn’t get them a organised life-style.

Figure 20- Chikankari creators, Source- Author On other hand, artisans associated with centres have a organised routine. But even though they are manage their domestic activities too.

The artisans associated with craft are from majorly Muslim & Hindu communities. The other steps of the process such as block printing, washing are majorly occupied by men.

Most of them belong to Lower income group or Economic weaker section.

Which majorly defines their lifestyle and quality of life. And this reflects on the domestic architecture of their houses.

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Although Nawabi architecture is characterized by grandness, but in Lucknow the case for domestic architecture was different. Throughout the commonfamily society, the middle and low classes worked, and they had a rather utilitarian perspective on architecture and use of the resources available to them. Also the smallest room had no airiness to fit the great numbers, hence the domestic architecture. It is small and compact, made up of dark cells, the ventilation of which was not considered as it would take a little extra space, but could be used for some practical use. Windows were never allowed, but the super abundance of recesses and niches was lovingly indulged everywhere.

When we step it up a little on the ladder to the house of a rich man, there was a definite distinction between the houses of Hindus and Muslims, both of which constitute the majority of the population. In both cases the scale increased and courtyards entered the picture, houses with a central courtyard were constructed and often even two courtyards were found, the location of the place of worship and the position for the head of the house was the main difference between the two.

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III.

Chapter 3: Site details and Context

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A.

Site

Figure 21- Site, Source-Author

About the Site- The site sits on the bank of river Gomti in the heart of the city of Lucknow. It’s proximity from the existing clusters of Chikankari makes it a suitable location for the intervention. The access road to the site is 8m wide.

The approx. area of the site is around 91,200sqm.

The site faces a public space named Kudiya Ghat along with a Boating point on the other bank of Gomti. In the backdrop of this public space there is Hussainabad Complex with a clock tower which is prominently visible from the site.

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Site Proximity- As site sits in the city center, it is quite near from the bus stand and the railway station. But the Airport being in the outskirts of the city, it is far from that. The bus stand and railway station are at a distance of 3.4km and 5.7km respectively from the site.

Site Proximity from clusters- The sits just next to two largest clusters of chikankari in the city which are Khadra and Hussainabad. The site can be accessed by feet from these two places. Other clusters such as Chowk, Daliganj, Nishatganj can access the site with local transport(E-rickshaw). And other can use City transport buses to reach the site.

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Figure 22- Site Context, Source-Author

Site Context- The Site is surrounded by spaces such as a Dhobi ghat, a Boat point, a Public space (Kudiya Ghat) and a fish market. The presence of dhobighat makes it easier for dhobis to access the site. The presence of Kudiya ghat and boat point, opens up the opportunity to attract visitors.

The wider context include 3 major monuments of the ciy and combines the site within the heritage core of the city.

Figure 23- Monuments near Site, Source-Author

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2.

Site Profile-

Figure 25- Site Dimensions, Source-Author

Figure 24-Site Sections, Source-Author

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3.

Site Details-

Slope Analysis1. The max. slope on the site goes up to 3%. The extreme south part goes more than 3%.

2. The whole site is buildable with respect to slope.

3. The site has a very gentle slope towards the river bed.

Elevation1. The elevation of the site varies from 108m to 113m.

2. The highest point of the site remains in the north-east part.

3. The lowest point of the site remains in the extreme south part.

Figure-Ground1. The site sits on a pasture land. The access road splits the site from a densely built neighbourhood.

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2. The site faces a public space on other side of the river with very less built fabric.

Vegetation1. The site doesn’t have any prominent vegetation other than the Self-growing trees and bushes.

2. The site surrounds an agricultural land(wheat cultivation) which have a no. of Mango trees planted.

3. The area sits in plains which has a Mango belt on it in the outskirts of the city.

Figure 26- Vegetation on Site, Source-Author

Land Use1. The site is next to a highly dense residential neighbourhood which resides the biggest artisans’ cluster in Lucknow.

2. The site faces a recreational space (Kudiya Ghat) and Hussainabad complex which is historical public space.

3. There is no proposed use on the site in the Lucknow master plan-2031.

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Services1. A public sewer line is going through the site with 2 manholes opening on the site.

2. The power supply line in the area runs on the other side of the road with a transformer at beginning of the road.

Transit1. The site is well connected through the public transport.

2. The site is just 400m away from the Local bus network.

3. This 400m can be covered by walking or by Para transit vehicles (E-rickshaw).

Road Hierarchy1. The site sits along a 8m wide 2-way road.

2. The 3-4m wide allies connect the site to the closest artisans’ Cluster.

3. The service road towards the site originates from the main road This connects the National Highway to city interiors. All the state and local public transport runs on this road.

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B. Local Bye lawsSet back: Area (>30,000m2) Front: 15m; Sides & Back: 9m Permissible Ground Cover and FAR: 60% & 1.0 The maximum height of the building must be 1.5 times of the sum of road width and front setback.

Space between two adjacent building blocks would be at least 6m or it will be according to the height of building.

All buildings which have a minimum discharge of 10000L/day, must have waste water recycling system.

Figure 27-Buildable Site, Source-Author

Open space/play area/Park: Minimum 20% of total area must be kept green with evergreen trees planted on it at the rate of 125trees/hectare.

Parking: 1ECS for every 100m2 built-up area.

Basement- Maximum 2 basements with min. 2.75m- max. 4.2m of floor height.

The drainage must not be directly released into the river. There must be arrangements to connect it to the Nala or sewage line.

The maximum flood level has gone upto 110.85m (1971) and 109.30m (1980) in last 50 years. The masterplan suggests to use the land above 110.85m elevation. The area with lower elevation than 110.85m are suggested to be kept open (landscaping, garden, forest, recreational space, playing area etc.).

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Soil TypeThe city is a part of the Ganga basin with flat Alluvial terrain. The area is covered with thick cover of quaternary sediments overlying the basement of Bundelkhand granitoids and sedimentary rocks of the Vindhyan Supergroup. The sediments consist of clay, silt and sand. The thickness of alluviam is estimated between 250400m.

Soil on the site exhibits a wide variation in composition and apperance. The major part of the site is covered with Loamy soil locally known as ‘Barui Mitti’ and other is covered with ‘Matiyar’ or ‘Clay Soil’. The bearing capacity of these soils vary from 80-160 kN/Sqm. Water TableThe water table at the site is between 15-25m.Which indicates that the ground water can be used on the site. The water level also allows to have upto 2 basements in the building if required.

1.

Climatic Analysis-

The Site is under Composite climate zone. For most of the time of the year the humidity remains very high. From May to October it goes further high due to monsoon. The high temperature and humidity demands proper ventilation and control over solar heat gain.

The core idea behind climatic strategies should be to enhance ventilation and reduce heat gain.

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Sunpath- The path of the sun is a massive curve in the months of summer starting from N-E to N-W while touching the altitude of 89 degrees in the noon. The curve is quite flat in the winter months with a low altitude of sun.

Temperature- The temperature reaches its peak in the month of May/June with approx. 45 degree Celcius. And it goes as low as 5 degrees in the months December/January.

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Wind Rose- For most of the year the wind comes from the west direction. In the summer months there is eastern wind too which is avoidable due to its hot nature.

Precipitation- The precipitation is mostly in the months of June-september due to the Monsoon.

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a)

Potential Strategies for Design-

1.Thicker walls to reduce heat gain.

2.Orientation of blocks in east-west direction, keeping the longer facades in north-south direction. It will eventually cut down the harsh sun coming from west direction and will provide ambient diffused daylight from north. The south sun can be tackled using horizontal shading elements.

3.Cavity wall can be used as insulator to keep the interior cooler.

4.Area exposed sun must be decreased in order to minimize solar heat gain.

5.The walls can be shaded using planted curtain wall to decrease heat gain.

6.Use of stack effect and cross ventilation for better ventilation.

7.Use of projections down south sun.

to

cut

8.Enough fenestrations on different/opposite sides help with better ventilation and removes humidity.

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a)

Climatic Inferences-

47 | Integrated Handicraft Park for Chikankari Cluster, Lucknow

Visual Analysis of Site-

Being at the bank of the river Gomti, the site catches few very nice views towards it. The presence of Ghats and Clock tower on the opposite bank provides a visual treat from the site. The existing farmland can also be utilized for its soothing vies of its greenery.

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C.

Inferred Zoning from Site Analysis

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IV.

Chapter 4: Live Case Studies

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A. Khamir Craft Resource Center, Bhuj, Gujarat Khamir works to strengthen and promote the rich artisanal traditions of Kachchh district.

Their name stands for Kachchh Heritage, Art, Music, Information and Resources. Khamir means ‘intrinsic pride’ in Kachchhi, the local language. In Hindi it means ‘to ferment’.

Khamir strives to create a democratic and empowering space - a common roof under which a range of stakeholders can exchange ideas and collaborate. We work to shift consumer perspectives and raise the cultural value placed on crafts.

Site AreaLocationDesigned by1.

2 Acre Ajrakhpur, Gujrat Prof. Neelkanth Chhaya

Context-

The Khamir Craft resource centre sits in the outskirts of Bhuj city nearby a village named Ajrakhpur which is home for the famous Ajrakh block printing.

It is situated on a 1.2Km distance from the Bhuj - Bhachau Highway & is surrounded by barren land. It is also near to Kukma village which inspired the site planning of the facility.

2.

Objective of the Case study-

1. To understand the spatial reuirements for various crafts.

2. To understand the connectivity and interdependency among various spaces and user group.

3. To understand the site zoning and movement pattern.

4. To study the Construction techniques and lighting-ventilation techniques.

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Figure 28- Khamir Floor Plans, Source-Author

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Figure 29- Khamir Sections, Source-Author

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Figure 30- Khamir Circulation, Source-Author

Khamir was planned to produce 2500 m2. Crafts promotion facility in kutch.

The idea of designing this center is derived from the pre-earthquake local street scape and village design. The traditional street layout includes: Khamir's planning is done in the same way as the village street layouts which shape chowks and courts. As a community space accelerator throughout the complexity, a kind of urban approach with integrity and hall of involvement is created. According to Prof. Chhaya Khamir 's buildings thus imitate the structure of the Traditional Villages in the Kutch region: workshop uniculated together to shape narrow streets and shaded spaces, and the streets organization of spaces divide and moet into courtyards and chowks in Khamir The planning of each module is also done in same manner as in the traditional houses.

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3.

Inferences-

1. Informal Workspaces- The design of workspaces makes them familiar to artisans. The courtyards & semiopen spaces double up as workspaces.

2. Welcoming layout- The campus is free from any visual bounaries. It is open to all and invites all kinds of people, artists, tourists, researchers and provides them with an opportunity to interact with the crafts.

3. Elements of surprise- The builtforms are arranged in order to offer a surprise at every node. Every node/chowk is differently treated and landscaped.

4. Use of passive strategies to reduce heat gain inside the building blocks may also reduce day-lighting inside the functional spaces, causing inconvieniences. This can be countered by arranging the built-form in a way that it does not block the path or light.

5. The earthy material palette compliments the surroundings and function to reduce the heat gain in the campus. It also provides a familiar environment to the path of light.

6. Although there is an immense potential of using the solar radiation but there is no provision to do that.

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Visuals Showing different spaces at Khamir, 58 | Integrated Handicraft Park for Chikankari Cluster, Lucknow

Figure 31- Passive Lighting at Khamir, Source-Author

Use of passive strategies to reduce heat gain inside the building blocks may also reduce day-lighting inside the functional spaces, causing inconvieniences. This can be countered by arranging the built-form in a way that it does not block the path or light.

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B. Self Employed Women’s Association, Lucknow, Uttar Pradesh Self Employed Women's Association, Lucknow, an autonomous association of chikan workers. A study in 1979 which revealed that women and children working in the Chikan Industry were more cruelly exploited than in any other craft of the unorganized sector in U.P. To break out of the stranglehold of middlemen, they needed a viable and sustainable production system with direct access to ready markets.

SEWA, Lucknow thus incrementally grew in corporate strength in response to this need. With the elimination of middlemen, higher, direct and regular wages directly benefited SEWA members, whose total earnings wages have dramatically increased over the years.

Site AreaBuilt up AreaLocationBuilt YearBuilding Occupancy1.

480 Sqm 1210 Sqm Lucknow, Uttar Pradesh 1990 130

Context-

The Self Employed Women’s Association is situated on the Lucknow - Sitapur Main Road. It sits between two major Chikankari clusters of Lucknow which are Khadra and Daliganj which are major clusters of the craft in the city. The area around the facility is majorly commercial and residential.

2.

Objective of the Case study-

1. To understand the spatial reuirements for various steps of Chikankari.

2. To understand the connectivity and interdependency among various 60 | Integrated Handicraft Park for Chikankari Cluster, Lucknow

spaces and user group.

3. To understand the flow of material within the facility.

Figure 32- SEWA Floor Plans, Source-Author

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3.

Inferences-

1. One of the major take away from this case study is the understanding of the flow of Chikankari product from Raw material to the final product.

The flow of material in an integrated facility works similarly as the middlemen model in which after every step of the process, the product comes back to the middleman.

Similarly in this case instead of middle-man there is central store. So after sampling and cutting the product enters the central store and then goes for each step separately and Figure 33- Flow of Material, Source-Author again comes back to it until it is gone for washing. After the washing it goes for ironing and packing then it is finally stored to be sold.

2. Another take away from this study was the area required for each step of Chikankari. The study also infers the type of space (i.e. Open space, Semiopen space and covered space) suitable for each of the activity.

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Figure 34- Space requirement for each activity

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C. Living and Learning Design Centre, Bhuj, Gujarat During the time of Bhuj earthquake the Living and Learning Design Center (LLDC) was conceived as a project. It was meant to be a 'place' which would become a visual and tactile repository of Kutch 's various crafts. Its primary function as a resource center for the artisan duplicates as a public museum and as a place for demonstrative, learning hands.

Kutch's predominantly hot dry and arid countryside, its people and cultural nuances formed a rich backdrop to our intervention. There has been a desire to retain, imitate and reproduce the notion, in this case Kuttchi, of what can be called vernacular.

Site AreaBuilt up AreaLocationDesigned byCompletion Year1.

8 Acres 11,150 Sqm Ajrakhpur, Gujrat Indigo Architects 2015

Context-

The Living and Learning Design centre sits in the outskirts of Bhuj city nearby a village named Ajrakhpur which is home for the famous Ajrakh block printing.

It is situated on a 200m distance from the Bhuj - Bhachau Highway. It is also near to Kukma village which inspired the site planning of the facility.

2.

Objective-

1. To understand the site planning and spatial heirarchy.

2. To understand the connectivity and interdependency among various spaces and user group.

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3. To understand the passive cooling technique used.

4. To study the Construction techniques and lighting-ventilation techniques.

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Figure 35- LLDC Floor Plans, Source-Indigo Architects

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3.

Climate Responsiveness

Since the climate is hot and dry, the main strategy is to provide effective thermal insulation during the extreme summer months. To provide thermal buffer, circulation spaces and service corridors are arranged Figure 36-Window Profile, SourceAuthor on the exterior of the building, so that the corefunctional areas do not heat up easily. The windows on the exterior facades are designed such that they have a horizontal face from inside and vertical from outside, and are caliberated to sun angle; this ensures day lighting, without heat gain.

4.

Services

There are two main water-based systems used in the campus.

- The first one is the recharge well, placed at the courtyard. It is designed to collect the rain water and surface run-off water, which percolates through the pebble bed and helps to recharge the groud water tank.

- The other one is the cooling tower. It consists

Figure 37- Cooling Tower, Source-Author

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of a thermal mass of filled plastic water-bottles stacked in crates, which is cooled by the action of water and air. The cool air in the shaft is dehumidified using machines and distributed to the museum spaces through ducts.

Figure 38- Services views, Source-Author

5.

Materials

Conventional modern building materials(RCC) are used for the construction, but the surfaces are treated such that the colors and textures merge with context. It helps the artisans to feel familiar with the suroundings. The lime plaster has been used on facades. Khavda & Granite stones have been used in flooring. The doors are mostly wooden. For gates, railings and installations,

steel has been used. The cantten part also shows the use of bamboo. The glass has been used to a very limited extent.

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6.

Inferences

-Massive built-form elements guide the circulation within the site. It attracts the attention of visitors and emphasizes the entry to the block.

-Local, low water consumptive, dense canopy, tree species are planted to augment existing trees in the orchard. Tree shaded enclosures ensure appropriate use of outdoor spaces for people in the intense summers.

-The measures to reduce the heat gain compromises with the day lighting inside the functional built spaces.

-The form is an outcome of the function of the building, the major function being climate responsive behavior.

-The spaces like hands-on gallery and informal workshop lacks connectivity to the craft workshop, and thus fails to come up as a collective craft training and learning center.

-The craft studio receives low day-lighting than needed as a result of an attempt to reduce heat gain.

-The rain water harvesting system fails to function as expected as the area receives very less rainfall annually.

-Use of solar panels ensure the use of solar energy to the maximum extent possible and thus reduces dependency on external sources of electricity.

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D. Kalhath Institute Lucknow, Uttar Pradesh Kalhath Institute is an training institute for the famous crafts of Awadh- Chikankari and Zardozi. The facility has a vision to train the people who are passionate about these crafts and to upgrade their skills by a 8 months program which include basic training of the craft, integration of design in the process, the knowledge of fashion design, interior design & Art movements.

The facility is an adaptive reuse of a traditional awadhi style Kothi (Bunglow) with some additions at the back side to meet the requirements.

Site AreaBuilt up AreaLocationDesigned byCompletion Year1.

1010sqm 792.5 Sqm Lucknow Ar. Archna Gupta 2015

Context-

The Kalhath Institute is situated in the charbagh area of Lucknow city. It is at a distance of 1.1 Km from the Charbagh railway station. The Area around the facility is mostly residential and institutional. It is an adaptive reuse of a Awadh Style Kothi.

2.

Objective-

1. To understand the spaces required for training facility.

2. To understand the area requirement for various spaces.

3. To understand the use of flexible spaces.

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Figure 39- Kalhath Floor Plans, Source-Author

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3.

Inferences-

1. Flexible Spaces- The Central hall on the ground floor has been kept flexible. Space is used as a exhibition area, as a workspace and as a space to conduct workshops.

2. Informal workspaces- The terrace, dead end of corridors and buffer area in the front works as an informal workspace.

3. Use of Daylight- The studio spaces has been designed to have hefty of daylight. Both the longer sides have full glass panels to allow daylight and to have a visual connect with the central hall. This helps to spill over the classes to the hall area also.

4. Buffer spaces- The front facade faces the south direction which lets the unwanted direct sunlight to hit the building to keep the spaces and avoid the heat gain, there is a 2.5m buffer space left in the front area. This space is generally used as circulation space in summers and in winters it is used as workspace for thermal comfort.

Figure 40- Kalhath Views, Source-Author

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V.

Chapter 5: Comparitive Analysis and Area Statement

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Comparative Analysis of Case studiesB. 75 | Integrated Handicraft Park for Chikankari Cluster, Lucknow

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Area ProgrammingC. 78 | Integrated Handicraft Park for Chikankari Cluster, Lucknow

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VI.

Chapter 6: Concept Development & Design Proposal

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A.

Design Development

Figure 41- Site Zoning, Source-Author

The Zoning of the site was done in such a manner that the site access remains as close possible to the interior street from the nearby residential area so that the artisans coming from there can easily access the site. The path leading to the entrance court splits to separate the residential and other parts. The Northern most part of the site has been kept for residential zone as it is at a higher altitude. The artisans housing and guest accommodation has been arranged near the farmland. The central part is occupied with the workshop area providing the artisans with most prominent location with respect to views and accessibility. The Southern most part has been given to the Visitors zone marking the end of their journey. The Circulation of visitors has been planned in a manner that it has three major anchor points- the entrance court with cafeteria, Live exhibits with view points and Museum block with convention center.

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Figure 42- Site Plan, Source-Author

1. Access To site

11. Administration

19. Gallery 1

2. Entrance Court

12. Artisans Welfare

20. Gallery 2

3. Cafeteria

13. Toilets

21. Gallery 3

4. Library

14. Parking

22. Conference area

5. Training Center

15. Waterbody for dhobis

23. Auditorium

6. Visitor Accomodation

16. Drying Area/Festival Area

24. Staff Housing (Class B)

7. Mess 8. Chikankari Workshops 9. Shpos 10. Storages

17. Exhibition Area 18. Visitors lounge/Galleries entrance

25. Staff Housing (Class A) 26. Green Spine 27. Artisans’ Housing 28. Sunset Park

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Figure 43- Site 3D view, Source-Author

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B.

Design Concepts and Proposal for Workshop Area-

Figure 44- Key plan showing workshop area, Source-Author

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1.

Reviving the Karkhana System-

Karkhana system is a way of practicing Chikankari craft which existed before the Independence(1947). It was a system in which all the steps of chikankari craft process were integrated and the product was sold in the nearby bazaar. All of this used to take place in a Gunj, a community level spatial typology which acted as a small city in times of Nawabs. The Gunj was defined by a linear bazaar street with a gateway on either end to mark the entry-exit. The intersecting streets from the bazaar street used to lead to the interior of the Gunj where most of these Karkhanas existed. The product manufactured in these Karkhanas was then sold on the Bazaar street only creating a suitable economic environment for artisans and other creators.

The design proposal tries to re-interpret this spatial setting by creating a group of shops, stores, kiosks and religious spaces along a street with Gateways on either end depicting the entrance and exit for visitors. Then few intersecting streets have been added in between these shops and stores which are leading to the workshop spaces.

These workshops have been arranged in a linear manner along the street while maintaining the sequence of steps of Chikankari process.

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2.

Exhibiting the Process-

The Design proposal gives the visitors, an opportunity to pass along the workshop areas while experiencing the whole process of Chikankari live. This creates a setup like a live museum where an elevated corridor takes the visitors to this experiential journey while providing them physical and visual permeability to the first floor of workshops where there are embroidery workshops. And only visual permeability to the ground floor where all the other steps are taking place. The corridor works as a semi-open space providing a common space for circulation of both artisans as well as the visitors. It allows physical permeability to visitors on the embroidery workshops on the first floor as to experience the needle work, one needs to see it closely.

3.

Restorative Workspaces-

As Chikankari is a needle work craft, it puts much stress on the eyes of the artisans. In order to provide relief to their eyes the spaces have been designed in such a way that they always face greenery and other natural elements such as river and waterbody.

4.

Artisans’ suitable workspaces-

The workspaces has been designed in such a manner that it suits the requirements of the artisans. The nature of work requires spaces to be well lit and properly ventilated. To facilitate this, a huge skylight spanning half the width of the workshop modules have been provided to allow the hefty amount of diffused day-light from north, inside. Similarly, the façade facing south-west has been split into two surfaces facing South and west in order to cut down the harsh sun from South-west. The west face stands crucial as it faces the direction from where the wind is coming. So, this face has been 87 | Integrated Handicraft Park for Chikankari Cluster, Lucknow

provided with pivoted vertical louvres to allow wind inside. Other techniques such as- double roof system, mutual shading have been used to minimize heat-gain and make the interior spaces much more comfortable.

Another major idea was to provide flexibility of workspaces. As artisans have to sit in a particular posture for a long time, it is important to provide them with multiple options of workspaces so that they can switch it as per their comfort. This includes floor sitting, seating near the window and the deck outside.

This deck also works as a viewpoint for visitors and spill over space for artisans. In order to relief their eyes, artisans are supposed to wash them time to time. Keeping this in mind wash stations have been provided along the elevated corridor.

One washstation per two workshops.

Figure 46- Double roof

Figure 45- Skylight

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Figure 47- Wash Station

A

C

B’

B

C’

Figure 48- Workshop area Plan, Source- Author

A’

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Section AA’

Section BB’

Section CC’

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C.

Design Concepts and Proposal for Visitor’s Zone-

Figure 49-Key plan showing Visitor's Zone, Source-Author

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1.

Showcasing the evolution of Chikankari motifs-

Chikankari is a craft which has evolved over the years. It’s motifs are the major attraction to the craft. Chikankari motifs are majorly taken from nature, especially from botany. Although some of them came to it via architecture. Chikankari flourished in the times of nawabs who were fascinated about both Chikankari and architecture. Their love peaked when they ordered the craftsmen to create both in a manner that they complement each other. This was the time when several motifs such as- fish motifs, Paan motif, mermaid motif and other floral motifs from ornamented facades of nawabi architecture were imitated in chikankari craft.

That’s how chikankari motifs share their roots with nature and architecture.

The design proposal tries to exhibit both architecture as well as nature along with similar motifs on chikan cloths in order to showcase their influence.

2.

Translating the qualities of Chikankari into architecture-

For this refer to literature study ‘Understanding the ways to translate qualities of textile craft into architectural language’ 3.

Planning as a Chikankari composition-

The overall planning of this zone has been composed as a Chikankari pattern where there are 4 small Hul motifs (Galleries) and a big motif (Auditorium) which are all connected with curved stems(Pathways). Rest of the empty space is filled up with floral patterns(vegetation), along with a big patch of Jaali work(Exhibition area).

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B’

A

A’

Figure 50- Visitor's Zone Plan, Source- Author

B

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Section AA’

Section BB’

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D.

Design Concepts and Proposal for Housing Area-

Figure 51-Key plan showing Housing area, Source-Author

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1.

Revisiting the domestic architecture-

While designing the housing part it was important to look back at artisans’ lifestyle and dwelling types. The textual explanation of Lower income group houses suggests that the spaces in their houses flow into each other without any additional circulation space as we can see in upper class houses. Traditional houses didn’t use to have windows for ventilation, the ventilation was accommodated by the ventilators at top. One of these above features former one helps to minimize the area requirement and the latter one compromises with the quality of life. So only the former one has been adapted in the designing of units.

2.

Chabutara and Jharokha-

These two features are also part of the design in order to enhance the quality of life. The chabutara is a prominent feature within the region.

It works as a interactive space where the user can sit and work while interacting with their neighbours simultaneously.

This eventually might help them create bonding with their neighbours and help I building a community. The other feature Jharokha has been used to create a multipurpose spot within the unit which can transform in many type of spaces such as informal workspace, mini garden, storage space and hangout space. The visual connect with the community green makes it a restorative space too.

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3.

Community green-

Units along the existing farmland had an additional feature of restorative views. So to provide a similar feature to other units, a big green patch is proposed in the design. This works as a Community level recreational space, playing area for kids and a visual treat for the residents.

4.

Hierarchy of Spaces-

In the overall proposal a hierarchy of spaces have been maintained. The dwelling unit works as the private space, Chabutara in front works as the semi-private space, cluster-level open area works as the semi-public space and the community green works as the Public space.

Figure 52- Isometric Showing Heirarchy of spaces, Source- Author

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Figure 53- Housing Area Plan, Source- Author

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Cluster

Unit

Community

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For Design Details Refer to- Annexure 1

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VII.

Chapter 7: Views

Figure 53- View of Main Entrance, Source- Author

Figure 54- View of Entrance plaza with Restaurant, Source- Author

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Figure 55- Entrance Plaza, Source- Author

Figure 56- Entrance Plaza, Source- Author

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Figure 57- Gateway at Entrance Plaza, Source- Author

Figure 58- Isometric Showing Entrance plaza, Training Block & Artisans’ zone, Source- Author

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Figure 59- Training block Entrance showing Library & OAT in front, Source- Author

Figure 60- Areal View of Training Block, Source- Author

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Figure 61- Training Block, Source- Author

Figure 62- Areal view showing connection between training block and Artisans’ zone, Source- Author

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Figure 63- Connection between Training block and Artisans’ zone, Source- Author

Figure 64- Viewing deck in-between the artisans’ workshops, Source- Author

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Figure 65- Elevated corridor along workshops, Source- Author

Figure 66- Interior of workshop, Source- Author

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Figure 67- Staircase from grond floor of workshop to elevated corridor, Source- Author

Figure 68- View from bazaar street towards workshops, Source- Author

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Figure 69- View of bazaar street showing kiosks and shops , Source- Author

Figure 70- connection between bazaar street and workshops through allies, Source- Author

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Figure 71- Areal View of Bazaar street, Source- Author

Figure 72- Artisans’ workshops, Source- Author

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Figure 73- Bazaar street from entrance plaza, Source- Author

Figure 74- Admin block and bazaar street, Source- Author

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Figure 75- Isometric Showing Visitor’s zone, Source- Author

Figure 76- Entrance of visitor’s zone from elevated corridor, Source- Author

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Figure 77- Entrance Gallery of Visitor’s zone, Source- Author

Figure 78- View of Gallery showing relation between Chikan and Architecture, Source- Author

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Figure 79- View of gallery showing evolution of motif from Nature, Source- Author

Figure 80- Paths of visitor’s zone, Source- Author

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Figure 81- Gallery 2 and waterbody near it, Source- Author

Figure 82- Areal view showing connection between visitor’s and artisans’ zone, Source- Author

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VIII. Bibliography 

Diagnostic Study, Artisan: The Chikan Embroidery Cluster, Arya and Sadhana, 2002

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The socio-economic condition of Chikan workers in Kakori block of Lucknow-Seema Awasthi and Padam S. Bisht

 

Architecture as an economic tool, Varsha Subbarao https://rehwasociety.org/pages/setting-up-rehwa-society



A Case Study on Digital Empowerment Foundation’s Chanderiyaan Project by Ramendra Singh, Pratik Modi



Mari Hvattum, Gottfried Semper and the problem of Historicism,( U.K:Cambridge University Press,(2004)



Mark Garcia, “Impending Landscapes of the Architextile City, An interview with Dominique Perrault”, Architectural Design Architextiles vol 76(2006)



Lars Spuybroek, NOX: Machining Architecture, 2008 Available online- www.noxart-architecture.com/projects



Maria Ludovica Tramontin, “Textile Tectonics, an interview with Lars Spuybroek.”

Architectural Design Architextiles vol 76



Oscar Niemeyer, “The curves of Time, the memoirs of Oscar Niemeyer”, (London Phaidon Press Ltd,(2000)



Deidre Brown, Maori Architecture: from fale to wharenui and beyond



Ruth Wigglesworth, Architecture and Textiles: Master of architecture Thesis



Review report of Architecture’s Textural space Available onlinehttp://www.fourthdoor.co.uk/review/downloads/Architectures_Textural_Space.pdf Accessed on 25/05/2020



Project The Lymph Online Catalogue availablehttps://mahno.com.ua/en/blog/post/the-lymph-project Accessed on 02/06/2020



Paola Manfredi, Chikankari - A Lucknawi Tradition, Niyogi Books, (2017)

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