Landscape of Legacies : Bhutan 2019

2022

BHUTAN

LANDSCAPE OF LEGACIES PB

BALWANT SHETH SCHOOL OF ARCHITECTURE BSSA aspires to be a school of contemporary thought.

Learning architecture at BSSA is about the people, processes & technology. Architecture is about the holistic understanding between people, culture, heritage & art. BSSA wants understand people to be able to build for them. Architecture is about understanding processes than products. BSSA focuses on understanding processes in nature, science & society. It is a process based designed school.

ACKNOWLEDGEMENTS The trip to Bhutan helped us gather a better understanding of the country, it’s architecture, people and spaces. This compilation is a documentation of the selected works of our 5 day trip to Bhutan. We would like to extend our gratitude to our college Dean and it’s authorities for giving us this wonderful opportunity. We’d also like to thank our mentors Ms. Pranali Patel, Mrs. Sonal Sancheti and Mr. Prashant Prabhu, who not only accompanied us, but also motivated, guided us and encouraged us throughout the trip. Lastly, we extend our warmest thanks to the authorities and agencies of Bhutan, for the smooth conduct of the trip.

Copyright 2022 Balwant Sheth School of Architecture SVKM’s NMIMS All rights, no part of this publication, may be reproduced, or transmitted in any form, or by any means, electronic or mechanical, including photocopy, recording or any other information storage or retrieval system, without prior permission in writing from the publisher.

Fig. 01 Prayer flags at the Dochula Pass Bridge

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PREFACE Nestled in the eastern ridges of the Himalayas is a land yet tucked away from much of the world. Within the valleys of its sweeping ranges simmers an unseen symbiosis of nature of culture: the perfect recipe to make Bhutan a holy grail for architectural treasures.

Through this documentation, we explore the variety in landscape, devotion to culture and the environments they breed to render one of the happiest places in all its humble splendour.

Through means of collaging, drawing, sketching and mapping we explode the political nucleus of Bhutan, centred in the Paro and Thimphu valleys in the Lesser Himalayan region and well as Punakha, the former capital of Bhutan and the seat of government until 1955.

Published by Publication Cell, Balwant Sheth School of Architecture Editor Atrey Chhaya (I C Dean), Balwant Sheth School of Architecture

Fig. 02 The symphony of roofs at Semtokha Dzong

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PARO

FOLK HERITAGE MUSEUM

TA DZONG WATCH TOWER RINPUNG DZONG

AMANKORA RESORT

NATIONAL TEXTILE MUSEUM

TASHICCHO DZONG

BUDDHA DORDENMA

SIMTHO DZONG

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PUNAKHA DZONG

THIMPHU DOCHULA PASS

PUNAKHA

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OKA G

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INTRODUCTION The official name of Bhutan in their national language, Dzongkha, is Druk yul meaning land of the thunder dragon.

Cradled in the folds of the Himalayas, Bhutan has relied on its geographical isolation to protect itself from outside cultural influences. A sparsely populated country bordered by India to the south, and China to the north, Bhutan has long maintained a policy of strict isolationism, both culturally and economically, with the goal of preserving its cultural heritage and independence. Only in the last decades of the 20th century were foreigners allowed to visit the country, and in limited numbers.

In this way, Bhutan has successfully preserved many aspects of its culture, which dates directly back to the mid-17th century. Bhutan has continually been ranked as the happiest country in all of Asia.

Buddhism is practiced throughout the country. In the south, most people of Nepali and Indian descent are Hindu. Relations between the two are very good, with major Hindu festivals marked by national holidays.

There are 19 languages spoken in Bhutan. In 1960, Dzongkha became the national language. Nepali and English are the two most widely used languages whenever the Bhutanese have a communication problem.

Bhutanese architecture consists of Dzong and everyday varieties. Dzongs in Bhutan were built as fortresses and have served as religious and administrative centers since the 17th century. Secular lordly houses emerged as a distinct style in the late 19th century, during a period of relative peace in Bhutan.

Fig. 03 Framed view, across the birdge at Dochula Pass

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TA DZONG WATC Location - Paro, Bhutan Ta dzong as the national museum helps in contributing to one of the four pillars of Gross National Happiness (GNH) as a preserver and promoter of Bhutanese cultural values, lifestyles and architecture.

Ta dzong means watch tower, made to protect the Paro Rinpung Dzong.

The building design is unusual as it is round and has the shape of a conch shell. The design also looks like a union of the sun (circular) and the moon (crescent). It is believed that the union symbolizes victory and fame.

The round structure was built with just stone and wood without any nails.The building of Ta dzong has seven storeys.

The stone walls of the building are 2.5 meters wide. There is an underground passage in Ta-Dzong which is believed to connect the tower with Pa Chhu River and was used for supplying water in times of war.

In the past, Ta dzong also served in housing the soldiers and as well as the prison for rival soldiers.

The building was converted to house the first museum of Bhutan in 1968.

Fig. 04 Ta Dzong Watchtower, 2019

BUILT BY LA NGONPA TENZIN DRUKDA 1649

1714 SURVIVED 15 DAY LONG EARTHQUAKE

SURVIVED ANOTHER EARTHQUAKE 1896

1968 FINALLY CONVERTED TO MUSEUM BY KING JIGME DORJI WANGCHUCK

HTOWER

Fig. 05 (Top) Elevational Montage of the New Museum Fig. 06 (Middle) Elevational Montage of Watchtower Fig. 07 (Bottom) Elevational Montage of Entry to the Watchtower

Fig. 08 Series of Sections cutting through the Ta Dzong Watchtower

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Fig. 09 Site plan

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Fig. 10 Site Elevations

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R I N P U N G Paro is the name of district or Dzongkhag and as well as the name of its town center. Paro Dzongkhag is situated in the north-western part of Bhutan. It covers a total area of 1258.5 Sq. km. Paro is linked by road to Phuentsholing and Thimphu. The small and charming town of Paro is located at an elevation of about 2280m in the center of the valley, at the confluence of Pa Chhu River and the Wang Chhu rivers at Chuzom and extends up to Mt. Jomolhari at the Tibetan border to the North.

This picturesque region is one of the widest valleys in the kingdom and is covered in fertile rice fields and has a beautiful, crystalline river meandering down the valley.

Paro town was first formed in 1985 with one main street.

It is one of the most historic valleys in Bhutan. Both trade goods and invading Tibetans came over the pass at the head of the valley, making Paro the closest cultural connection with Tibet of any Bhutanese district. As of Jan 2011, Paro Dzongkhag has 10 village blocks known as Gewogs.

In total they have about 7118 households and 22 schools.

D Z

Z O N G ,

Fig. 11 Paro Dzong at the river front

P A R O

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C’

A’

B

B’

C

A’

Fig. 12 Site plan

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SECTION AA’

SECTION BB’ Fig. 13 Site Sectional Elevations

SECTION CC’

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The large dukhang (prayer hall) opposite has lovely exterior murals depicting the life of Tibet’s poet-saint Milarepa. The first day of the spring Paro tsechu is held in this courtyard. Outside the dzong, to the northeast of the entrance, is a stone-paved festival ground where masked dancers perform the main dances of the tsechu.

HISTORY Perched on the steep hillside of Paro, Rinpung Dzong during 17th and also 18th century served as a bastion for Bhutan versus invasion from the north. With its elaborate wood job, large light beams slotted into each various other and held together without nails Rinpung Dzong is regarded as among the example of Bhutanese architecture. Built with clay as opposed to stoned Paro Rinpung Dzong survived a huge earthquake in 1897 although it was ruined by fire in 1906.

Right after the fire, Rinpung Dzong was rebuilt by the Penlop Dawa Penjor.

ARCHITECTURE • The massive buttressed walls that tower over the town are visible throughout the valley, especially when floodlit at night.

• The dzong is built on a steep hillside, and the front courtyard of the administrative section is 6m higher than the courtyard of the monastic portion. The road to the National Museum branches down to the dzong’s northeastern entrance, which leads into the dochey (courtyard). The utse (central tower) is five storeys tall and was built in the time of the first (governor) of Paro in 1649. The richly carved wood, painted in gold, black and ochres, and the towering whitewashed walls reinforce the sense of established power and wealth.

Fig.14 (Right) Prayer Halls at the Rinpung Dzong Fig. 15 (Far Right) Traditional facade elements

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A M A N

K O R

subtle entry through nature

JOURNEY THROUGH....

Location - Near Kuenga Chhoeling Palace, Bhutan Architect- Kerry Hill Devoid of any ornamentation and staying true to the Bhutanese essence, Kerry Hill’s AmanKora in Paro is one of the finest examples of contemporary architecture in Bhutan.

Making use of minimal material, and using the existing landscape, it seamlessly creates a balance of nature and built form.

Fig. 16 Experiential moments captured in the Aman Kora Resort

intended contrast

R A

R E S O R T vernacular natural materiality

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F O L K

Folk Heritage Museum also known as Phelchey Toenkhyim was established on July 28th, 2001 with the initiative of the Queen Mother of Bhutan, Her Majesty Ashi Dorji Wangmo Wangchuck.

It is dedicated to connecting people to the Bhutanese rural past through exhibits, demonstrations, educational programs and documentation of rural life. Her Majesty is also the founder and patron of the Museum.

Folk Heritage Museum is the oldest historical place in Bhutan.

The Museum is more than 150 years old, and one can see that the rural setting and flavor has been well-preserved in addition to the paddy, wheat and millet fields that can be seen here.

H E R I T A

A G E

M U S E U M

Fig. 17 (Left) Schematic location plan Fig. 18 (Right) The Folk Heritage Museum 22

Third floor -Th room at the ba take place The living area.

The Middle Flo that are not use cheese contain and traditional TYPICAL FORM OF A BHUTANESE HOUSE: The built form of indigenous houses generally consists of a light thin structure suspended and floating above a heavy massive boxlike structure. These forms project out from the land and are notable in that they do not seem to try to simulate the natural curves and slopes of the hills and valleys that make up the natural topography of the land. This box-like built form is seen to have come about due to the following main reasons:  The influence of the local materials used.  The simple local technology used for construction.  The climatic conditions of the land.  The functional and spiritual demarcations of spaces.

The natural climate and topography of the place and the use of local natural materials like rammed earth for the walls were the main aspects that determined the formation of the built form of indigenous houses. In the past, lack of technology to produce curved formwork, that would allow rammed earth walls to have curved organic‟ forms,

The ground fl equipments su stirrups and ot beast-of-burde cows, sick anim the courtyard.

Courtyard - In courtyard. All th the courtyard t Fig. 19 Architectural features of the house explained through a schematic section

here are three main rooms on the top floor, one room at the back and two rooms in the front. The ack is the family kitchen. The thabtshang (Kitchen) is the room where core household activities two rooms in the front comprise of one living area (Baryap) and altar room (Choesham).In the

oor (Barthog) has two rooms which are used for storing agricultural products and other household odds and ends ed daily such as wooden boxes, baskets, wine and spirit containers made of bamboo and buffalo horns, butter and ners, the mortar and pestles for crushing chili and other spices, carpentry equipment, traditional stitching equipment sports items.for pregnant cows, milking cows, sick animals needing special care.

floor has three rooms. The front room is used for storing uch as leather bags, pouches, rug sacks, ropes, hats, saddles, ther odds and ends associated with the animals-especially en. The main room inside is reserved for pregnant cows, milking mals needing special care.

n most of the traditional Bhutanese houses, one would find an enclosed he domestic animals such as cows, horses, pigs and, – chickens, etc.are kept in to protect them from wild animals at night.

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T A S H I

C H H

Location: Timphu, Bhutan Architect: Yoser Lhendup Project date: 1969 completion of renovation Tashichho Dzong has been the seat ofthe government since 1952 and presently houses the throne room and offices of the king, the secretariat and the ministries of home affairs and finance.

It was first constructed in 1216 A.D. by Lama Gyalwa Lhanangpa where Dechen Phodrang now stands above Thimphu. In 1641, Zhabdrung Ngawang Namgyal acquired it but finding it too small, he built another one, known as the lower Dzong. The original dzong was destroyed by fire in 1771 and everything was moved to the lower dzong. The new building was later expanded several times over the years. It was damaged during an earthquake in 1897 and rebuilt in 1902. King Jigme Dorji Wangchuck had it completely renovated and enlarged over five years after he moved the capital to Thimphu in 1952 in traditional style using neither nails nor written plans.

The building has a 5 storey watchtower that rises from the Dzong’s centre. The gold, white and red buildings are not the only things that we should be amused about. The gold, white and red buildings are not the only things that we should be amused about. The one very intriguing fact about the architecture of the building is that it does not have any joints or nails throughout the building.

Fig. 20 Collage of facade elements of the Tashichho Dzong

H O

D Z O N G

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N A T I O N A L Location: Timphu, Bhutan Architect: Douglas Soe-Lin Project date: 2013 to present Concept The Royal Textile Academy design is a reflection on the fable, The Four Friends (Thuenpa puen shi). This fable embodies the concept of teamwork and collaboration. In the story, the peacock, rabbit, monkey and elephant cooperate to produce a bountiful tree. The peacock found a seed, the rabbit planted it, the monkey helped by fertilizing it and the elephant watered it and stood by to guard the tree.

The tree grew tall and thick with fruit, but the fruit was too high to reach. Working together, the four animals climbed on each other’s backs, making a tower, so that they could pick the fruit from the highest branches and share it with one another.

Like the fable, this project has its four cooperating friends.

The first is the museum, the second is the school, the third is conservation facility and the fourth is the community space the cultural heritage center, the banquet hall, the outdoor festival area, the restaurant, the shop and the office building.

All work together to serve and achieve the goals of the Royal Textile Academy. These friends (the buildings) – gather together around their shared courtyard, each designed with its own architecturally distinct shape, size and color.

T E X

X T I L E

M U S E U M

Fig. 21 The National Textile Museum 28

Fig. 23 The Double Glazed Glass in an Alumnium and Steel Frame Facade is pushed back from the Traditional Facade, creating a corridor of diffused sunlight.

Fig. 24 The Museum building lies between the Thagzo Lam & Norizin Lam Streets and connects the two through a series of steps.

Fig. 22 Schematic Plan showing the circulation paths converging at the coutyard that serves as a central connection to all four parts of the building.

Fig. 25 Built structure lies flat and low or lifted off the ground for visual connect with the background against which it stands.

Fig. 26 The National Textile Museum, Institute 30

B U D D H A

The Buddha Dordenma is located atop a hill in Kuenselphodrang Nature Park and overlooks the Southern entrance to Thimphu Valley. The statue fulfils an ancient prophecy dating back to the 8th century A.D that was discovered by Terton Pema Lingpa (Religious Treasure Discoverer) and is said to emanate an aura of peace and happiness to the entire world.

This massive statue of Shakyamuni measures in at a height of 51.5 m, making it one of the largest statues of Buddha in the world. The statue is made of bronze and is gilded in gold.

125,000 smaller Buddha statues have been placed within the Buddha Dordenma statue; 100,000 statues of which are 8-inches-tall and 25,000 statues of which are 12 inches tall.

Each of these thousands of Buddhas have also been cast in bronze and gilded. The throne that the Buddha Dordenma sits upon is a large meditation hall.

D O R D

D E N M A

S T A T U E

Fig. 27 The Buddha Dordenma Statue 32

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I

M

The Simtokha Dzong, built in 1629 by Zhabdrung Ngawang Namgyal, functions as a monastic and administrative centre and is the oldest dzong which has survived in its original form; Namgyal brought into vogue, for the first time in Bhutan, this concept of the “dzong” as castle monastery. The dzong, covering an area of about 60 m2 (650 sq ft), has only one entry gate from the south while in the past it was on the west.

The dzong built over three floors is covered on the exterior at the lowest level with prayer wheels where there is also an array of 300 carvings made of slate which depict saints and philosophers.

It functions as a monastic and administrative centre and is the oldest dzong which has survived in its original form;[1] Namgyal brought into vogue, for the first time in Bhutan, this concept of the “dzong” as castle monastery. It is believed that the dzong provided protection against a demon which had disappeared into a rock close to the site and hence taken the name ‘Simtoka’ meaning “simmo” (demoness) and ‘do’ meaning “stone”.

T

O

K

H

A

Fig. 28 The Simtokha Dzong

D

Z

O

N

G

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Fig. 29 Schematic Plan

Fig. 30 (Right) Traditional facade elements of the Dzong Fig. 31 (Far Right) Resident monks in the courtyard 36

Fig. 33 Wall section of the dzong The wall of the dzong is inclined having two layers of stone and rammed earth on either side making it stronger and stable.

Inner temple

Stone Cladding Rammed Earth

Fig. 32 Schematic plan of the dzong The schematic plan shows that there is a double circulation. This also happens at multiple levels in the inner temple creating a double-heighted space in the middle.

Fig. 35 Overhangs of the dzong The figure shows the overhangs in section placed in such a way that the courtyard would always receive different light. The windows placed at a higher level allow light to penetrate.

Private Semi private Public Utse Public Semi private Private

Fig. 34 Framed view of the sky The roofs at different levels of the dzong create a framed view of the sky ensuring both shade and light in the courtyard.

Fig. 36 Schematic plan of the dzong The schematic plan shows

how the space transitions from private to semi-private to to public.

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DOCHULA Dochula Pass, situated along the Thimpu to Punakha road is a mountain pass of Bhutan. Perched at an altitude of 3100mt, Dochula Pass is the highest motorable point of Thimpu.

Festooned with colourful prayer flags, Dochula Pass is considered as a historic and religious site in Thimpu.

Dochula Pass is marked by the 108 memorial chortens, also known as Druk Wangyal Chorten. Built under the commandment of Queen Mother of Bhutan, in 2005, to commemorate the memory of the brave soldiers who sacrificed their life in a 2003 military operation.

Choetens were built to represent receptacles of the relics of the Buddha and important saints and monks. They are found located mainly on high mountain passes, on roads, on approaches to important locations and buildings, and even on bridges.

Choetens range from as small as 2m to over 10m in height.

They are built mainly of stone and mud mortar. The inner part of the structure is usually kept hollow and filled with important and sacred elements.

PASS

VVvv

STONE SLAB ROOFING

TIMBER CORNICES

SLATE CARVING

STONE MASONRY IN MUD MORTAR

Fig. 37 (Above) Choetens at Dochula Pass OPEN SPACE FOR ZHUNG

Fig. 38 (Left) Schematic Plan and Elevation of a Choeten

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PUNAKHA DZONG

The Punakha Dzong is the landmark, administrative center of Punakha and the winter residence of the Central Monastic Body.

Well-known as the second oldest and largest Dzong of Bhutan.

Tibetan-style architecture complex of white walls, red woodcarving decorations and gilded roofs.

The Punakha Dzong has three docheys (courtyards), others usually have two only. It is 180m long and 72m wide and 6 storeys high.

Punakha Dzong is linked to the main road by a red wooden cantilever bridge on Mochhu River. At the main entrance, there is a specialized 7 meters high wooden ladder standing cliffy into the interior.

There are few golden pray wheels and fascinating Buddhist murals about the 12 Chinese zodiac at the doorway.

Fig. 39 Punakha Dzong 42

The Dzong is located between the Pho Chhu (Male) and Mo Chhu (Female) river in the Punakha–valley.

The Po Chu River is fed by glaciers of the Punakha valley.

After the confluence of these two rivers, the main river is known as Puna Tsang chu or Sankosh River, which means the Brahmaputra river eventually.

The only way to access the Dzong is to cross the Bazam (bridge) which was rebuilt in 2008 after the original 17thcentury bridge was washed away during a flood in 1958.

History With more than 300 years’ history, it was initially built by Ngawang Namgyal, in 1637.

The rectangular shape fortress is also an honorable treasury where preserves numerous Buddhist relics and historical legacies, an excellent witness of Bhutan’s history and culture.

Punakha Dzong suffered from lots of attacks and natural catastrophes, like fires, earthquakes and flood and went through frequent reparation.

Fig. 40 Elevational Montages of the Bridge 44

Fig. 41 Site plan

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Fig. 42 Site Elevations

Section E-E’

Section F-F’ 46

Section A-A’

Section B-B’

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Fig. 43 Sectional Elevations

Section C-C’

Section D-D’

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2019

Aayushi Dcosta | Nazm Furniturewala | Arushi Kejariwal | Khush Khandelwal Ammar Rassai | Drishti Shah | Richa Solanki Ahan Dasgupta | Tirth Gajra | Shreya Gupta | Shreya Mathur | Ayushi Pritamani Ruhi Ratho | Krisha Sanghvi | Harshiv Vaghela | Aashka Ajmera | Kaira Bhalla Khushali Chaliawala | Nikhil Kishnani | Anushka Naik | Rushil Patel | Rozal Mehta Yagnesh Mehta | Niva Shah | Preya Somani | Raeka Tambawala | Ruchika Khalate Nidhi Sanghrajka | Shazneen Vazifdar | Priyashi Mehta | Tavish Lakhwara Devansh Shah | Devashri Deshmukh | Divy Vora | Stavan Gang