CRAFT CENTRE AT KHAMBHAT Interpretation of Traditional Architecture and Local Crafts_Snehal Saxena

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT Interpretation of Traditional Architecture and Local Crafts

Guide - Prof. Hakimuddin Bharmal

Snehal Saxena B-5211 I.P.S.A RAJKOT

2

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

APPROVAL UNDERGRADUATE DISSERTATION V.V. P. SANCHALIT

INDUBHAI PAREKH SCHOOL OF ARCHITECTURE RAJKOT The following study is hereby approved as credible work on the approved subject, carried out and presented in a manner sufficiently satisfactory to warrant its acceptance as a prerequisite to the degree for which it has been submitted.

It is understood that by this approval, the undersigned does not necessarily endorse or approve of any statement made, opinion expressed or conclusion drawn therein and approves the study only for the above purpose; and satisfies him as to the requirements laid down by the thesis committee.

Title:

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

Interpretation of Traditional Architecture and Local Crafts

Studio Co-ordinator: Prof. Riddhi Shah

Guide: Prof. Hakimuddin Bharmal

Signature

Signature:

Date:

Date:

Snehal Saxena, B-5211

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

i

ii

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

PREFACE

During architectural journey, our first RSP was been done in Meghpar, Kutch where we studied the houses and local craft and architectural style of Meghpar village. In third semester again we visited Bhuj, Kutch for wood workshop where the villages around bhuj were studied in terms of their architectural elements. Also the Khamir Craft centre and Hunnarshala were visited. So it was observed that in these places the traditional architectural style of bhuj was not reflected in the built form. Only the building responds to the the climatic condition and local materials were used for construction.

So this striked me to develop my thesis topic around the amalgamation of architectural style and local craft by designing a craft centre. So now the question arises which region to choose which has both strong architectural style and local craftmenship. So after further research it is found that Khambhat has both traditional architectural style and local craftmenship.

But the craft of the town is fading away slowly as future generations are starting new businesses. So I decided to revive the local craftmenship by building craft centre where the building will reflect the traditional architectural style of Khambhat.

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

iii

iv

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

ACKNOWLEDGEMENT

I wish to express my gratitude to a numerous people who became involved with this thesis, oneway or another. My thesis Guide, Prof.

Hakimuddin Bharmal, whose suggestions led me throughout this thesis, has always been willing to answer my questions. And my thesis committee who has worked hard with me and always showed me a correct path. In addition, grateful thanks to both of them for their Encouragement of students wishing to pursue research within the field of Architecture.

This thesis could not have been accomplished without my Parent (Mr. Shailendra Saxena and Mrs Udita Saxena), my Mausi (Chhaya Johri) and friends (special thanks to - Dhruv, Nikunj, Vidhi, Siddhant, Amit, Vibhuti, who has supported each and every situation and thanks to whole batch 2012) support, who is always with me no matter how dubious my decision were. They always gives me warm encouragement strength and love in every situation. I believe I owe deepest thanks to all people in my entire family who have supported me since beginning.

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

v

CONTENT APPROVAL PAGE i PREFACE iii ACKNOWLEDMENT v

CHAPTER - 1

CHAPTER - 2

Introduction

Architecture of Khambhat

1.1 Brief about thesis 2 1.2 The sultanate architecture 1.2.1 - India 7 1.2.2 - Gujarat 13 1.2.3 - Ahmedabad 14

2.1 ABOUT KHAMBHAT 2.1.1 History 16 2.1.2 Origin 20

2.1.3 Trading Business and market 21 2.1.4 Climatical Condition 25 2.2 BUILDINGS OF KHMABHAT 2.2.1 Institutional Buildings 26 2.2.2 Residential Buildings 31 2.2.3 Occupational Buildings 35 - Stone

- Kite making -Silk handloom 2.3 STREET FORMATION AND ITS CHARACTER

vi

57

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

CHAPTER - 3

CHAPTER - 4

Case Studies

Program and Site Studies

3.1 INTRODUCTION 60

3.1.1 Kutch Region

3.1.2 Craft Background

2.1.3 Craft, People and Architecture

4.1 - PROJECT SELECTION CRITERIA

Name and Its Brief

Project formation and Areas

3.2 PRIMARY CASE STUDIES 3.2.1 Khamir 62 3.2.2 Shrujan 63 3.2.3 LLDC 64

66

4.2 - SITE STUDIES 71

Site selection criteria

Site study and Analysis

Site photos

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

vii

CHAPTER - 5

Process and Drawings

Conclusion

5.1 CONCEPTUAL DRAWINGS 77 Process Model

6.1 - CONCLUSION UNDERSTANDINGS

5.2 DRAWINGS 83 Plan

Sections

3D Drawings 5.3 MODELS

viii

CHAPTER - 6

LIST OF PLATES xi ILLUSTRATIONS CREDITS xii WORK CITED xv

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

CHAPTER - 1 Introduction 1.1 Brief about thesis 1.2 The sultanate architecture

1.2.1 - India

1.2.2 - Gujarat

1.2.3 - Ahmedabad

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

1

1.1 BRIEF ABOUT THESIS Khambhat is very known for its craft, culture and architecture, people over here are very skilled and doing their work with full dedication.

But somewhere this craft and dedication are fading due to some financial and other issues. To take a better step in order to solving this issues one should have to engage ourself with is craft, culture, and craftsmen’s life. Understanding in a perspective of craft from khambhat’s history till todays life.

The city of Khambhat is one of the largest stone beadworking centers of the world, and it has been an important center for over two thousand years of documented history and it was stated in year of 1991. The stone beads industry can be found back even earlier to the cities and villages of the Harappan Phase of the Indus Tradition, dated to around 2500 BC. Because of the long continuity of stone beadmaking in this region, Khambhat provides a unique opportunity to study the organization of a specialized craft and understand how different aspects of social, economic and political organization relating to such crafts might be reflected. This craft has been used as a major indicator of socio-economic complexity, stratification and centralized control.

Crafts of khambhat • Agate and Carnelian bead making Bead making is a complicated process involving several stages of development starting from procuring the raw material and finishing Fig. 1. Location of Khambhat in Gujarat

2

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

with drilling. Each stage requires a specialized skill and thereby different categories of people are involved in this process. There are six steps that involving in this art.

1.

Collecting raw material 2. Heating 3. Chipping 4. Polishing 5. Drilling 6.

Preparing final product

Fig. 2. Traditional way of making stone bead

• Rug making Braided rugs are made by using three or more strips of fabric, usually wool, folding the raw edges to the middle and braiding them together.

• Silk sari making Silk were exported as a raw material and by the skilled people it had been woven.

Fig. 3. Local way of making kites

• Kite making Khambhat also famous for kite making and those kite are exported to the near most places of Gujarat.

There are three different processes of kite making that is simultaneously happening.

Kite making Firki making from wood Manja making They also celebrate sea kite festival at gulf of Khambhat when sea water line is too far. It is big festival, where lots of people gather even outsider people also come to being a part of it.

Fig. 4. Traditional way of making silk cloth making CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

3

AIM

SCOPE AND LIMITATION

Interpreting the understanding of traditional architecture through designing craft centre at Khambhat.

1.

2.

3.

OBJECTIVE

The Town has many crafts’man house out of which few will be selected which were having traditional architectural style seen in it.

Though the RSP has been done in Khambhat by students of VDA, the drawings were not accessible, due to which method of analysis will be limited to visual perception only.

Historic buildings are not accessible.

1.

To study the culture and architecture of Khambhat 2.

To study crafts of khambhat and its relation with their living space

And what kind of spaces needed for craft.

3.

To study the traditional settlement and derive the basics

principles that can help to design the indegenous space in craft centre 4.

To understand their house form – space, construction

techniques, material and climate influence 5.

To interepret and demonstrate all the learnings through designing

craft centre in khambhat

4

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

METHODOLOGY 1.

Collection of secondary data from book, internet and

analysing it.

2.

Validation of secondary data/sources by visiting Khambhat.

3.

Documentation of few houses for understanding local crafts

and architectural styles which prevails in Khambhat.

4.

Analyzing the houses w.r.t. their Traditional Architecture

through various analytical layers i.e. Nature of spaces,

craft,light, climatic response and workspace.

5.

Developing Program and Program Brief according to analyti

cal drawings.

6.

Primary case studies to understand the nature of spaces and

connection b/w craft and architecture.

7.

Selection of site and site analysis.

8.

Deriving design criteria points and then conceptualizing of design.

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

5

6

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

1.2 SULTANATE ARCHITECTURE

1.2.1 INDIA

Fig. 5. Quwwat-ul-Islam built in 1193 in Delhi

Fig. 6. Qutab-Minar-Delhi-India - built in early 13th C CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

The late 12th century, was the period, when Muhammad of Ghor conquered most of northern India. During that time period, large numbers of Muslims entered India for the first time. After Muhammad of Ghor’s death, one of his generals, Qutb al-Din Aibak, declared his independence and proclaimed he being sultan. His son Iltutmish, was later confirmed as the sultan of Delhi.

For roughly the next 300 years, the Turkish rulers of the Delhi Sultanate controlled the northern portion of India under five different dynasties. By the time the Tughlaq dynasty controlled the Delhi Sultanate in the 14th century, an indigenous Islamic culture was emerging in northern India. In 1398, Timur (Tamerlane) sacked Delhi, and it was not until the mid-15th century that the Lodis established themselves as the last rulers of the Delhi Sultanate. Rather than build new cities, mosques, or madrasas, as previous Islamic rulers had done, the Lodis built many tomb structures around the modern city of New Delhi. The Lodi dynasty and the Delhi Sultanate came to an end in 1526 when Mughal founder Babur defeated the last Lodi ruler.

Sultans of Delhi and rulers of provincial dynasties were fond of both music and dance, these certainly progressed. Yet, architecture remained at the top in the progress of different fine arts. Architecture of Sultanate Period can be categorized into three parts as per its architectural characteristics. These styles are mainly ‘The Delhi or Imperial style Architecture’, ‘The Provincial Style of Architecture’ and ‘Hindu Architecture.’ The Imperial style grew under the sultans of Delhi. The Provincial style is influenced by the Imperial

7

Style of Architecture. It grew under the patronage of provincial ruling dynasties which were mostly Muslims. Hindu Architecture was also influenced by the Imperial Style, which mostly developed under the Hindu kings of Rajasthan and Vijaynagar Empire. These styles of architecture as a whole can be called Indo – Islamic architecture.

The Indians had developed a remarkable combination of beauty and strength in their architecture. The Iranians had accepted it and the Turk-Afghan rulers of the Sultanate introduced it again in India.

However, Islamic architecture was influenced not only by Persians but also by the architectural styles of Mesopotamia, Central Asia, Egypt, North Africa, South-East Europe, Afghanistan, etc., as well.

The Islamic architecture grew as a result of all these influences and when the Turks came to India they carried all these influences to India and developed that style of architecture which has been called the Indo-Islamic architecture.

Indo – Islamic architecture is the mixture of Hindu architecture and Islamic architecture. Hindu style of architecture largely influenced Islamic style because of the unavoidable factors like the type of ornamentation, craftsman skills, construction material and their forms of decorations. This gave birth to that mixed style which has been called the Indo-Islamic architecture.

Thus, this style of architecture was neither purely Islamic nor purely

8

Hindu. It was, rather, influenced by both the styles and therefore, fairly deserves to be called the Indian architecture of the period of the Sultanate. It is thus; divide into four styles of architecture.

Delhi of Imperial Style of Architecture: The Imperial style of architecture grew under the patronage of Sultans of Delhi. It includes all those buildings which were constructed by different Sultans. The construction of QutbMinar was originally planned by Aibak but it was completed by Iltutmish. The planning of QutbMinar was purely Islamic as it was originally intended to serve as a place for the muazzin to call Muslims to prayer. Iltutmish constructed its four storeys and it rose to a height of 225 feet.

He also built a single compact chamber near the QutbMinar which was probably, the tomb on his own grave and, also, the Jami Masjid at Badaun and the Atarkin-ka-Darwaza at Nagaur. Balban built his own tomb and the Red palace at Delhi. Ala-ud-din Khalji had better economic resources at his command and therefore, constructed beautiful buildings. His buildings were constructed with perfectly Islamic viewpoint and have been regarded as some best examples of Islamic art in India. He found the city of Siri, built the famous Alai Darwaza at the QutbMinar.

According to Marshall, ‘the Alai Darwaza is one of the most treasured gems of Islamic architecture.’ Ala-ud-din also constructed a magnificent tank known as Hauz-i-Alai or Hauz-i-Khas near his newly constructed city of Siri in the vicinity of the old city of Delhi. Among his notable buildings were the new city of Firuzabad near the old city of Delhi, the palace-fort known as KotlaFiruz Shah within it, a college and his own tomb near Hauz-i-Khas.

The buildings which are left, of course, are not marvelous, yet fairly good specimens of early indo-Islamic architecture in India and the best among them are the QutbMinar and the Alai Darwaza.

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

Provincial Architecture: Primarily, the provincial styles drew inspiration from the Delhi style of architecture. The Muslim rulers in provinces also built up palaces, tombs, forts, mosques, etc. in their respective kingdoms. But as the economic resources of provincial rulers were limited, they could not provide that grandeur to their buildings as was provided by the Sultans of Delhi. Besides, the local circumstances also influenced the provincial styles and therefore, the architecÂŹture of provinces differed not only from the Imperial style but also from each other.

The most notable works of this style was majorly seen in the region of Gujarat. Gujarat provided the best combination of the Hindu and the Islamic architecture and beautiful buildings were raised there. The capital city of Ahmedabad was founded by Sultan Ahmad Shah and certain beautiful buildings were erected there. Most notable buildings of Gujarat are the Jami Masjid at Cambay, the Tin Darwaza (Triple Gateway), the Rani-Ka-Hujra, the mosque of Dariya Khan and Alif Khan.

Sultan Mahmud Begarha established three new cities and adorned each of them with many splendid buildings. The city of Champaner contains many beautiful buildings and the mosque. Certain new features were added to the style of architecture of Gujarat during the rule of Mahmud Begarha.

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

Fig. 7. 600 years ago Sultan Ahmed Shah 1 became the ruler of The Gujarat Sultanate. He ruled over it as a king from 1411 to 1442 till he died

9

Hindu Architecture: The Hindus could maintain their political existence in north India only in Rajasthan and therefore, there alone we find specimens of Hindu architecture. Vijayanagara Empire which was established in the South, later on, revived the glory of the Hindus and beautiful architectural edifices were raised by their rulers within the territory of their empire.

RanaKumbha of Mewar erected many forts, palaces and other buildings, like the fort of Kumbhalgarh and the Kirti Stambha (tower of victory). Part of this pillar is built of red sand-stone and part of it is that of marble. It has been regarded as the most remarkable tower in the country. Another beautiful tower was at Chittor known as Jain Stambha, which is decorated with beautiful carving and lattice work.

In the South, the rulers of Vijayanagara further elaborated the art of constructing Gopurams. Tall and massive Gopurams were constructed at the temples of the South during this period. Different rulers also constructed Mandapas over the temples which have been regarded as fine specimens of architecture.

The Hindus, no doubt, learnt something about the art of construction from the Muslims but kept their architectural style free from their influence. Therefore, their buildings maintained their separate entity and differed from the buildings of the Muslim rulers. The Muslims mostly constructed tombs, minarets, mosques, palaces and forts while the Hindus mostly constructed temples, forts, palaces, stambhas (pillars), gopurams (gateways of temple) and mandapas in the temples.

Both participated in the enrichment of Indian architecture.

Thus, no positive efforts were made for the fusion of the Hindu and the Muslim architecture, yet the synthesis took place and gave birth to the style of architecture which has been called the Indo-Islamic architecture in India.

Fig. 8. indian temples with indo islamic(sultanate architecture style)

Art and Architecture of the Delhi Sultanate (1206–1572), by Javierfv1212, wikipedia, Characteristics of the Architecture During the Sultanate Period by sonali, Architecture during the Sultanate Period | Indian History, by sunidhi

10

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

Characteristics of the architecture:

1.

A mixture of Indian (Hindu) and Iranian (Muslim) style Though the buildings were designed by Muslim architects to suit the requirements of their religious ideas, yet they were constructed

by Hindu craftsmen. Hindu craftsmen had their own ideas about the form and method of construction. Thus, the buildings could not be the exact copies of their style of buildings.

2.

Buildings constructed with the material of Hindu temples Many buildings were constructed out of the material use in the Hindu temples, which were destroyed by the Muslims. The Muslims used materials of destroyed Hindu temples, palaces, etc., in the construction of their buildings or simply converted them to suit their purposes.

3.

Pointed arches in the Muslim structures It is noted that the Hindus used square pillars which supported their temple roofs. On the other hand the Muslims used the arches. Besides arches, they also used domes over their buildings and minarets on sides. The use of arch and dome added charm to the Muslim buildings and also enabled them to dispense with the need of a large number of pillars to support the roof.

4. Carvings The Hindus carved the figures of gods and goddesses on all sides of pillars, walls and ceilings also. They also carved various ornamental things like garlands, flowers and temple bells etc. The Muslims did not allow any representation of living things on their buildings. The Hindu workmen who were skilled in decorating the pillars and walls were allowed the use of flowers and trees in the decoration of Muslim buildings.

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

Fig. 9. Jaunpur - jama mosque - built in 13th-14th C, hindu-muslim architecture style

Fig. 10. Khambhat - jami mosque - built in 13th, yellow stone as a construction material

Fig. 11. Inside the mosque to the west of the Taj Mahal mausoleum.

Fig. 12. Qutab-Minar-Delhi-India - built in early 13th C

11

5.

Use of Geometrical design During the Sultanate period, geometrical designs began to be used for decoration purposes. The Muslims decorated the buildings with parallel, rectangular, square or triangular lines.

Fig. 13. Khambhat - jami mosque - built in 13th, use of geometrical shape in jali window

6.

Quaranic ‘Ayats’ The use of Quaranic ‘Ayats,’ in the buildings served two purposes, i.e. religious as well as decorative. Stones carved teachings of Koran, inscribed mostly in Persian script.

Fig. 14. Taj mahal - An upper part of a great Iwan of the Taj Mahal. Some verses from the “Qur’an” and arabesque patterns are inlaid on the white marble wall.

7.

Use of Stone and Lime During the Sultanate period several types of colored stones like red, light black, yellow and white marbles were used. A very good quality of stone was used to make the buildings strong.

Fig. 15. Ghiyas ud-Din’s Tomb in New Delhi. use of red and white stone

12

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

1.2.2 GUJARAT The Sultanate of Gujarat was established in 1407 CE by Zafar Khan who was appointed governor of the region by the Delhi Sultan, Muhammad bin Tughluq. His grandson, and successor, Ahmad Shah, established a new capital at the city of Ahmedabad which he built along the banks of the river, Sabarmati in 1411 CE. Mahmud Begarha, was the most prominent ruler of the dynasty. He also captured the forts of Pavagadh and Junagadh, hence, earning the nickname of Begarha. Mahmud Shah transferred his capital to Champaner which he rebuilt at the foot of Pavagadh.

The history of Gujarat Sultan is evident in their architecture. Gujarat has the best combination of the Hindu and the Islamic architecture. It falls under the ‘Provincial Style of Architecture’ of Sultanate Period. The examples of architecture of the Sultanate of Gujarat are located mainly in Ahmedabad but also in other towns of Gujarat like Khambhat, Dabhoi, Champaner, Dholka (the ancient Dhavalika), Patan and Mahemdavad.

Sultan Mahmud Begarha established three new cities and adorned each of them with many splendid buildings. He fortified the towns of Junagadh and Chamapaner. The Champaner-Pavagadh Archaeological Park houses many masjids built by the Gujarat Sultans, including a Customs House structure.

The city contains many beautiful buildings and the mosque built up by Mahmud Begarha has been regarded as the best among them.

Architectural monuments such as Jama Masjid and Teen Darwaza at Ahmedabad belong to the period of the Gujarat Sultans. The mosque of CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

Hilal Khan Kazi at Dholka, the Jami mosque and tomb of Ahmad Shah at Ahmedabad, the tombs of Habit Khan and SayyidAlam, the Rani-Ka-Hujra, the mosque of Dariya Khan and Alif Khan, the Dholka Masjid and the tomb of Shaikh Ahmad Khatri six miles away from Ahmedabad are the other notable buildings of Gujarat.

Certain new features were added to the style of architecture of Gujarat during the rule of Mahmud Begarha. Among the buildings which were constructed during his reign and afterwards are the tombs of Mubarak Sayyid and Sayyid Usman and the Qutuba-ul-Alam.

Fig. 16. Nagina mosque - Chappaner - built in 14th C

13

The Jalis, Balconies, Domes, Pillars, Brackets and Minarets give a glimpse of the great architecture of previous centuries. This architecture is a dialogue conducted by the sky, the light and the life existing in it; it is also an interpretation of the meaning of life, reflected in each millimeter of the length, breadth, colour and proportions of these buildings. Pure beauty drips from this Sultanate architecture of Gujarat

1.2.3 AHMEDABAD Ahmad Shah laid the foundation of the city of Ahmedabad on 4 March 1411AD. The new Muslim rulers must have been awed by the prosperity of the Solanki kingdom and its stupendous secular as well as religious architecture. Their model in architecture was that of the Solanki Vaghela structures and they wanted to outshine those structures. In doing so, they made Ahmedabad one of the most beautiful cities in the world of the time.

The city of Ahmedabad had 12 gates, 139 towers, nine corners and over 6,000 battlements. The city wall of Ahmedabad was built first

by Ahmad Shah, was ordered newly built by Mahmud Begarha. The first city gate was Teen Darwaza which was built at the same time as the citadel of Bhadra. All other gates were built during the sixteenth century. The city wall was made of terracotta bricks, lime mortar and lime plaster. The city gates all were made of bricks veneered with stone.

The second half of the fifteenth century saw some of the best examples of the Sultanate architecture in Ahmedabad. Among the best examples of the artistic flowering of this period was the Rani Sipri Mosque and Muhafiz Khan’s Mosque in which composition, perspective and filigree work took on an absolutely beautiful dimension. The mastery displayed by the craftsmen in this period is so fine that each monument created during this time alone can stand side by side with the best architecture of the world of any epoch.

14

Fig. 17. Teen Darwaja - Ahemadabad - built in 1411 and completed 1415

Art and Architecture of the Delhi Sultanate (1206–1572), by Javierfv1212, wikipedia, Characteristics of the Architecture During the Sultanate Period by sonali, Architecture during the Sultanate Period | Indian History, by sunidhi

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

CHAPTER - 2

The Architecture of Khambhat 2.1 ABOUT KHAMBHAT

2.1.1 History

2.1.2 Origin

2.1.3 Trading Business and market

2.1.4 Climatical Condition 2.2 BUILDINGS OF KHMABHAT

2.2.1 Institutional Buildings

2.2.2 Residential Buildings

2.2.3 Occupational Buildings - Stone

- Kite making -Silk handloom 2.3 STREET FORMATION AND ITS CHARACTER

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

15

2.1 ABOUT KHAMBHAT 2.1.1 History

Fig. 18. The city of Cambay was an important Indian manufacturing and trading center noted by Marco Polo and illustrated here in the 15th century.

Fig. 19. Anachronous map of the Portuguese Empire (1415-1999)

16

Khambhat, also known as Cambay has a trading history, unparallel in the Subcontinent. Ptolemy called it Camanes and described it as a flourishing port city and celebrated for its manufactures of silk, chintz and gold stuffs. The Arab traveler, Al-Masudi, visited the city in 915 AD, describing it as a very successful port; it was mentioned in 1290 by marco polo, who, calling it cambaet, noted it as a busy port. He mentions that the city has its own king. Indigo and fine buckram were particular products of the region but much cotton and leather was also exported through Khambhat. In the Medieval world Khambhat was not only a key to the success of Gujarat’s prosperity, but also to the great Mughal Empire. Khambhat was the outlet for the overseas trade of Mughal Empire with Persian Gulf and East Africa. In about 1500 the city was the most important international trading port and was divided into ten territorial administrative units, six of which lay outside of Cambay region in Kathiawar, Kutch, Malwa and Rajputna, and the country south of the Tapti River.

Cambay produced cotton cloth, silk and indigo of finest quality for which Gujarat gained fame both in Malacca and East Africa. This is evident in the writings of several western accounts. For instance, according to the 16th century account of Tome Pires “Cambay chiefly stretches out two arms, with her right arm she reaches out towards Aden and with the other towards Malacca, as the most important places to CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

sail to, and the other places are held to be of less importance…Malacca cannot live without Cambay, nor Cambay without Malacca, if they are to be very rich and very prosperous.” Regarding Cambay’s connection with East Africa Duarte Barbosa writes that the busy harbour of Mombasa included ships ‘from the great kingdom of Cambaya and from Melynde…They are great barterers, and deal in cloth, gold, ivory, and divers others wares with the Moors and Heathen of the great kingdom of Cambaya; and to their haven come every year many ships with cargoes of merchandise, from which they get great store of gold, ivory and wax. In this traffic the Cambay merchants make great profits, and thus, on one side and the other, they earn much money.’

It is probable that this port was developed by the gurjar prathihar sovereigns of bhinnamal and kanoj, as Bharuch was under the sway pf rashtrakutas. Mularaj (942-997 AD), the founder of Solanki or Chalukya rule in Gujarat got settled in Khambhat. It was indeed under the Solanki rulers like siddhraja jayasinha (1094-1142 AD) and kumarapala (1143-1172 AD) that Khambhat began to emerge as a great commercial and maritime center not of Gujarat but also of india.

Acharaya Hemchandra and the famous minister Udayana, the great cultural leader of this time, resided here for some time.

The most important among the Cambay merchants were the vanias and the Bhora Muslims, the former being the largest group. The vanias were organized collectively as mahajans – a body representing a group of people engaged in the same commercial activity, a governing council with an elected headman called sheth.

Muslim writers, call it the first city of hinda(india). With a poetic touch the describe:- “the air is pure, the water clear, and the country charming both in scenery and building,” it was this irresistible charm and the wealth of the city accumulated by its maritime activities that repeatedly lured muslim invaders to this, “garden of india”. The last decade of 13th century AD saw the end of rule of vaghelas of anahilavada patan and the conquest of Gujarat by the forces of Allauddin Khilaji CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

of delhi. Allauddin general Nasaratkhan plundering the city secured an immense treasure from the merchants in the form of precious pearls, jewel and the stones. Under Ahmed Shah I and Muhmud Begda, Khmambhat, then a noble city 12 miles around, prospered with many crafts. It was called the “garment city of the world” as it supplied textile good to the whole of the east and the great part of the west. In 1573, it was brought under the sway of the great Mughal emperor Akbar, who revied its trade. During his region Khambhat , become so famous all over India that queen Elizabeth the first addressed Akbar as a “king of cambay”. Literature, art, architecture, craft and various industries developed and flourished during this period. The English and dutch established their factories (kothis) here in 1613 and 1617 AD respectively.

The early decades of the 16th century marked the beginning of the end of the glory of Khambhat. Indeed it took nearly one full century for its decline. The first death blow to Khambhat as well as to many other ports of india was Portuguese settlement in Gujarat the gazetteer of Bombay

17

Presidency recorded the whole process thus: “shortly after beginning of the 16th century, the control of the sea trade of cambay passed from the hand of Gujarat to Portuguese.

Till the beginning of the 17th century it enjoyed the same position as is enjoyed by the Bombay and Calcutta today. The decline of Khambhat was mainly due to the silting of the port, competition from Europe companies, transfer of maritime trade to other places like diu, goa and finally the construction of railway in 1863 providing a direct root from Gujarat and central india to Bombay.

The only intact remains from the earlier time is however the splendid Juma Masjid, one of the earliest mosques of Gujarat built in the year of 1325 AD. Once located on the bank of the Gulf, in the local lore it is believed that ships from overseas used to anchor beside its wall. The sea has now receded about 2 km from the mosque. The Juma Masjid marked the beginning of medieval Gujarati architecture which was characterized by its integration of Hindu, Jain and Islamic forms. The absence of minars and the presence of toran inside the central arch are the evidence of fusions of three aesthetics, which later inspired Emperor Akbar to introduce while building his capital at Fathepur Sikri.

Fig. 20. Fathepur sikri fort

18

Khambhat was formerly a flourishing city, the city seat of an extensive trade, and celebrated for its manufactures of silk, chintz and gold stuffs.

The Arab traveler, al-Masudi, visited the city in 915 AD, describing it as a very successful port: it was mentioned in 1290 by Marco Polo, who calling it Cambaet, noted it as a busy port. He mentions that the city had its own king. Indigo and fine buckram were particular products of the region, but much cotton and leather was also exported through Khambhat.

It is probable that this port was developed by the Gurjar Pratihar sovereigns of Dhinnamal and Kanog, as Bharuch under the sway of Rashtrakutas. Mularaj (942-997 A.D.) the founder of Solanki Chalukya rule in Gujarat got settled at Khambhat. It was indeed under the Solanki rulers like Siddharaja Jaysinha (1094-1142 A.D.) and Kumarapala (1143-1172 A.D.) that Khambhat began to emerge as a great commercial and maritime centre not only of Gujarat but also of India, Acharya Hemachandra and the famous minister Udayana, the great cultural leader of this time, resided here for some time.

Muslim writers, call it the first city of Hinda (India). With a poetic touch they described:- “the air is pure, the water clear and the country charming both in scenery and buildings.” It was the irresistible charm and the wealth of the city accumulated by its maritime activities that repeatedly lured Muslin invaders to this “Garden of India”. The last decade of 13th century AD saw the end of rule of Vaghelas of Anahilavada Patan and the conquest of Gujarat by the forces of Allauddin Khilaji of Delhi. Allauddins general Nasaratkhan plundering the city secured and immense treasure from the merchants in the form of precious pearls, jewel and the stones. Under Ahmed Shah I and Mahmud Begda, Khambhat, then a noble city 12 miles around, prospered with many crafts. It was called the “garment city of the world” as it supplied textile goods to the whole of the East and CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

the greater part of the West. In 1573, it was brought under the sway of the Mughal Emperor Akbar, who revived its trade. During his region Khambhat, become so famous all over India that Queen Elizabeththe first, addressed Akbar as a “King of Cambay”. Literature, art, architecture and various industries developed and flourished during this period. The English and Dutch established their factories (Kothis) here in 1613 and 1617 A.D. respectively. (Kheda district Gazetteers)

DERIVATION OF NAME KHAMBHAT

The early decades of the 16th century marked the beginning of the end of the glory of Khambhat. Indeed it took nearly one full century for its decline. The first death blow to Khambhat as well as to many other ports of India was the Portugese settlements in Gujarat.

The gazetteers of Bombay presidency recorded the whole process thus: “shortly after beginning of the 16th century, the control of the sea trade of Cambay passed from the hand of Gujarat to the Portugese.

In Sanskrit inscriptions and legends, it is called Stambhtirtha, or ‘the pillared shrine’. A name which has not been very satisfactorily accounted for, though it is not improbable that it may have been derived from the linga of shiva worshipped here having had the name of Stambheshwara – the pillar god. In the Prakrits, Stambha becomes Khambha or kambha.

Puranic tradition and legends attribute several names to Khambhat, viz, Mahisagar Sangam Kshetra, Gupta Kshetra, Kumarika Kshetra, Stambhatirtha, Stambheshvartirtha, Stamabhpura, Mahinagara, Tarakpura, trambavati (Tamralipti) Bhogavati, Karnavati and Khambhayat. The name Stambhatirtha also occurs in several historical works and epigraphical records.

Till the beginning of the 17th century it enjoyed, the same position as is enjoyed by Bombay and Calcutta today. The decline of Khambhat vary mainly due to silting of the port, competed from European companies, transfer of Maritime trade to other places like Diu, Goa and Surat, finally the construction of the Railway in 1863 providing a direct road from Gujarat and Central India to Bombay.

Khambhat was the capital of a Princely state of British India within the Gujarat division of Bombay. It has an area of 350 square miles (906 km2). A separate state it dates only from about 1730, the time of the dismemberment of the Mughal emperor. Its Nawabs were descended from Mumin Khan, the last of the Mughal governors of Gujarat, where in 1742 defeated his brother-in-law, Nizam Khan governor of Khambhat, and established himself there.

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

19

Fig. 23. Old Indus valley civillization stone ornaments.

2.1.2 Origin And Its Development

Fig. 21. Indus valley civillization bead making factory

Fig. 22. Origin of bead making craft is lothal (Harrapan civillization) Contemporary Stone Beadmaking in Khambhat, India: Patterns of Craft Specialization and Organization of Production as Reflected in the Archaeological Record, by Kenoyer Vidale Bhan 1991 - Craftspecialization Khambhat.pdf

20

Khambhat is perhaps the only place in India, where the Harappan craft – the agate bead making is found in the living tradition.

Surprisingly Khambhat has no stone deposit. But the craft has survived mainly through acquiring stones from the Rajpipla hills, about 200 km away from the town. In the folklore of Khambhat the beginning of the craft is attributed to Baba Ghor, a 1500 AD saint from Ethiopia who had led a large contingent of Muslims to settle in the town. .

About 5000 years before, the region of indian subcontinent entered through the 1st step of civilization that simultaneously occurred in Egypt, sumer and china. The human society become complex with rapid rise of urbanism. Status become an important factor to segregate people from one class to another. A specialized craft made out of various semi precious stone such as agate, carnelian envolved to meet the need of indus valley aristocrats.

Indus valley civilization died out around 1700 BC, but the craft did not. After the declining of indus valley civilization, bead making was practiced throughout the subcontinent, especially in area having closer access to raw material but with the ravage of time the craft declined everywhere except khambhat.

Now a days just 100 or 150 families left who are still engage with this occupation. And many people were diverted in other occupation.

So eventually craft is dying.

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

Fig. 24. Practices of craft of Khambhat in 1980’s period.

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

21

Fig. 25. Practices of craft of Khambhat now a days.

22

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

2.1.3. Trading Business and market From the records of literatures and scriptures, one can surely imagine and say that Khambhat have been the most majestic, enchanting and beautiful in its time. Though there is no trade at the Khambhat port at present, Khambhat has had a very remarkable story about its maritime activities in the past. Many foreigners- both Arabs and Europeans have visited this place and have described its glory and importance.

Khambhat was a world mart to some extent as products of india and foreign countries were sola in Khambhat market. It was considered as the king of the Gujarati ports. Cambay was separated from the sea due to silting in the gulf: today unfortunately only historical documents can testify of the importance of the trade, the abundance and diversity of the goods, and the richness of the streets of the city. Macro Polo in his Livre des Merveilles du Monde, c.1410-12 mentions the activity and abundance of goods found and traded in Cambay: “there is a great deal of trade in this country. It produces Indigo in great abundance; and they also make much fine buckram. There is also a quantity of cotton which is exported hence to many quarters; and there is a great trade in hides, which are very well dressed; with many other kinds of merchandize too tedious to mention.”

In the illustration from Marco Polo’s travels, the port city of Khambhat has been described as and leading city and a replica of a rich European trading centre, with high walls and towers. Khambhat was CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

Contemporary Stone Beadmaking in Khambhat, India: Patterns of Craft Specialization and Organization of Production as Reflected in the Archaeological Record, by Kenoyer Vidale Bhan 1991 - Craftspecialization Khambhat.pdf

23

the naval establishment of Muslim rulers of Gujarat. Its docks presented a conglomeration of ships of different countries, flying different banners and flags. Khambhat reached its zenith during the period of Mohammed Begda.

But the political anarchy, rise of Portuguese, English and Dutch powers in the Indian Ocean and rise of Goa and Surat as rival ports to Khambhat led much to its decline.

The sea borne trade of Khambhat was with Persia, Arabia and Africa in the west and as far as China in the east. In the 13th to 15th centuries, Khambhat produced mangoes, coconuts and rice and honey in great abundance. It was also famous for its leather sandals even in Arab countries like Mecca, Madina etc. Its markets were loaded with ginger and cotton from the neighboring ports and north Indian products were brought from Multan, and sugar from Malva etc. The goods and passengers were carried out by boat from Khambhat to Bombay and other parts. During the reign of Bahadur Shah (1522-1530), Khambhat trade declined on a ccount of the activities of the portuguese, who spared no efforts to injure the harbors and shipping of Gujarat. When they acquired mastery over the seas in 1533, they reduced Khambhat as a local port and drew the foreign trade to their own cities of diu and goa. However, on the decline of the Portuguese power, the trade between Khambhat and the Red sea again revived. When the English came to Gujarat in 1608 A.D. the Khambhat trade was of significant consequences. The English established their company here in year 1613 A.D. and after that dutch also came here in year 1617 A.D. and established their first company. But the company got closed in year 1670 A.D. Khambhat was very famous for its different stones like agates carnelians and crystals.

But unfortunately, towards the end of 16th century, Surat became a dangerous rival to khambhat. Though the cotton and silk manufactures maintained their position among the most valued exports of Western India, the general trade became more and more limited. The articles of export were silk and cotton syuff of all kinds. Khambhat goods went west to Persian Gulf and as far as Sumatra in South East Asia. In the beginning of the 18th century inland trade consisted of cotton, silk and embroidery.

24

Fig. 26. 1980’s map of EXPORT CRAFT from Khambhat

Fig. 27. Females wearing Khmabhat bead ornaments in Nagaland.

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

2.1.4 Climatical Conditions Climate

The climate of the district is characterized by a hot summer and general dryness except the south-west monsoon season. The year may be divided into four seasons. The cold season from December to February is followed by the hot season from March to May. The period from June to September is the south-west monsoon season. October and November constitute the post monsoon or retreating monsoon season.

Winds

Winds are generally light with some strengthening in force during the summer and the south-west monsoon season. During the monsoon season winds blow mostly from the west or south-west. In February and March winds in the mornings are from direction between north-west and northeast, while in the afternoons they are from directions between south-west and north-west. In April and May winds are mainly from directions between south-west and north-west.

Special Weather Phenomenon

In association with some of the cyclonic storm from the arabian sea which move towards the district or its neighbourhood during the post monsoon season and to a lesser extent in the latter part of summer, the district experience gusty wins and widespread rain. Thunderstorm occur in the latter half of summer and in the monsoon season.

Fig. 28. Teen batti Darwaja, one of the gate of old Khambhat CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

25

2.2 BUILDINGS OF KHAMBHAT 2.2.1 Institutional Buildings Jami Mosque KAMBHAT, as it is usually called by the natives, or more correctly khambhayat was known to marco polo as cambaet,and in the seventeenth century as cambaya, but in these later days is usually corrupted by Europeans into cambay.

The Jami Masjid of Kambhat covers an area 212 feet from east to west by 252 from north to south; but the south end of this is occupied by a court and tomb, which reduces the length by 55 feet. The mosque itself measures, inside the walls, 189.5 feet by 50: the open court in front of it is 134 feet long by 119 feet broad: and is surrounded by corridors,28 feet deep at the sides and 30 feet in front. The mosque extends across the ends of the side corridors, and its roof is supported by 100 pillars, 15.5 feet high, exclusive of three at the ends of each corridor, and by 56 pilasters. They have evidently been reft from Hindu and Jaina shrines, and are arranged in two continuous rows of twenty-six each, at 21 and 42 feet from the back wall, leaving a passage between the front wall and first row; eight rows six pillars each cross the floor, thus dividing it into fourteen square areas, with the pillars so arranged that the lintels placed on them at once convert the spaces to be roofed into octagons, and these are readily covered with Hindu domes: the front aisle being flat roofed with slabs; but opposite the three principal entrances, this is carried up, as a sort of triforium, above the tops of the arches, and the supporting walls are of perforated stone. Each of the arched

26

entrances is framed with bold mouldings. The jambs of the central one project about 2 feet and, as a substitute for minarets, are carried up to a height of nearly forty feet and crowned with pointed finials. The faรงade is thus raised in a higher central, and two side sections in such a way as entirely to masque the domes of the roof.

The areas at the end of the floor, in line with the corridors, have each two additional rows of pillars crossing the mosque, but these are interrupted at half the height to support two closed galleries for the women- which were also covered each by two domes,- one in front of the other.

The corridors round the court are roofed in precisely the same way, with a flat-roofed aisle in front, and behind is a series of twenty-one domes in line, the whole supported by 156 pillars and 70 pilasters in the back walls. These pillars are about 15 feet in height, giving the corridors a very light and airy character; and corresponding to each

Fig. 29. plan of old jami mosque of Khambhat built in 13th C CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

dome is a window through the back or outer wall.

One of these platforms has a baldachin or canopy over part of the side of it, supported by ten pillars. A tank is universal in the courts of large mosques- being quits as essential as the mihrab, and is simply a copy of what was generally prevalent in the early Christian basilicas or churches of the east. In the forecourt or atrium was the cistern or cantharus under its canopy where those about to worship washed their hands and lips in token of purification. In the basilicas also, the arcades round the court afforded facilities for groups to walk and to converse, as in the mosques. The facades of the early churches, too, lay on the west side of the court, with their entrances to the east and the altar in the apse to the west.

In this mosque there are only three Mihrabs or qiblahs- recesses in the west wall- copied and adapted by the early Musalmans from the Christian churches which they first seized and used as places of worship.

For this recess represents the absis or apse; only Muhammadans using no table or altar the apse could be narrowed in structures built to suit the ceremonial of their own creed, and multiplied by subordinate Mihrabs, until in later times there came to be one opposite each of the larger floor areas, that is for each large dome. Here however they correspond only to the three larger enrtrances. They are much plainer than those of Ahmadabad, semicircular in plan; with a pointed arch resting on two pillars, set within a marble architrave or frame of two flat members, craved with simple floral patterns, the outer one having a sentence from the Qoran above, and another on the lintel over it. This is enclosed by two marbles pilasters supporting a projecting cornice over which are five blocks carved on the tops like the roofs of Hindu temples and crowned by urns. For the central Mihrab.

Behind each Miharab, outside, is a semicircular buttress- the central one being somewhat larger than the others. They stand on the podium or basement of the moaque, and are ornamented with carved stringcourses, and capped in a manner peculiarly Hindu in conception.

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

Fig. 30. the archade round court of Jami mosque

Fig. 31. Interior space with square pillar that is influnced fron the hindu architecture of Jami mosque

27

Fig. 32. plan of Jami mosque following the similar proportions of height module in section

28

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

Fig. 33. section of Jami mosque following the same proportion of X and Y.

Fig. 34. Plan of Jami mosque with the location of various interior spaces

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

Fig. 35. Volumetric extruded view of Jami mosque

29

Presence of Characteristics of sultanate architecture style in Jami mosque Khambhat

Fig. 36. 1-Pointed arch

Fig. 37. 2-material stone with its construction system

Fig. 38. 3-presence of toran which is influnced by jain arhitecture style and semi circular dome with kalash on it.

Fig. 41. 5-Pointed arch

Fig. 42. Rich articulations

Fig. 43. 6-Aayaat writings on stone

30

Fig. 39. 4-light in interior space from arcade of square column influnced by hindu architecture

Fig. 40. Use of geometrical shape in jali window

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

2.2.2 RESIDENTIAL BULDING traditional houses of khambhat a very good example of amalgamation of interior spaces with natural elements. each and every house contain court as a house common gathering space and there is one water element pond which is for aesthetic purpose and for Wudu as there are mostly the muslim families so this water element are easily found in their houses. the construction menthod of houses are from brick and wood, where the thickness of wall is 1 meter with infill material mud and sand. the two wooden ring is circulated around the whole house at lintle and sill level for strengthen the wall. the elements of houses like column, brackets, ceiling are finely articulated, where the articulations shows the hindu and islamic patterns in it. the light quality of entire house is good with good ventilation, the house has the feeling of cozyness, humane in nature and very secure and calm.

Fig. 44. wooden carved column with wooden ceiling

Fig. 45. light from courtyard in inside spaces

Fig. 46. couryard

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

31

Fig. 47. plan of traditional house of Khambhat following the similar proportions of height module in section

32

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

Fig. 50. wooden articulated column with hindu architecture style found in pol houses

Fig. 48. section of traditional house of Khambhat following the same proportion of X and Y.

Fig. 49. sketch showing the traditional construction system by using wood and brick, wooden band is at sill and lintle level moving all around the house for strengthen the wall

Fig. 51. stone carving

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

Fig. 52. wooden columns with articulated brackets

33

34

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

2.2.3 OCCUPATIONAL BULDING

- STONE BEAD CRAFT - KITE - SILK HANDLOOM

Fig. 53. this map is showing the location of craftsman house taken for the study, to understand the craft and their working space CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

35

of merchant so that they can be monitored easily some special quality of raw material are dried on roof top or courtyard where there is no possibility of pilferage. during large scale production some nodules may imbedded in soil or along the edges of unpaved street.

HEATING

STONE BEAD MAKING CRAFT beadmaking was once quite common throughout the subcontinent and flourished in most region where there were suitable raw material. at present, however town of khambhat , gujarat, is the only remamining production center where this industry is still being carried out using traditional techniques.

RAW MATERIAL AND SOURCE AREA Raw materials used in bead making are found in Baluchistan and Gujarat.

In Gujarat the deposits produces a deep red orange carnelian on heating due to high saturation of iron in it. In Gujarat mining is controlled by state contractor whose labour are from local Bhil tribal communities. During dry season these men, women and children mine the agates by using simple tools digging the tunnel into the Miocene agate. These nodules are collected and stock piled in local village where the contractors sell them to merchants from Khambhat.

At various stages flakes from the nodules are checked to determine the agate quality where the selection of cortex flakes and rejected nodules are distinguished.

DRYING PROCESS After the nodules reached khambhat they are dried in the sun to remove moisture content trapped in it, this stage is carried out usually in the month of march. and this drying nodules are located next to workshop

36

After sun drying these nodules are baked in vessels or kilns to remove remaining moisture from it making the rock more homogeneous. and easier to flake. rock like agate and carnelian should be heated properly baked for 24 hours to become a good quality nodule. in large workshop nodules are heated in permanent kilns but in small scale workshop kilns are made from bricks and heated by keeping raw stone inside the earthen pot.

CHIPPING After heating these agate nodule are chipped into bead roughouts.

Chipping or flaking is done using a unique technique of South Asia called Inverse Indirect Percussion (Kenoyer 1986) This technique was basically developed in ancient times during harappan period, before the invention of iron, a copper stake was used, before copper a stake made of deer antler was used. In this technique a pointed iron/copper stake is stuck in ground and nodule are been chipped by resting over it and striking it with a hammer made of wood or buffalo horn.

The scatter of flaking debris is quite distinctive and usually the flaking area are not left undisturbed because the debitage is recycled for making smaller beads, if flaking area are left undisturbed it would be identifiable archaeologically. The debitage is collected on small mats and dumped in large piles, The nature of recycling results in many important pattern that can be seen and used to distinguish specific workshops. It is not possible to describe the details of workshop plan here because meaningful and concise comparison would be require of total industry, however preliminary analysis of samples reflects CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

different scales of production and quality of finished goods of workshop.

SECONDARY HEATING After the module are flaked into beads , secondary heating is done to change the colour of the stone under the supervision of skilled supervisor.

Beads are sorted as per their colour and then placed in small earthen pots and covered with ash to protect from thermal shock. These pots are then placed in kiln and covered with fuel. Saw dust is used for low heat and dried cow-dung used for high heat. Improper heating results in wastage of beads, sometimes some beads become cracked or spalled and many of them lost in ashes of kiln. Through examination of kiln waste, production and quality of finished goods may be monitored.

SAWING Before and after initial chipping large modules are sawn to conserve valuable raw material. Method of sawing is very ancient and traditionally it involve a hand drawn saw with a copper or iron blade and abrasive made from emery.

It takes almost 3 to 4 hrs for hand sawing but now a days sawing process become much faster by means of electric powered circular blade, but there are chances of breakage due to vibration of blade. It is carefully examined after nodule is sawn.

HEATING CHIPPING GRINDING POLISHING

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

GRINDING In ancient time different shapes of grinding stones were used to grind different variety if beads, the dust from grinding is an important indicator.

Very few ground beads would be lost by hand grinding method, although some breakage would occur due to improper pressure on beads. It is very time consuming process and takes almost 4 to 5 days to grind a single large bead. Special grooved stones were used to grind and shape small round beads. The beads are secured in a wooden vise that can be held in hands exerting great pressure on the stone.

37

Now the electrically powered emery wheels are used to shape the same bead in 4 to 5 minutes only. After grinding the beads blank should be drilled and polished before becoming finished beads. In Khambhat the beads are either drilled first and polished later or polished first and drilled later. This process of manufacturing depends on the availability of artisan. Modern bead driller are part time farmers and thus not engaged in drilling during the farming season. the sequence of drilling may vary and takes place before or after the grinding stage and the holes made may be used for securing the bead during grinding process and the grinding sequence in production depends upon availability of labour.

DRILLING In Khambhat the drilling of hard stone like carnelian and other agates is done traditionally with the two varieties of diamond tipped drills. First the ‘tenki’ has single rounded diamond chip at tip used to make a shallow depression at centre and second the ‘sayedi’ has two tiny rounded diamond set at edge of tip used for actual perforation process.

The bead is held in a wooden vise and after drilling half way it is turned over and rest half portion is drilled on opposite side. With the help of these two drill small beads approx 1 cm long can easily be drilled in less than a minute on both of its sides.

The drill tip is cooled in very ingenious way. A small pot filled with water is kept on a tripod near the vise, the pot has tiny hole on its side a long wire is set into the hole by wrapping the end with cotton thread, the water in the pot seeps down the thread and through the wire drip on the bead and turning drill and cools it down and also helps to wash out the agate powder produced in the drilling process, This aqueous solution is again recycled to the pot. At the end this agate powder (vari) is collected and stored and then it is sold to bead polisher to use it in the final stage of polishing process.

Very little evidence is left from the modern bead-drilling process, In ancient time diamond were not used, instead the beads were drilled by using

38

different types of mottled green jasper. The Neolithic and Chalcolithic artisans of Baluchistan and Greater Indus Valley were familiar with bead stones and were able to drill long beads with tiny stone drills.

Use of various green jasper determined that the drilling was very time consuming process at that time, it may take about 2 to 10 hrs to drill 1 cm of agate.

POLISHING Polishing of agate is the last and lengthy process, it begins with fine grinding using different grades of abrasives. The modern abrasives are emery powder mixed with lac (insect resin) and shaped in round wheel.

Before the invention of electricity the abrasives wheel were turned on lathe with bow in one hand and bead held in other hand. Final polishing was carried out with the help of ‘vari’ applied to a wooden disc, however this process was also very time consuming taking 3 to 4 hrs to polish a bead. In order to polish many bead at same time artisan developed a polishing technique of tumbling by which hundred of beads were tumbled by hand in a leather bag with abrasive powder.

This process is not in use in Khambhat for the last 50 yrs. After 15 days of tumbling by hand, the bead gain a low luster polish in the concave flake scars. Similar pattern on beads were observed from site of Nagra in third century BC which is located only 6 km from Khambhat.

FINAL HEATING After drilling and polishing beads are heated numerous times to achieve a deep red orange colour. The heating process is carefully monitored by kiln supervisor. After final heating beads are rubbed with oil saturated sawdust so as to remove small traces of scratches or small cracks and then they are stored in baskets and tin boxes. Most of the beads are sorted according to sizes and qualities. The bead stringing is done by women worker under the supervision of merchant or supervisor.

Even though some beads find their way into archaeological records, especially in large scale productions.

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

Fig. 54. the old stone craft workshop with working space, raw material and waste material location

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

Fig. 55. the old stone craft workshop with working space, raw material and waste material location

39

PLACE FOR RAW MATERIAL PLACE FOR WASTE MATERIAL WORKING SPACE

Fig. 56. plan of recent residence and work space of stone bead maker craft’s man house

40

semi open working space where craft worker works together.

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

Fig. 57.section

Fig. 58.

the working space in semi open spaces

Fig. 59.

heating process in open court

through whole house and street showing the placement and different activity in entire space

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

41

•

working place

•

working place

Fig. 60. views of second bead maker worker house

raw material storage

•

•

•

waste material storage

waste material storage

•

Irshad bhai house and its front working area

Fig. 62. plan showing the not organised space for raw, waste material, and the working space is in open temporary structure

42

•

Saleem bhai house and its front working area

Fig. 61.section through whole house and street showing the placement and different activity in entire space CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

Fig. 63.working area in open temporary structure

site plan CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

Fig. 64.use of produced waste material of stone in infill material for wall and plinth

43

Fig. 65.various types of stone and its name and color, which is uses by the craft’s man in khambhat for production of varoius final product

44

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

TRADITIONAL MARKET Although there were many agate bead making centers in India in past, high quality carnelian beads are produced in Khambhat and traded through out the country as well as Nepal, Tibet, China, Afghanisthan, Iran, Arab countries, Africa, Europe and America. The special beads produced in Khambhat can be identified from the similar beads made in other regions on basis of quality, manufacturing techniques and shapes or designs.

Large volume of beads are traded by full time merchant families living in Khambhat and producing them. Also some trade is carried out by travelling pligrimes, Sadhus and fakirs.

Fig. 66. availabity of raw stones nearby areas CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

45

PAPER KITE MAKING

Fig. 67. paper kite making area

Kite making craft has been performing in Khambhat since so many years along with firki which is being made by wood work and manja by thread work. From last so many years this craft has gained very much popularity amongst nearby places of Khambhat. These kites are transported to nearby cities and so, Khambhat is also known as the largest city, producing paper kites. During the season of kite making (that is from april till January) people are busy in production of kites, firkin and manja with great spirit in them.

The most of the paper work is done by females of the house in their spare time as it is house hold work. Once the paper is cut in the dimension and size of the kite, the further work of sticking “Kaman stick” and “Dandda stick”, is carried out by the females. Mostly the outside work is done by the males of the house, like paper selection, paper cutting with the help of machines, making of manja and firkin and etc.

The kite papers used in making kites are given by the big agencies to the locals, papers are of good quality and various of colors, it locally known as “Thirveni”, are very light weighted. One bundle of kite paper consists of 190 to maximum 1000 of sheets.

Stencils made of cardboard or plastic piece, shaped as kite is used to get the proper measurement to make a kite. These stencils come in different shapes and sizes but it little bit big from actual size of the kite.

Stencils are available in various shape and size but the most popular shape is “Cheel” (locally called). Measurements are made on the sheet using stencils and the kite paper is cut using paper cutting machine

Fig. 68. the basic dimention of kite from according to that paper is cut

46

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

that is operated by manually or if the papers are less than it is cut by using scissors into required shape and size.

After the kite paper is cut into required shape and size, thin cotton thread is pasted on the sides to avoid the paper from tearing or to prevent it from getting torn while flying the kite and this work is mostly done by the females of the house after they get free from their house hold work. The craft paper is diagonally folded into two equal halves. The designs patterns are made using different colorful papers separately and pasted on these craft papers. For this the base paper of kite is cut by using small stencils that are available in different style and shape. Both the base paper of kite and the shape from different paper is cut separately, where the piece of cut shaped paper is quite larger than the shape cut in base kite paper, because it has to be stick on the base kite paper cut.

Fig. 69. paper cut machine

Bamboo stick is then pasted diagonally which supports and strengthen at end of the corners. Bamboo sticks are bought from Calcutta and Assam and sold in the local market. These bamboo sticks are heated on to create design pattern on them. Gum made of Maida flour is used to paste bamboo sticks on the kite.

The stick which is pasted straight is known as “Tadda” and the one which is pasted in an arc is known as “Kammaan”. Tail of the kite is called as ghesiya or poonch. A small piece of paper which is used to stick the sides of the kite is called as Chippa or Patti.

Three people are involved to make one kite. One artisan cuts the required shape of the kite and the other pastes bamboo sticks on the kite. And the third artisan pastes patti and adds tail to the kite. More than two thousand kites are made in a day.

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

Fig. 70.kaman and danda sticks, used in kite making

47

MANJA MAKING Kite flying thread Thread is the other important element for flying a kite. The quality of the thread ensures the airworthiness of a kite and also the maneuverability in the sky. The two types of threads used for kite flying are “Saadi” and “Manjha”.

Saadi: Plain thread that is used to fly the kites is known as “Saadi”. This is made of cotton. This could be plain white in colour or could come in colours like orange, blue, pink, green. The coloured cotton ‘Saadi’ is usually preferred by young boys.

Manjha: This is a material that is used to coat the first portion of the kite flying line, just below the kite or even the entire line, which helps in the Indian kite fighting also known as “Pench” in local language.

The “Manja” allows the kite to be cut off effortlessly from the sky. It is a paste made from sticky rice and powdered ground glass.

In India, where kite flying is synonymous with kite fighting, the kite is always flown with a cutting line. The use of “Manja” distinguishes the Indian kite string from the kite string of other countries. It also distinguishes the notion of kite flying from the rest of the world.

“Manja” threads are more expensive than the plain cotton thread.

Fig. 71.manja making process

48

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

Manjha making procedure:

Fig. 72.dough is applying on thread for strengthen

Thread is the basic requirement for Manja making, and dough is prepared by the mixture of cooked Rice, Glass powder, Colour, Soap and Glue is mixed to get semi-solid dough like form. This dough is called “Lugadi”.

This process requires two people. One unties the thread while the other winds it around the ‘Firki’. While one unties the colored thread from the poles the other winds the thread on the wheel.

The process goes as mentioned. Two poles are fixed approximately at a distance of 20 to 30 feet. The uncolored thread wound between the two poles in several layers. The semi solid, dough like color-mix is then applied on the threads by hands. This hand technique is a well practiced art. The application process is done on the entire length of the thread.

This process is repeated 3-4 times to get a rich and uniform colour. After the coloring, the thread is than winded on the “Firki or Reel (In local language)” using “Charakho (wheel)”.

The manjha application on the thread can be light, medium or heavy.

The light coating is called “Bareek Manja”. A lightly coated line increases the maneuverability of a kite and offers less wind resistance. More than cutting other kites, flying is improved. This type of manjha is cheaper than “Jhaada Manja”. A “Firki” of this thread can cost Rs.170- 200 per “Firki”.

The most popular colours for the Manja are vivid and brilliantturquoise blue, vivid orange, dark green, royal blue, dark violet, dark green, lemony yellow.

Thick coating of manja is called “Jhaada Manja” or “Panda Manja”. A heavily coated line can swiftly cut the opponent’s line, but drags the kite down offers more wind resistance and less maneuverability. A “Firki” of this thread can cost Rs.250 – 300 per “Firki”.

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

Dangers of using Manja thread: The manja thread has to be handled with care, while flying a kite.

People sometimes wrap their fingers in Band-Aids, or Adhesive tapes, to protect their fingers from the glass powder.

Manja thread can be dangerous to people standing on rooftops, streets, cyclists and people driving two wheelers. During a kite fight, as the cut kite swoops down the line when falling to the ground can cut the body parts of people coming in its way. There have been many incidents where the manja thread has slit the throats of two wheeler drivers. In fact every year during the festival of “Makara Sankranti”, people are warned to be careful of the kite lines.

49

varnish. In all these types of “Firki” the functional excellence of the “Firki” remains the sole purpose.

Some plastic “Firki” imitate the traditional design completely and may have aluminum spindles too, thus making the reels more light in weight.

FIRKI MAKING “Firki /Reel/Chakri” The basic Indian reel also known as “Chakri” or “Firki” is a lathe turned wooden spool with handles projecting from either end, with a large central core. This central cylinder could be made of wood or can be made of bamboo strips set at regular intervals between the plates at either end.

Reels come in various sizes. A small reel is about 6inches long and 2 ½ inches in diameter. The standard size is approximately 14inches long and 4 ½ inches in diameter. There could be reels in between these two sizes as there is really is no standard size for reels.

There are several regions in India, especially in Tamil Nadu, where the kite flyers do not use a “Firki”. Kites are flown directly off balls of glass-coated line or large loops of thread around 3 ft in diameter.

Though Firki makers are scattered throughout India, Bareilly in Uttar Pradesh is a major centre for the manufacturing and exporting of Firki.

The reels are usually made of soft wood like “Jack wood” and “Punkhi”. Reels made of hard woods like “Walnut, Teak and Rosewood” are more expensive and generally are not available in the regular kite shops.

The handles of the reels are turned on wooden lathes and are coated by a thin coat of clear “Varnish or Lacquer” which gives a smooth finish and also makes the “Firki” more durable, keeping it resistant to insects.

Different regions across India use different types of “Firki”. Some regions may have rim holes along the top and bottom plates, decorative elements, finer craftsmanship and finish too.

Fig. 73.wooden firki making

However, some may be plain, undecorated, with just a coat of

50

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

SILK SAREE MAKING For making of Silk Saree “Silk” is the basic product needed. There several ways Silk is produce, this one of them.

Silk is an animal protein fiber produced by certain insects to build their cocoons and webs.

Many different types of silk are produced by a huge variety of different types of insects other than moth caterpillars. Yet none of these have been exploited for commercial purposes, though there has been basic research into the structures of such silks. Silk is most commonly produced by larvae and thus largely limited to insects with complete metamorphosis.

However, it is produced by adult insects such as “web spinners”. Silk production is especially common in the Hymenoptera (bees, wasps, and ants) and is sometimes used in nest construction. Different types of arthropod produce silk, most notably various arachnids such as spiders. The silk produced by other insects, mainly spiders, is used in a small number of other commercial applications, for example weapons, telescopes, and other optical instruments.

Fig. 74. process of making silk saree from silk thread washing, drying, weaving till final product

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

The commercial process of silk making is highly complex and labor intensive. The following details given below will provide basic information on how silk is made.

51

• • • • • •

Sericulture.

Hatching the eggs.

The feeding period.

Spinning the cocoon.

Reeling the filament.

Types of Silk.

Types of Silk

Four different types of silk thread may be produced from this procedure: crepe, tram, thrown singles, and organzine. Crepe is made by twisting single threads of raw silk, doubling two or more of these together, and then twisting them again.

Tram is made by twisting two or more threads in only one direction.

Thrown singles are individual threads that are twisted in only one direction.

Organzine is a thread made by giving the raw silk a preliminary twist in one direction and then twisting two of these threads together in the opposite direction.

In general they are used for different purposes, organzine thread is used for the warp threads of materials, tram threads for the weft or filling, crepe thread for weaving crinkly fabrics and a single thread for sheer fabrics.

Broken or waste filaments and damaged cocoons are retained, treated to remove the sericin, and combed. This is then processed into yarn, marketed as spun silk, which is inferior in character to the reeled product and they are much cheaper.

Khambhat silk

Fig. 75. weaving of silk saree, final product

52

Silk yarns brought from Bengaluru of the Karnataka state are than processed further for twisting and winding at Arani as per the requirement of the single and the double yarns to the bobbins. The silk yarns are then wound to the beams and then taken for the boil off and the colouring process.

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

The process for colouring is as mentioned. The hank of silk is boiled in the soap solution for the boil off process and dried completely. It is then dipped in water and immersed in the dye solution which is boiled with acid dyes in the brass vessel. Heat is provided to this vessel is by firewood.

Depending on the pallu and body part of the saree with respective colors it is dyed by tieing those portions with plastic covers and rubber tubes respectively and coloured. After this they spread yarns on the streets to be dried completely and then it is winded to the beams and the pirns for the weaving purpose.

As the completed beams and the pirns are loaded to the loom and the shuttle. It is then run by the hand driven and the peddle movements by the hands and leg movements of the weaver. A cloth bag with sand balances the lifting movement of the yarns. After certain length of the saree is woven it is applied with the Gondhu pasai (local gum mixed with water) to give the stiffness to the saree woven. Therefore there is no need for any further finishing treatment for these sarees. These are light weight with various traditional designs with zari and silk yarns.

Warping: The yarn is bought by the weavers or given by the cooperative societies. It is dyed in desired colors and then sent for warping.

Reed making: The artisan communities make bamboo reed and denting of the reed. The reed setup is a vital part of the loom that controls the way the threads are lifted.

Heald making: After the reed is made, silk yarn is twisted to make leases and dented in the slots of the reed. Once the denting is done, 8 bamboo rodsare positioned for the 4 shafts and healds are tied by threading through the warp ends. Plucking each warp end and looping the heald eye around it from both the face and back makes the eyes of the healds.

Piecing: Piecing is a process where the existing ends on the reed-heald setup is joined with the ends from the new warp by twisting. This preCRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

weaving process is undertaken by older women.

Adding leases: Once the piecing is done, the weaver unrolls the warp out on street on stilts to insert lease rods and to mark out the length of each saree. The leases are inserted and marking is done using a bamboo stick and damp kumkum. The warp is then rolled on the metal cylinder that acts as the warp beam. The setup is then taken indoors to be fitted onto the loom.

The loom: The loom used for silk saree weaving is a raised-pit loom.

A cement seat is constructed for sitting and the local wood craftsman makes all the parts of the loom and assembles it. Teak wood is used to make looms. The warp beam is fixed in its position on the loom and the warp stretched out. The border pattern warp ends are hung using vertical nylon threads and connected to the patterning box on top.

Winding weft: Weft yarn is wound on a metal cylinder from the hank and allowed to soak for two hours. Soaking the weft yarn ensures dense packing of weft and a smooth finish. The weft yarn is wound as the weaving progresses. This is done mostly at home by family members in their free time.

Making saree: The body of the saree is woven in a plain weave and the cross border is woven in a rib weave. The saree is soaked in water overnight and woven wet. This prevents the saree from coiling on itself or tangling. After every few inches of weaving, a solution of gum Arabic is applied to the saree to stiffen it.

Folding: Once the sari is made beam is removed and the kept in sunlight for a while to stiffen the starch and gum. Once dried, the saree is folded in a set pattern. It takes two people to do this task. It is usually the husband and wife who do this and tie it. The sarees are then stacked and covered with fabric, ready to be taken to the cooperative or private dealer.

53

Fig. 77.the working space of silk saree handloom with very less light inside

Fig. 76.measured draw of silk saree craft worker house

54

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

Fig. 78.the path and area which is used by the craft worker and the other residence of the houses, and the location of raw and final product area

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

55

Fig. 79.the final product of various crafts of khambhat.

56

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

this street character which can be found in khambhat everywhere due to the activity of people and the scale build proportion which can also influenced by the traditional architecture of khambhat, the elements which can give the deatailing to the street and making it as a unique architecture of khambhat.

Streets of Khambhat are mixture of Commercial and residential nature. Every traditional street have different character and defined by some regional elements such as plinths, steps, arches, cornices and skyline also.

While humane scale and proportion become important to perceive the space and also plays a major role in climate response.

PLINTHS & STEPS Plinths & Steps are very important element of street as it adds a social layer to street and makes it live and interactive. Also shop owner can expand their space to showcase items and products.

ARCHES & CORNICES In streets of khambhat we can see pointed arches and linear Cornices. Repeatation of Arches and cornices gives it a singular language.

SKYLINE Different heights, shapes and volume gives street a dynemic character. Without these street will become very monotonous.

SCALE AND PROPORTION We can see different scale in different types of streets such as primary streets are wider while secondary streets are less wider than primary.

Primary streets have mostly G+1 structure while Secondary streets have ground floor structures mostly.

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

PARAMETERS

PRIMARY STREET

ORIENTATION AND LOCATION

-The axis of the street is oriented in the northsouth direction.

-The primary street runs around the old inner core of the settlement.

Toward jami mosque.

-it can be found in Y, linear form.

-Linear type of open spaces are found at intervals on the primary street.

-The scale and proportion of these open spaces are not suitable for community gathering and activities.

-Do per it does not have large craft market so the character of street is mixed.

OPEN SPACES

SCALE

TOLERANCES OF THE BUILT FORM

-The width of the street varies from 4 to 6 meters.

-The height of the buildings varies from 12 to 5 meters.

-On the primary street the vertical tolerances are high and the horizontal tolerances are low. So there are more

SECONDARY STREET

TERTIARY STREET

-The axis of the street is oriented in the east-west direction.

-The secondary street physically divides the inner old core into two halves.

-It is more of linear.

-The axis of the street is oriented in the north south direction branching from the secondary street.

-There is constant shift in the axis of the tertiary street.

-Nuclear type of open space is found in the secondary street Infront other houses.

-This is Nuclear type of open space is the chowk located near the gate or houses.

-This nuclear type of open space forms a big chowk and is suitable for small community gathering and activities.

-There is no clast shpos, on secondary street.

-The width of the street varies from 3.5 to 2 meters.

-The height of the buildings varies from 10 to 7 meters.

-On the secondary street the vertical tolerance are low and the horizontal tolerances are greater than on the primary

-Very small scale open space. For small gathering.

-The width of the street varies from 2 to 3 meters.

-The height of the buildings varies from 1 to 9.5 meters.

-The tertiary street has maximum vertical tolerance and very less horizontal toleranes.

-Due to high vertical

57

Fig. 80. the map showing the location of the crafts shop in Khmabhat town which is spread in whole town

58

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

CHAPTER - 3 Case Studies

3.1 INTRODUCTION

3.1.1 Kutch Region

3.1.2 Craft Background

2.1.3 Craft, People and Architecture 3.2 PRIMARY CASE STUDIES

3.2.1 Khamir

3.2.2 Shrujan

3.2.3 LLDC

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

59

3.1 REGION - KUTCH

Kachchh, commonly written as “Kutch,” is the largest district in India and is located in Gujarat state. It is a mosaic of diverse landscapes, people, and cultures that together create a distinct identity that is unmistakable to those who come here. The district is surrounded by ocean on one side, and the Rann of kutch, a vast salt desert, on the other. Once a major trade hub of the Indus Valley delta, kutch has long been a melting pot defined by fluid boundaries. It is a meeting point of people, cultures, faiths, languages, and traditions across a diversity of ecosystems and terrains. A place that is constantly changing, yet feels curiously unchanged.

Fig. 81. location of the kutch region in india and gujarat map

60

kutch is inhabited by a wide range of communities and cultures, many of whom settled here centuries ago following migrations out of Rajasthan, Sindh, Afghanistan and present day Iran. Many of these communities were nomadic pastoralists, and some remain so though the population has largely settled within the last century. The people of kutch belong to a range of different faiths and traditions – most visibly Hinduism, Islam, and Jainism. They speak Kachchhi (a Sindhi dialect that harkens back to the Kachchhi roots of that region), Gujarati, and Hindi. However, these by no means capture the ethnic and tribal sub identities that reflect India’s complex social structures. The movement of people across this land has given it a long history of sectarian diversity and peaceful coexistence.

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

Resting on a region of seismic activity, Kachchh experiences powerful earthquakes that have changed the local ecology in devastating ways, turning the river-fed land into an arid, dry environment. The most recent and deadliest earthquake in living memory shook kutch in January 2001, destroying much of Bhuj and many villages. The earthquake was responsible for the destruction of many artisans’ workshops and raw materials. The initial rehabilitation led to the realization that an institutional response to the special concerns of the rich cultural livelihoods in the district was needed given the rapid changes post the earthquake of 2001.

Fig. 82. LLDC craft building, showing the kutch craft uses in door grills

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

61

62

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

63

64

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

CHAPTER - 4 Program and Site Studies

4.1 PROJECT SELECTION CRITERIA

4.1.1 Name and its Brief

4.1.2 Project formation and Areas 4.2 SITE STUDIES

4.2.1 Site Selection Criteria

4.2.2 Site study and Analysis

4.3.3 Site photos

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

65

4.1 PROJECT SELECTION CRITERION What is the issue..??

4.1.1 NAME AND IT’S BRIEF

1.

2.

3.

4.

5.

But now a days this craft has been faded and skilled people and worker diverted into new occupation. And the craft is dying eventually.

So to revive the craft of this place, a platform is needed where skilled people can work together, share ideas and gain attraction of tourist and people, by making this craft to be well known.

Project – Understanding Regional Architecture of Khambhat Interpretation through CRAFT CENTRE

Lack of economy Craft is not well known so they don’t get proper value.

Lack of interaction within same occupational people.

Skilled people migrated to find new occupation.

Proper work space needed, houses are very small with no work space still family members manage somehow.

Need of the project As we know that khambhat is famous for its trading business. Due to the arrival of different ruler kings and merchants, the building was influenced by gothic, Mughal and hindu jain architecture. It has mix medieval gujrati architecture which is characterized by Islamic, hindu and jain. All this influences also seen in the craft of that place. Due arrival of new material by trading business, new craft has involved and it has being practiced with local people. And khambhat is known for its crafts during 5th to 17th century.

Core study –

Likewise Khamir the craft center. My proposed project will be similar to Khamir craft center. khamir is a platform for the promotion of traditional handicrafts and allied cultural practices, the processes involved in their creation, and the preservation of culture, community and local environments. a common roof under which a range of stakeholders can exchange ideas and collaborate. To give the true meaning and raise the cultural value placed on crafts. sustainable Indian craft sector in which crafts and artisans alike are highly valued by people worldwide.

As we know that this building designed by prof Neelkand chhaya, the building shows the relation of the climate and culture of kutch region. The way materials, construction techniques are used, shows the regional approach to sustainability.

1.

Climate and culture relation of that place 2.

Sustainability in terms of material use, construction technique and climate response 3.

Building that reflects the culture and architectural value Location – khambhat or near by place to khambhat, where artisans, raw material can easily aproach

Nature of project – Community Institutional building 66

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

67

68

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

69

70

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

4.2 SITE SELECTION CRITERION 4.2.1 SITE SELECTION CRITERION 1. Near to all artisans house 2. Near distance to market area about 1km 3. Near to old jama masjid and darbargagh of nawab that is popular tourist place of the town 4. On the edge of road which is linked to Bharuch city 5. Raw material and product can easily transport 6. Near distance to port about 2km

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

71

Fig. 83.location of site area with respect to city main location layout

72

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

Fig. 84.land use paln of site and nearby context

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

73

Fig. 85.site analysis sheet

74

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

Fig. 86.site photographs

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

75

CHAPTER - 5 Process and Drawings

5.1 CONCEPTUAL DRAWINGS Process Model 5.2 DRAWINGS Plan

Sections

3D Drawings 5.3 MODELS

76

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

5.1 CONCEPTUALS DRAWINGS - PROCESS AND MODEL 1. Sense of court from historic and residence building present there.

2. Importance of arches from context buildings.

3. climatical response - proper light and good ventilation.

4. sense of togetherness - common gathering space.

5. importance of nature - water, vegetation, trees, sunlight 6. sense of privacy and cozyness - humane nature of building.

7. importance of plinth.

8. organised spaces according to dimentions and activity needs.

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

77

Site Zoning is done according to the public and private area zone and blocks are placed according to the activity chart.

Site is divied into 3 part public, private and more private from left to right and also from bottom to top. so eventually site has 6 parts. the wdge of road from both side is piblic so the public activity is placed there. market area can be design in such area.

public zone

private zone

more private zone

central part of site is the private zone and it also the medium of connection of public and institute. so craft center main buiding is placed centrally. more private sapac of site contains water body so it can be use as a recreational space so, tourist homes and restraurant are placed there.

78

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

CONCEPT - 1

Fig. 87. according to the site zoning southwest edge having the market where streets are perpendicular to the secondary road, central part of site having craft main building, and the south east zone of the site having waterbody so that can be use for the tourist and recreational space

CONCEPT - 2

Fig. 88. according to the site zoning southwest edge having the market where streets are arranged in SW to NE direction as per wind direction,and the south east zone of the site craft center is located which is open toward the waterbody.

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

79

CONCEPT - 3

Fig. 89. according to the site zoning southwest edge having the market where streets are arranged in SW to NE direction as per wind direction where the two open spaces are designed in front of series of shops that can be use as a public gathering space,and the south east zone of the site having waterbody so that can be use for the tourist and recreational space

80

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

CONCEPT - 3 DESIGN EVOLUTION

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

81

82

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

5.2 DRAWINGS DESIGN CRITERION POINTS Fig. 90.Sense of court from historic and residence building present there.

Fig. 91.Importance of arches from context buildings.

Fig. 92.climatical response - proper light and good ventilation.

Fig. 93.sense of togetherness - common gathering space.

Fig. 94.importance of nature - water, vegetation, trees, sunlight Fig. 95.sense of privacy and cozyness - humane nature of building.

Fig. 96.importance of plinth.

Fig. 97.organised spaces according to dimentions and activity needs.

Fig. 98.imagenary sketch for stone chipping area

Fig. 99.imagenary sketch for stone polishing area

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

Fig. 100.craft centre central court

83

AA’

BB’

BB’

AA’ N

Plate - 04 84

CRAFT CENTRE FOR LOCAL ARTISANS OF KHAMBHAT

•

SECTION AA’

•

SECTION AA’ BUILDING PART SECTION

•

SECTION BB’

•

SECTION BB’ BUILDING PART SECTION

Plate - 05 CRAFT CENTRE FOR LOCAL ARTISANS OF KHAMBHAT

85

Plate - 06 86

CRAFT CENTRE FOR LOCAL ARTISANS OF KHAMBHAT

SECTION - B

Plate - 07 CRAFT CENTRE FOR LOCAL ARTISANS OF KHAMBHAT

87

SECTION - A

Plate - 08 88

CRAFT CENTRE FOR LOCAL ARTISANS OF KHAMBHAT

FRONT ELEVATION

SECTION

Plate - 09 CRAFT CENTRE FOR LOCAL ARTISANS OF KHAMBHAT

89

Fig. 101.arial view of craft centre, showing entrance and activities.

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

91

Fig. 102.activities on street opposite to center plaza of craft centre.

92

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

93

94

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

95

96

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

LIST OF PLATES PLATE 01

TRADITIONAL STREET OF KHAMBHAT

56/57

PLATE 02

VEHICULAR AND HUMAN ACTIVITY

56/57

PLATE 03 SCALE AND PROPORTION 56/57 PLATE 04 GROUND FLOOR PLAN 83/91 PLATE 05 SECTION 83/91 PLATE 06 SECTION 83/91 PLATE 07 GROUND FLOOR PLAN SITE SECTION 83/91 PLATE 08 FIRST FLOOR PLAN WITH SITE SECTION 83/91 PLATE 09 SECTION AND ELEVATION 83/91

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

xi

ILLUSTRATION CREDITS Fig.01 https://en.wikipedia.org/wiki/Khambhat Fig.02 https://www.penn.museum/sites/expedition/cambay-beadmaking/

Cambay Beadmaking - An Ancient Craft in Modern India By: Gregory L. Possehl Fig.03 – 04 Google images Fig.05-06 http://www.iranicaonline.org/articles/delhi-sultanate Delhi sultanate, Last

Updated: November 21, 2011, volume 8 Fig.07 http://www.craftingluxurylifestyle.com/ahmedabad-indias-first-unesco-world-

heritage-city/ Ahmedabad is India’s first UNESCO World Heritage City Fig.08 http://www.historydiscussion.net/history-of-india/characteristics-of-the-

architecture-during-the-sultanate-period/2726 Characteristics of the

Architecture During the Sultanate Period by sonali Fig.09 http://www.jaunpurcity.in/2014/02/old-and-new-jaunpuri.html difference of old

and new jaunpuri culture by S N Mausum Fig.10-11 by author Fig.12 https://starsinsymmetry.wordpress.com/category/imagining-islamic-aesthetic/ page/3/

Imagining Islamic Aesthetic, 17/10/2010 • 12:27 AM Fig.13 by author Fig.14 https://www.pinterest.com/pin/192317846570760828/ Fig.15 Google images Fig.16 http://www.gujarattourism.com/destination/details/12/159 chappaner - pavagarh Fig.17 http://www.craftingluxurylifestyle.com/ahmedabad-indias-first-unesco-world-

heritage-city/ Ahmedabad is India’s first UNESCO World Heritage City Fig.18 https://en.wikipedia.org/wiki/Khambhat

xii

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

Fig.19 https://en.wikipedia.org/wiki/Khambhat Fig.20 https://www.tutorialspoint.com/fatehpur_sikri_fort/fatehpur_sikri_fort_ architecture

Fatehpur Sikri Fort – Architecture Fig.21 http://indianhistoryfordummies.blogspot.in/2013/06/lothal-and-dholavira.html Fig.22 Google earth Fig.23 http://indianhistoryfordummies.blogspot.in/2013/06/lothal-and-dholavira.html Fig.24-25 Carnelian Bead Production in Khambhat India, by Kenoyer in 1994 Fig.26-27 Japanese article on stone bead making of khambhat Fig.28 by author Fig.29 cambay of khambhat book Fig.30-52 by author Fig.53 Google map Fig.54-55 Carnelian Bead Production in Khambhat India, by Kenoyer in 1994 Fig.56-65 by author Fig.66 Carnelian Bead Production in Khambhat India, by Kenoyer in 1994 Fig.67-69 by author Fig.70 http://www.dsource.in/resource/kites/kite-making/elements-kites

Element of kites by Madhuri Menon, IDC, IIT Bombay Fig.71-72 http://www.dsource.in/resource/kite/process-making-manzaa

Process of Making the Manzaa by Prof. Bibhudutta BaralandMr. Antony

William, NID, Bengaluru Fig.73 http://www.dsource.in/resource/kites/kite-making/elements-kites

Element of kites by Madhuri Menon, IDC, IIT Bombay Fig.74 http://dsource.in/resource/silk-saree-weaving-arani/making-process

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

xiii

Silk saree making by Prof. Bibhudutta Baral, Divyadarshan C S andLija M. G, NID, Bengaluru Fig.75-79 by author Fig.80 by author and google map Fig.81 Google Image – kutch Fig.82 by author Fig.83 Google map and by author Fig.84-92 by author

xiv

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

WORK CITED http://indiahistoryspeaks.blogspot.in/2008/05/khambhat-forgotten-city.html KHAMBHAT – A FORGOTTEN CITY -TUESDAY, MAY 13, 2008 __ WRITTEN BY: The Editors of Encyclopædia Britannica__LAST UPDATED: 8-6-2014 The Agate Industry of Khambhat (Cambay) India___Last Updated: 28th Jan 2008By Daniel Russell https://www.triposo.com/loc/Khambhat/history/background www.khamir.org Youtube video - Bead Craft of Khambhat – A 5000 Year Old Legacy of Indian Civilisation Kenoyer1994_Carnelian Bead Production in Khambhat India - 28th Jan 2008 By Daniel Russell Vistara – the architecture of india by Edited by Carmen Kagal - published in oct 1986 Kenoyer Vidale Bhan Craftspecialization Khambhat - 1991 Cambay of khambhat - Islamic History (book) Reff – youtube video - Bead Craft of Khambhat – A 5000 Year Old Legacy of Indian Civilisation

CRAFT CENTRE FOR LOCAL CRAFTSMAN OF KHAMBHAT

xv