CHAPTER 1: INTRODUCTION
Tharu Cultural Center Department of Architecture April2022
1.1 “CULTURAL CENTER”: (CULTURE + CENTER)
CILTURE: according to word web dictionary
(Archeology) a particular society at a particular time and place
the beliefs, values, behavior and material objects that constitute a people's way of life
the attitudes and behavior that are characteristic of a particular social group or organization
the tastes in art and manners that are favored by a social group
all the knowledge and values shared by a society
CENTER: according to word web dictionary
the piece of ground in the outfield directly ahead of the catcher
an area that is approximately central within some larger region
a building dedicated to a particular activity
a place where some particular activity is concentrated
From the above points we can confirm that “a cultural center is an organization, building or complex that promotes culture and art of some particular place, social group or a community.
The topic of my thesis is “Tharu cultural center”. A cultural center is an organization, building or complex that promotes culture and arts. One of the meanings refers to the place where people meet for a given purpose. A cultural center is so space to participate in cultural activities. These center’s aim to promote culture among the people of a community and building materials, form of buildings. As a member of society and student of architecture, this thesis will provide me an opportunity to learn more about people, tharu culture, religious, life style and relation with architecture.
My thesis is concerned with how the cultural center is often a meeting point in small communities where people come together to preserve traditions and develop cultural activities that include the participation of the whole family. The property of cultural center is usually State or cooperative, because it generally non-profit institutions. The
Tharu Cultural Center Department of Architecture April2022
1 INTRODUCTION
project also encouraging close relationship between people, encourage involvement in cultural work, flourish of Tharu architecture, etc.
Culture was defined earlier as the symbols, language, beliefs, values, and artifacts that are part of any society. As this definition suggests, there are two basic components of culture: ideas and symbols on the one hand and artifacts (material objects) on the other. The first type, called nonmaterial culture, includes the values, beliefs, symbols, and language that define a society. The second type, called material culture, includes all the society’s physical objects, such as its tools and technology, clothing, eating utensils, and means of transportation.
The culture is not only about intellectual and creative products like literature, music, drama, painting etc. and again it is not only about beliefs and practices of society but culture is more than that. Culture is a part of the fabric of every society. It may be also relatively unconscious such as rituals of food, use of time or family celebrations. The cultureof aparticularplacedepends upon thetopographical features, climate,resources available, historical context, neighboring influences etc. That's why the cultural differenceexistsfromplacetoplace.Cultural assimilationandculturemixalsohappens most of the time at various situations.
1.2 Culture in context of Nepal
The culture of Nepal encompasses the various cultures belonging to the 125 distinct ethnic groups present in Nepal. The culture of Nepal is expressed through music and dance; art and craft; folklore; language and literature; philosophyand religion; festivals and celebration; food and drinks. (Wikipedia, 2007)
According to census 2011, total population of Nepal are 26,494,504 and they follow different particular religious such as Hindu (81.3%), Buddhist (9.0%), Islam (4.4%), Kirant (3.0%), Christian (1.4%), Prakrit (0.5%), Bon, Jain, etc. (Bista, 2014).
ManyHindu and Buddhist symbols can be found in Nepalese culture. This multifaceted cultural heritage incorporates the cultural diversity of diverse ethnic, tribal, and socioeconomic groups living at various altitudes. Nepal offers a varied range of culture, while being a relatively small country with geographical diversity. Nepal's cultural variety appears to have been its identity throughout its history. Art, culture, customs,
Tharu Cultural Center Department of Architecture April2022
festivals, and religions have always been an important element of Nepalese culture and are deeply embedded in Nepalese life. Throughout history, this small magnificent land has always expressed many colors of culture and has created adistinct andpraiseworthystatus in the globe. Various Nepalese arts, such as terai Mithila art, stone sculptures, wood carvings, paintings, architectural wonders, and many more festivals and cultures observed throughout the yearin various partsofNepal, evokeNepal's deep-rooted cultural worth.
There is a vast range of geographical diversity in Nepal, from high mountains, hills, and plain Terai, as well as alargerangeofcultural diversity.Asaresult,Nepal is known as a culturally diverse country with a diverse range of ethnic groups and their distinct customs, traditions, attire, languages, occupations, religions, and so on. In Nepal, there are more than 125 caste groupings, 123 languages spoken, five major faiths practiced, and much more unique customs. Ethnic groups such as the Tharus, Newars, Tamangs, Gurungs, Brahmans, Chhettris, Sherpas, Thakalis, Magars, and others have their own culture, language, and way of life. Each ethnic group is quite enthusiastic about its festivities.
Source:
Tharu Cultural Center Department of Architecture April2022
Figure 1: Nepal Cultural Diversity by Altitude
Figure 2: Nepal Cultural Diversity by Altitude
Figure 4: Nepal Caste/Ethnic Composition (2011)
1.3 Project Background
According to CBS data 2011, total Tharu population are 1,737,470 and Tharu ethnic groups are highest in number by districts are Sunsari, Dang, Bardiya but in 2009 highest are in Susari, Dang, Bardiya and Kailaili. Among them 7, 74,924 are males and 7, 58,955 are females according National census 2011 (Bista, 2014).
Tharus are probably among oldest groups to inhabit in Terai. They have their own language, culture, rituals, culture, customs and lifestyles. They are rich in folklore, literature, language. Tharus are separated into subgroups based on their cultural and linguistic differences. Morang Kochila refers to Tharus from Jhapa, Morang, and Sunsari districts; western Kochila refers to Tharus from Udayapur, Saptari, and areas west of it; Kotharia, Dangaha (Dangoura, Dangaura) refers to Tharus from central and mid-western Terai; and Rana Tharu of Kailali and Kanchenpur refers to Tharus from the far west. Tharus are rich in cultural heritage and have their own special costumes, unique ways of living, language, religious belief, which make them different from other indigenous communities in Nepal.
“TheTharus”, arethe indigenous tribes livingin innerTerai valleys andtheTerai plains of Nepal. They have been living in villages near jungles and the foothills of Chure Hills, which are isolated and undisturbed for centuries allowing them to develop a unique sense of culture and religion within the tribe (Culture & Festivals, 2015)
Tharus are one of the ethnic groups in Nepal with their own culture, traditions, art, and architecture. They have mostly settled in the Terai regions of Nepal with their main occupations of farming and fishing. Tharu women are engaged in making bamboo baskets and wheat-straw fans. The Tharu are divided into different castes that each has its own culture and religion. Tharus speak variants of Urdu and Awadhi in western Nepal of Bhojpuri and near central Nepal, and Maithili in and near eastern Nepal. The Tharus are mostly Hindus, but many do follow Islam, Animist and Buddhist beliefs. Religious freedom is practiced in all tharu tribes, giving them the freedom to embrace their desired religion including Christianity. They have their own cuisine and indigenous clothing.
Tharu Cultural Center Department of Architecture April2022
Source: https://www.explorehimalaya.com/tag/tharuculture/
Tharu women are considered to be naturally beautiful. They like to dress up very colorful, and flaunting their beautywith attractive silver ornaments is the part of their culture. Tharu women are considered to be very skillful craftsmen and the knowledge has been passed down from mother to daughter since generations. Household furniture, clay Potts, chauki, dhokra, jhaal and kewar are made using the raw materials found in their surroundings itself. And the method has not changed since the primitive age (Culture & Festivals, 2015).
Source: http://kitenepal.com.np/index.php?page=tharu-products
Tharu Cultural Center Department of Architecture April2022
Figure 9: Tharu Fishing Culture
Figure 7: Different Types of Handicrafts
In current situation this type of skillful craftsmen and knowledge is decline day by day. In Tharu villages, houses are usually arranged in small clusters around an open courtyard. The forms of Tharu houses are distinct expressions of the need to adapt to given physical conditions. The houses have thin walls built of light materials like bamboo, mud, and reed with small openings for ventilation to keep out the humid heat.
Source: https://www.amazing-world-in-free-stock-pictures-andphotos.com/chitwan-tharu-village.html
The beautiful and artistic traditional houses of the Tharu people made of wood and thatch are on the verge of disappearance these days. This situation has arisen as the people of this indigenous community are abandoning the traditional architectural style for the 'modern' cement and concrete houses. The shortage of timber, tiles, the 'khariya' grass and the alluvial mud found in ponds, which are used in building the traditional Tharu houses is another reason for the disappearance of the traditional houses. Tharus have also started choosing for the brick and cement houses as their economic status improves. The cost of traditional house is little bit different than modern house whereas alsomodernhousehasmorelifetimeandsecureas comparedtotraditionalhouse.Tharu people community could bring timber from the forest for free but now the situation is changedforestswerechangedintocommunityforestasall theforest-basedconstruction materials have to be purchased. The factories manufacturing the traditional mud tiles and other items have closed down. Moreover, the Tharu people living in the towns and cities have started building modern cement and brick house and also in rural areas. In few place Tharu community people have started the home-stay tourism services and have preserved their traditional houses (Rastriya Samachar Samiti, 2019).
In present scenario the form traditional is same but the building techniques is changed. In past all building materials are related to nature. The building techniques in new indigenous building is changed. They introduce modern technology and equipment.
Tharu Cultural Center Department of Architecture April2022
Figure 12: Tharu's Traditional House
1.3.1 Tharu wall painting
Ashtimki, an ancient tradition of painting the story of the evolution of life, holds great significance among the Tharus of western Nepal. WhiletheTharusin eastern Nepal draw Kohbar on their walls during marriages and other rituals, theTharusin the west, particularly in Banke, Bardiya, Kailali, Kanchanpur,and Surkhet districts, adorntheirwalls with Ashtimki on the day of Krishna Janmasthami, the birthday of Lord Krishna. The painting, aesthetic in form, not only represents an art form, but depicts the Tharus’ version of the evolution of life and tells the story handed down from generation to generation (Chaudhary Sanjib, 2018).
Source: http://ecs.com.np/features/ashtimkian-ancient-form-of-tharu-wall-painting
Ashtimki is inspired by folklore and nature. While the painting comprises motifs representing the sun, moon, trees, monkeys, fish, and tortoises, among others, natural colors extracted from red clay, white stone powder, colored earth, vermillion, flower and leaf pastes, and burnt wild grass, etc. are used to create it. Tender bamboo shoots are used as natural brushes by crushing their tips into a brush-like structure. Historically, Ashtimki is painted by men, and the women support them in the process. However, girls and women are also learning to paint these days in order to keep the tradition alive (Chaudhary Sanjib, 2018).
In kohbar painting there is sun, moon, bamboo (one is baas and another is basin). In Tharu bamboo means baas. This type of painting was drawn on mud wall but in current scenario it should be drawn in paper and also in limited number of people draw. In past wall of tharu house is decorated with beautiful painting and statue. Moreover, this unique wall painting of the Tharus is disappearing as the youngsters are not interested in it while the seniors are also not keen to transfer this skill to them.
Tharu Cultural Center Department of Architecture April2022
Figure 14: Ashtimiki
Source: https://twitter.com/sankuchy/status/1313808436925063170
1.3.2 Denhari, the indigenous craft of Tharus
‘Denhari’, which has been traditionally used by the Tharu community for storing food grains, is on thevergeofdisappearance.Denhariis earthenstructures constructedinside the house by using clay, paddy straw and rice husk. These structures are constructed in variousshapesas round,rectangular,conicalandothersandcanbeused formanyyears. Moreover, this unique craftsmanship of the Tharus is disappearing as the youngsters are not interested in it while the seniors are also not keen to transfer this indigenous skill to them (Rastriya Samachar Samiti, 2020)
The Tharu people say that they are facing problems managing the clay required for making the Denhari. The loamy type of clay for making Denhari has to be brought from the ponds and lakes inside the forest areas. But these days the forest authorities do not allow collection and digging of this type of soil inside the forest in the name of forest conservation. “These days, people have been opting for bins made of tin, bamboo and plastic for storing food grains. This is also one reason for the displacement of the Denharis” Denhari is not only a part of the Tharu culture but also has religious value (Samiti, 2020)
Tharu Cultural Center Department of Architecture April2022
Figure 17: Kohbar
Figure 20: Denhari and Mud Rack
Also mud rack is made to keep things into it. Beautiful design of mud rack is made with different levels. Mud rack is used to keep small utensils in it. Its size varies according to requirements. Mud rack is made same as denhari.
1.4 Importance of Project
Cultural centers are a prime way to bring communities together in their learning, which makes it more enjoyable and spent their time. Cultural centers often hold classes and cultural events, which bring numerous volunteer opportunities. Volunteering opportunities can bring people closer, make them feel good, and for younger kids, they canlookgreatonapplications.Thesecentersareagreatwaytounderstandotherswithin your community. Knowledge is absolutely power, and it will bring community members together in a fun and constructive environment, which not many other things can do. These centers provide a unique experience. Cultural center also helps to preserve our culture for future generation. This center helps to promote Tharu Culture and Society among local to National level. Culture center also rises the living standard of people and also welcoming the tourist to visit and stay.
1.5 Justification
For a nation to be established there needs to be identity. Identity is developed by the history and background of the people living there. The evolution of culture and civilizationforms the unique pattern of lifestyle, costumes, belief systems, tradition and architecture. But now due to change in socio-economic status and influencing of globalization and modernization has eroded the genuine life style. Currently the Tharu
Tharu Cultural Center Department of Architecture April2022
Figure 23: Dimension of Denhari
traditional lifestyle and culture is facing change and many heritages are either lost or out of practice.
The cultural center ensures the space for keeping arts and cultural work along with live performing of yearly cultural and religious activity. The project not only plays important roles in preserving traditional culture and arts but also engage people with environment and revive the cultural tradition. This center creates different spaces like public space, innovation and training space, exhibition, cultural space. Tharus are very rich in architecture and the form of the building and use of building materials in house are very eco-friendly with nature.
Tharu culture center will provided various open spaces, semi-open and private spaces and creating various entertainments, which creates good relationship between people and its culture. Tharu culture centre will play vital role for creating central plaza in that place. Therefore, tharu culture and architecture are reflected in Tharu cultural centre and also increase well bonding between people, training should be provided to engage in culture and know about its importance and also helps to increase income through tourism and helps to flourish cultural in national and international level. Tharu cultural dance, tharu food and night stay increase the tourism. Most of the people wants to stay in traditional house and get enjoy the environment.
The study argues that the center to be an important mechanism for maintaining communitybonds and group integrity, restoring harmony and unity among members of the community and resolving interpersonal and inter-group conflicts also. Such kind of project is not built in Chitwan till now. This makes more need of this kind of project in Chitwan to preserve and flourish tharu culture and arts. Presently festivals gathering and cultural performance are carried out in open cultivated land. Therefore, this kind of cultural center is very important to design.
1.6 Statement of Problem
Tharu culture is eco-friendlier. Tharu indigenous community and culture are decline day by day due to different reasons. All tharu buildings and culture are replaced by modern technology and materials. The loss of traditional architecture is a major problem all over the Nepal. Due to Modernization all people want their living condition high and theyare more influence in adoption of modern technology. Most of the people are encourage towards urban are for better life style and more encourage to adopt other
Tharu Cultural Center Department of Architecture April2022
culture. Urbanization is also a major problem to decline of traditional building form. Government of Nepal also announce; Thatch roof are replaced to zinc roof.
Culture and climatic change affectingthe living style of the people. Unawareness of the people about the cultural heritage, architectural style and primitive construction techniques. It’s important to preserve the original culture of Tharu which facing rapid changes. Lack of space for culture promotion in Chitwan for Tharu to expose their culture, literature, performing art and local crafts, etc at one place.
I have taken site at Bachhauli, Chitwan. It is situated at the mid part of Nepal. Tharus people are rich in culture. And due to modernization and urbanization, disappearing of tharu culture and arts. There is only museum and cultural dance performing space to explore tharu arts and crafts, culture. The cultural dance is running for economic purpose but no space for changing room. All culture and arts are disappearing day by day due to more influence in modern technology and urbanization and also adopting foreign culture. Generally, youths are more running toward foreign culture and forgot their own culture. Cultural center is one of the ways to preserve culture.
1.7 Objectives
To create a space for collecting, learning, experiencing and display cultural and social activity
1.8 Study Area
Tharu Cultural Center Department of Architecture April2022
Figure 26: Study Area Location Map
Ihave chosen mysite at Chitwan,Sauraha where TharuCultural Museum andResearch Center already existed. In this site the visitors pass through tharu village which is one of the strongest points in my design also many landmarks which attracts tourist to visit Chitwan. In Chitwan there are running many programs related to tharu culture but these programs are not running proper ways. Example, tharu dance program are running in one place then other activity is running in another place. This causes visitors confusion and they cannot visit everywhere according to time so that I have taken my site at Chitwan to merge all program in one place and provide better opportunity to learn and explore tharu culture.
1.9 Scope and Limitation
The project ‘Tharu culture center’ encompasses both theoretical researches and design development because of which, it has been chosen as a thesis topic of Bachelor in Architecture. The project needs understanding of issues, study of theories relating to tharu culture, its origin, life style, architectural expression, tharu house, architectural spaces need to be visualized for responding issues with correct solutions. Tharu culture center also plays vital role in development activities in the local and Nation level. This type of center also provide opportunity to save our culture for future generation.
Tharu culture and architecture both are vast topic which need lots of researches, lots of data collection and analysis, only basic and general idea required will be achieved through necessary study and architectural solution to the need and issue will be proposed. The aim is to create Tharu cultural center is to preserve and promote tharu culture and architecture. The project will discuss on building materials and technology, building forms, planning of built and open spaces, bye – laws, settlement, handicrafts, and arts and crafts, and its culture and traditions behind loss.
Tharu Cultural Center Department of Architecture April2022
CHAPTER 2: METHODOLOGY
Tharu Cultural Center Department of Architecture April2022
2 Methodology
Methodology is the steps to reach the objectives. Data will be gathered through both the primary and secondary sources. An innovative approach to research called Participatory Data Analysis will be used. People of related field and randomly selected members of the community will be interviewed and questionnaires also issued out. The secondary source will comprise of literature review of publications including books, journals, conference papers and magazines from both the library and the internet.
The following outlined methodology must be followed for moving a step forward:
1. Preliminary stage:
A. Collection of data and information relevant to the project
B. Visit proposed site and analysis
After collecting all the data from the preliminary stage, the proposed requirement of the design was formulated based on all above studies.
2. Secondary stage
A. Planning
a. Development of master planning
b. Conceptual design of building
B. Building
a. General layout/arrangement
b. Architecture plans/elevation/section
c. 3D/model
Tharu Cultural Center Department of Architecture April2022
3 LITERATURE REVIEW
This includes the review of space standards and technical information necessary for design development of various proposed programs. The literature study will guide throughout the design phase and helps to sort out the considerations for proper design solutions. The study will be done on Various Spaces, Areas and Supporting factors required for Cultural Centre as per the programs proposed.
3.1 Tharu House
3.1.1 Typical Tharu House and Layout
The internal layout of the house dose not vary expect in the size and number of rooms.
The location of the kitchen and the deityroom dose not vary, so in addition to the northsouth axis we find a constant distribution of features on the east and west of house.
From North to South the house is divided into three sections
The southernmost area is "Ghari" (place to keep cattle’s cow, buffalo, goat, etc.)
The next middle section "Bahari" is a semi-public area.
The northern section called "Bhitar" contains the "Konti" sleeping room, "Bhansa" the kitchen and "Deurar" the deity room.
The "Bhitar" is entered via a door way situated at the middle of the north wall of 'Bahari" which gives into the central corridor of silos " Dehari" on either side. To the north most part of the house is "Bhansa " on north-west side and "Deurar" on northeast side, where the deities face east. In the hierarchy basis the highest-level north will always be dominating, so in case of extension of house, the house is always extended towards south.
3.1.2 Different size and variation in dimension of Tharu house
Bachauli Tharu Village is located in Chitwan district Sauraha. This village is situated 5 km south from Tandi. The village is planned in linear pattern i.e., road is linear so building is located side byside. The village is near Sauraha and Chitwan National Park.
The space is divided in three parts i.e., public, semi public and private.
Tharu Cultural Center Department of Architecture April2022
The Dalan or Duwar (public Space)
It is used for various purpose such as animal shelter, parking of vehicle, sitting space for people. First unknown or known people they sit in dalan and prople come from inside and talking to the known or unknown people. Old people are sleeping in dalan.
The Courtyard or Aangan (semipublic space)
It is used forvarious purposes suchas storageofagricultureproducts, performingdance and social gathering in festivals and ceremonies, children playing, outdoor sleeping in summer time etc.
The size may vary up to 50m * 40m. Rana Tharu are agro based people and have various feasts and festivals.
The courtyard is not utilized by single family but by a whole society.
Tharu Cultural Center Department of Architecture April2022
Figure 30: Public Space
Figure 33: Semi Public Space
Figure 27: Tharu Settlement
The Verandah or Oshara (semi private space)
It is used for outdoor sleeping and acts as a familylounge. In veranda also small tools are kept. The veranda is most suitable in hot climate. The width varies from 2m to 6m and length as the house.
The Room (private space)
The rooms are used for storage and sleeping purpose only. This space acts as private space. The room size is varying. Inside room showcase is designed in wall called chaka in maithali. In showcase small objects are placed like as fashion objects. Its size is varying and helps to kept small objects.
Tharu house are measured generally by hand (in Maithili called hath) and are in odd numberofsizehands houselikeas 7,9,11hands. Onehandequal to 1’6”.Evennumber of hands size house are not constructed, Ram Prasad Chaudhary said.
Tharu Cultural Center Department of Architecture April2022
Figure 36: Semi Private Space
Figure 39: Showcase Design in Wall
Figure 42: Plan and Section of Tharu House
3.1.3 Materials and Construction Technology
The materials used in construction are procured from the natural environment: wood, bamboo, soil, rise husk, cow dung etc. The wood of young trees, section varying from 12 to14 cm is used to make posts and beams, which form the frame work of the ceiling.
Bamboo is cut with in the village. Bamboo steams are used to make the fences while bamboo lathes are used in the framework and the roofing. The grass (straw) used in the roofing is cut to a length of about 1 meter and tied into bundle
The yellow ochre clayey soil mixed with the rice husk forms cohesive cement. A coating of clayey soil and dried cow dung is applied on the cob walls, the floors and the household equipment: fire stoves, Denhari, etc.
The dwelling building is covered bya large thatched roof supportingentirely byseveral rows of wooden poles. The frame work is constituted by the ensemble of poles which supports thepurlin. Thepurlins rest ontheforkheadofthepoleto whichtheyarefirmly fixed. The purlin is made up of 2 or 3 pieces of wood joined together so as to cover the entire length of the building.
Tharu Cultural Center Department of Architecture April2022
Figure 46: Roof Construction
Bamboo
Mud mixing
Timber
Figure 45: Different Building Materials
Door openings, small window “Japhari” are provided on walls below the roof for light and ventilation for the inhabitant area. The door consists of wooden framework and two pivoting leaves, allow the passage of 90 cm wide and 150 cm high. The door is placed in middle part of the wall. Tile is placed in roof on a bamboo mat. The window is made of splitting bamboo “bati” where light and air are passed through it.
3.1.4 Construction details of wall
The wall are built of millet steam or khariya grass or bamboo, etc. and are tied to the pillars with durable ropes and supported by bamboo elements. The plastering of walls on both sides about 2” of thickness and decorated on them are done by women. The home made plaster is made of mixture of clay, cow dung, chaff of wheat and water.
3.1.5 Bamboo Construction
Bamboo as a building material has high compressive strength and low weight has been one of the most used building materials as support for concrete, especially in those locations where it is found in abundance. Bamboo as a building material is used for the construction of scaffolding, bridges and structures, houses.
Tharu Cultural Center Department of Architecture April2022
Figure 53: Construction Detailing of Wall
Figure 52: Front View of House
Figure 49: Japhari window
3.1.6 Bamboo as a Building Material
Utilization of Bamboo for construction is achieved by a structural frame technique which is related to same approach applied in usual timber frame design and construction.
In the case bamboo, floor, walls and roof are interconnected and often rely on the other for overall stability. Bamboo has played a vital role in the growth of enterprises and the rural transformation.
3.1.7 Walls Construction with Bamboo as a Building Material
Bamboo is extensively used for construction of walls and partitions. Posts and beams are the main elements normallyconstructed with bamboo provide structural framework for walls. They positioned in a way to be able to withstand forces of nature. An infill is used between framing elements to add strength and stability to the walls.
Source: https://theconstructor.org/building/bamboo-as-a-buildingmaterial-uses-advantages/14838/
3.1.8 Timber work
Timberisaversatilematerial,itspropertiessuitedtoawiderangeofusesbothstructural and non-structural. It can be used for numerous exterior and interior purpose, ranging from structural use, such as column, beams and rafters, to non-structural elements such asexternaltimbercladdingandinteriorflooring,windowanddoors,panelsandfencing, as well as for furniture and specialist use such as musical instruments or tool handles.
Tharu Cultural Center Department of Architecture April2022
Figure 57: Different Form of Wall Construction
The ready availability of timber and some of its characteristics, such as its workability and appearance, have contributed to its established use in traditional construction and crafts, andits modern reputation as an environmentally-friendlyrenewable material can enhance the value.
Generally timber column and beam are used in house for better strength and easy to handle.Sal timberis used forlongdurabilityandits betterstrength. Timberare bringing from forest but now a days it should be band to cut Sal tree in the name of conservation. The price of Sal timber is high as compared to other timber.
Thefigurebelowshowsthecolumnandbeamhowtouseinbuilding.Incircularcolumn or rectangular column their top part is reduced in diameter to hold beam. There is hole in beam and placed above the column for better joint. The column has small diameter in top part called chur in tharu language. This technology is used in every tharu house to hold beam. It also dismantled easily without destroying its parts. King post are placed above the center of beam and supports purlins.
The above figure above shows the joint of two timber. The joints are connected by the bamboo stick for better joints. This type of joints is easily dismantled and replaced.
Tharu Cultural Center Department of Architecture April2022
Figure 59: Joint between Beam and Column
King post or bauna King post or bauna
Figure 61: Joint of Timber
3.1.9 Construction of Roof
Roofing system consists of components such as wooden rafter or bamboo rafter, bamboo purlins, bamboo truss, bamboo mat, rice and wheat straw because of their local availability. This roofing system is developed by considering local availability of material, economy of the structure, aesthetical view of the structure and life of the structure.
In Tharu house generally bamboo is used and above figure shows the bamboo rafters called tharu people koro. Small diameter bamboo called Malbasa in tharu language are used in rafters. About 4- or 5-years old bamboo are used in making house. Bamboo mat are laid over the rafter. Bamboo mats are generally used of greater diameter of bamboo. Then it is divided in 6 or 8 parts of bamboo in length wise. Quarter part of the bamboo are placed through the end of rafters for better joint between the bamboo mats. Thatch is placed over it. This type of roof has better thermal properties. The materials used in the roof are sustainable and eco-friendlier to nature. The materials used in roof are used as different ways and are not harm to nature in any condition.
'khariya' grass are used more economical as roofing materials. This grass is more durable than straw.
Tharu Cultural Center Department of Architecture April2022
Thatch Roof
Bamboo Mat
Rafter
Binding with Rope
Figure 63: Roof Construction
Figure 66: Section of Roof
The roof is made of rafters “Keri” which extends from the ridge to the roof. The rafter is tied to the purlin with the help of plant strap and are placed at the interval of 60 -80 cm. The Bamboo laths “Bati” is placed on the purlins at a distance of 30 cm parallel to the ridge. Together with the purlin they form a light frame on which the straw is placed. The straw, tied into bales, is arranged in successive layer held in position by bamboo lath.
Tharu house are types such as shed roof house (intharu ekchariya ghar), gabled roofhouse (in tharu called munihi ghar), hip roof house (chaupayir ghar) etc., said Ram Prasad Chaudhary.
3.1.10 Transformation of Tharu House
Tharu house is transform according to materials, construction technology and form.
The plinth of house construction is transformed from mud to brick work. The causes of transformation are no periodic repair needed in brick plinth work. In mud plinth it should be repair and maintain every year and also rat makes hole in plinth and entered into room. The brick work also preserves bamboo wall with moisture and other causes.
Tharu Cultural Center Department of Architecture April2022
Figure 68: Different Form of Roof
Figure 73: Plinth of House
Figure 71: Timber Post to Concrete Post
Inpresent time,timberpost is replacedwith concretepost.Thereis noneedoftreatment in concrete post and easily made this post in house but in timber post it should be costly also and need preservation from climate and fungal attack.
king post is used in house but in this time, there is no need of king post. It shows that there is also change in construction technology.
3.1.11 Agricultural implements and iron tools
Agriculture is the main profession of Tharu. They have farming schedule throughout the year. They use their own traditional system of farming. Modern systems are also applied by some Tharu in these days. Generally, they prepare their agricultural implements by themselves but they purchase iron tools and items from blacksmiths. The agricultural implements and iron tools used by the Tharu are:
Sikhar –A kind of rope, which is specially made to fit in Bahinga to carry various baskets.
Bahinga- A wooden member generally 5 feet in length, which is placed on shoulder to carry two baskets fitted with sikhar on two sides.
Chhittwa-A small kind of basket, made of bamboo, which is generally 1’6” in dia. And 1’ height and used to carry various small goods.
Chhatri- A kind of hat made of bamboo and leaves with special weaving system, whichis 3’0”-5’0”in dia.and used to protect from rain and sun in field.
Dheki – it is like a machine mainly consist of 7’3” long and 9” wide wooden beam with a pounder attached at the end and used for husking rice or maize with the help of leg.
Hasya-A kind of iron tool with wooden handle, used for cutting grass, shrubs, vegetables, etc.
Tharu Cultural Center Department of Architecture April2022
Figure 74: Dheki
Khurpa –it is also a iron tool with wooden handle, a kind of sickle, which is 1’3” in length.
Source:
https://www.academia.edu/5547336/Litrature_review_THARU
Tharu Cultural Center Department of Architecture April2022
Figure 77: Different Agricultural tools
Figure 78: Tharu Household Utensils
Har- It is a plough used to dig the agricultural land. There are two types of har; Murhara Har, Jangha Har.
Far-An iron implement used in har to plough the dry land.
Source: https://www.academia.edu/5547336/Litrature_review_THARU
3.1.12 Fishing tools and goods
Fishing is the major activity in the spare time between agricultural activities. They all know how to fish even the children. Fishing methods vary in accordance with seasons. In, summer, when the water is deep, bow net and cast nets are used. During winter, when the water level goes down, women look for selfish in the riverbeds while the men fish in rapids. They prepare their fishing tools and goods by themselves and they are:
Jal – A fishing net made from San.
Mahajal- it’s a kind of big jal and is used to catch big fishes.
Helka- It has a small frame of wood in which net is fitted. In this day’s iron frames are also used.it is only used to catch small fishes.
Tapi-it contains two flexible bamboo sticks in which a net is tied at four corners with the help of rope.It is generally 4’ 0” square in base with 3’6” height.
Dharya- it is a special kind of fishing tool made from bamboo weaving. It is placed at flowing water, after sometimes fishes are collected in it. Fishes cannot
Tharu Cultural Center Department of Architecture April2022
Figure 80: Agricultural Implements
come back when they once enter into it. It is made in various sizes. The length varies from 2’6”-4’0”, width 1’0”- 2’0” and height from 1’3”-2’0”.
Hawal- it is also a special kind of fishing tool made from bamboo weaving, which is placed at drain to collect fishes. It is 5’0” in length with wide opening at mouth and narrowing to another closed end.
Khonghya – it is a small kind of fishing tool used at small drain, which is 2’0” in length with only 4” circular opening and closed at other end.
Dondya – A large type of Khonghya.
Delya- A type of basket that is 1’ 0” in height and 8” in dia. And used to keep the dead fishes.
Tikthi- it is also used to keep the dead fishes.
Jabya- it is prepared from net to keep the dead fishes.
Source: https://www.academia.edu/5547336/Litrature_review_THARU
Tharu Cultural Center Department of Architecture April2022
Figure 82: Fishing Tools
3.1.13 Households’ goods and furniture
Household goods and furniture used by tharus are:
Jhopaha Berra- A special kind of Berra, which is decorated with shells and used in marriage ceremony.
Pataha dehri-it is a large size of dehri that is placed between kitchen and deity room and is worshipped as the ancestral spirit or kul deuta. Various tharu deities like Gurubaba, Mainya, Khekri,etc. are attached to this silo or placed beneath it
Kuthli-it is a cylindrical type of small earthenware silo used for storing grains.it is 1’3”-1’6” in dia. With 2’6” – 3’0” ht.
Dhakan- A kind of earthenware lid.
Bhakari – A kind of earthenware vessel that is used to prepare rice beer.
Kurwa- a large size of bhakri.
Dokni –A small wooden block that is used for grinding spices in kitchen.
Source: https://www.academia.edu/5547336/Litrature_review_THARU
Berri – A small circular cushion or seat made of weaving straw.
Lauka- A dry skin of a kind of pumpkin, which is used as pot.
Tharu Cultural Center Department of Architecture April2022
Figure 85: Different Types of Khuthli
Khatya- it is like a bedstead made from weaving san fixed to the wooden frame,which is 5’9” in length,3’6” in width and 1’4” in ht.
Petarya gondri-it is a kind of mat, which is 5’6” in length and 2’6” in width and made from special reed called Gwan. It is prepared by a single woman and it can be used from both sides.
Bhauka- it is a special kind of basket used by tharus to store their clothes, ornaments and personal objects. It is hung from the roof and prepared by weaving a special material called Bharga. It is 1’8” in ht. with 6” dia. At base, 1’8” at middle and 1’0” at top opening. Generally, topna is used to cover the opening and Pendi is used as base of Bhauka.
Bhauki- it is a small kind of Bhauki and it is 10” in ht. with 4” dia at base, 10” at middle and 7” at top.
Bastha- it has similar function to Bhauka, but shape is different.
Topna – it is used as cover or lid of basket.
Pendi- it is used as base of basket.
Berra- A small circular base used overhead for carrying pots, baskets etc.
Siratta – a small square cotton base that is kept below berra while carrying goods.
Machchya- a kind of small stool made of wooden frame with San weaving, which has 1’4” square seating base with 9” ht.
Tharu Cultural Center Department of Architecture April2022
Source: https://www.academia.edu/5547336/Litrature_review_THARU
Tharu Cultural Center Department of Architecture April2022
Figure 87: Different Types of Household Utensils
3.1.14 Musical Instruments
Tharus have few and simple kind of musical instruments, which they play during various festivals and ceremonies. The musical instruments used by tharus are:
Jahli-a set of small metallic plate, which gives a ringing sound when striking with each other.
Majaira-akind ofJhali that is used byladies duringdancingat dashain festivals.
Kastar- it is a set of wooden frames with metallic rings, which gives sound by shaking or striking with each other.
Sitar- a kind of musical instrument that is used in deukhuri area.
Latthi- small stick is also used to produce music during stick dance in deukhuri area.
Basiya-a kind of flute.
Mandra- it is like a large size of cylindrical drum made of hollow wood, which is covered and tight with skin of animals at both ends.
Source: https://www.academia.edu/5547336/Litrature_review_THARU
Tharu Cultural Center Department of Architecture April2022
Figure 89: Different Musical Instruments
3.1.15 Dress and Ornaments
The major costumes of a THARU man consists of a Mardani (dhoti) and Phad (Kachhad- a piece of cloth worn to cover the lower part of the body as in the picture). THARU people are generally engaged in agriculture and live in the Terai (plains) regions of the country. It is due to the nature of their occupations and climate that THARU people prefer wearing short and thin cloths, as they are light and comfortable. While working in the field, the THARU men generally carry their hats made up from bamboo and dried leaves, "Kodalo" (spade) to plough the field, tobacco and a sickle fixed at their waist with a string. THARU men are laborious and appear tough and fit (Reecha, 2013)
However, the costumes and ornaments worn byTHARU women are completelyunique compared to other tribes. Cholia (Choli) is worn as a top, Nahagi is a white cloth dress and Uporona is the cloth worn around the chest area are the mojor attires worn by the THARU community women. During special occasions and festival different jewels made from gold and silver are worn on various parts of the body. The different kinds of ornaments worn by THARU women are "Nathiya" on the nose, "Kanphul" in the ear, "Hansuli" and "Kanthi" on the neck, "Matha" on the wrist, "Tadia" on the elbow,"Tikuli" on the forehead and "Upairi" on their feet. THARU women also love to have Godana- a tattoo art made on various parts of their body (Reecha, 2013)
Tharu Cultural Center Department of Architecture April2022
Figure 90: Tharu Men and Women
Ornaments:
Generally, Tharu men don’t use ornaments, but Tharu women are very interested in wearing ornaments. Theyuse varietyof ornaments from lower parts to upper part of the body. They generally use silver, iron and brass ornaments, which they buy from the market. But in these days, they use very less ornaments. The ornaments used by the Tharu are:
Sutya- a single piece of necklace made from silver and brass.
Tainti- it is also a kind of necklace with silver decorative locket.
Paisa ko mala – it is a necklace with coin. A silver decorative locket is also used in addition with coins.
Thosya ra kukumanka ko mala- a kind of necklace of thosya and kukumanka.
Dhongri ko mala- a kind of necklace of silver Dhongri.
Sikryaha jhimalya- a kind of long decorative earing (6” in length) used by ladies.
Dablahwa jhimalya- a square type of silver earing of 1” side.
Chhetaur- a simple kind of circular silver earring.
Tarya- a kind of silver bangle worn around the arm.
Baank- it is also a kind of bangle worn above tarya.
Bijayet- it is also a kind of bangle worn above Baank.
Kanki- a kind of bangle worn around the wrist.
Mundri- a kind of silver ring with coin worn on finger.
Bhichhya- it is also a kind of silver ring with coin but it is worn on toe.
Kalli- a kind of anklet.
Churwa- it is also a kind of anklet.
Nathya- a kind of small nose ring.
Mangya- it is a piece of cloth with small shining star shaped objects (sitara) and is worn around forehead during dance.
Dahrauti – a piece of cloth that is worn around head during dance.
Jhoti banha- A red piece of cloth worn around forehead.
Doli- a kind of decorative litter that is used to carrybride in marriage ceremony.
Jhapan- A decorative cloth that is used to cover Doli in marriage ceremony.
Painri- A kind of ornament that is worn on leg.
Tharu Cultural Center Department of Architecture April2022
Kara- it is also a kind of ornament that is worn on leg.
Tika chhedna – it is a picture or design that is marked permanently on legs of women by making small holes in the skin with a needle and filling them with black colour, similar to tattoo.
Gurya- a kind of necklace made of beads.
Kanthi-a kind of bracelet with coin worn by man around his wrist.
Dhal - a special set of quills of peacock and worn at back while dancing at dashain festival.
Panhuchari- it is also a special set of quills of peacock and worn at the arm during harvesting.
Majha-it contains small sizeofmirrorsand it is usedat right bull ofJuwaduring ploughing.
Source: https://www.academia.edu/5547336/Litrature_review_THARU
Tharu Cultural Center Department of Architecture April2022
Figure 91: Different Ornaments
4 Conclusion
Thus, the project ‘Tharu cultural centre’ is a formulated to explore tharu culture, tradition, art and handicrafts. Also, it acts as a recreational space for the visitors and tourist. Hence most targeted group are those Tharu groups who were unknown about their own culture as well as International and domestic tourist. Nepalese people are also unknown about the architecture of other new places. Thus, this project is proposed with the aim of promoting the culture and community development also vernacular architecture of Chitwan i.e., Tharu Architecture. This project includes the various spaces required to explore tharu culture such as; tharu galleryto preserve their materials and culture, Workshop and souvenir shops to explore their art, Tharu architectural characteristics in built form, different tharu elements i.e bamboo, slope roof, thatch, wooden baskets, parewa ghar, etc. to give the essence of tharu village Thus, with all this approach this project is good for exploring the tharu culture and art.
Tharu Cultural Center Department of Architecture April2022
5 Bibliography
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Chaudhary Sanjib. (2018). Ashtimki, an Ancient Form of Tharu Wall Painting | Features | ECSNEPAL - The Nepali Way. ECSNEPAL. http://ecs.com.np/features/ashtimki-anancient-form-of-tharu-wall-painting
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Exhibitions – Tharu Cultural Museum. (n.d.). Retrieved August 8, 2021, from http://www.tharumuseum.org/exhibitions/
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Rastriya Samachar Samiti. (2019). Traditional Tharu houses on the verge of disappearanceThe Himalayan Times - Nepal’s No.1 English Daily Newspaper | Nepal News, Latest Politics, Business, World, Sports, Entertainment, Travel, Life Style News. The Himalayan Times. https://thehimalayantimes.com/nepal/traditional-tharu-houses-on-the-vergeof-disappearance
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Department of Architecture April2022
Tharu Cultural Center
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Tharu Cultural Center Department of Architecture April2022
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Tharu Cultural Center Department of Architecture April2022
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Cultural Center Department of
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6 Appendix
ANNEX 1 – Project Introduction
ANNEX 2 – Case Studies
ANNEX 3 – Program Formulation
ANNEX 4 – Site Analysis
ANNEX 5 – Design Concept Development
ANNEX 6 – Master plan
ANNEX 7 – Site Plan
ANNEX 8 – Sectional Elevation
ANNEX 9 – Floor Plans and Section and Elevation
ANNEX 10 – Architectural Details
ANNEX 11– Structural System
ANNEX 12
Water Supply
ANNEX 13 – Drainage and Sanitation
ANNEX 14 – Electrical Layout
ANNEX 15
ANNEX 16
3D Rendered Views
Model Picture
Tharu Cultural Center Department of Architecture April2022
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