The traditional and vernacular houses constitutes a major section of built heritage in India generating a physical compendium of the rituals and culture of a civilization and its people. They were constructed by local craftspeople, using indigenous technologies which have evolved over the years. One of the most prominent natural material to be employed in these buildings is wood. The rich wooden heritage of India displays multiple types of crafts like wood carving, wood inlay, wood marquetry, wood turning and lacquer, carpentry and wood working. The traditional wood craft practices are still thriving in India and they are embedded with an inherent empirical knowledge. The craftspeople not only encompasses the knowledge of material and skills of making in wood but also holds a holistic and intuitive understanding of sustainability in the larger context. But due to the shift in the building industry over period of time, the craftspeople working in the building wood craft sector have now moved to smaller scale of furniture and objects. Further over the last few decades the industrial production has reduced the skilled based handwork resulting into disintegration of wood craft practices. The awareness about value of crafts is emerging back in India but the craftspeople are now posed with the challenge of blending traditional knowledge with emerging design trends to cater to the new markets. Design Innovation and Craft Resource Centre (DICRC), CEPT University has developed a comprehensive mapping, documentation and innovation models, not only preserve and revive the craft skills but also to fuse design, craft and industrial process with each other to create synergies for innovation and generate new directions for crafts in current milieu. This presentation is the journey through the traditional Indian wooden architecture to the wood craft practices to a systematic institutional model of research and innovation in the wood crafts of India.
See Full PDF See Full PDFSpace-Making (Building) Crafts of Kumaun Region of Uttarakhand: Investigating Inter-relationships between Craft and Interior Architecture
This is a trans-disciplinary research of qualitative nature, focusing on empirical and longitudinal aspects of craft, in relation to applications in interior architecture (space-making), specifically for the case of the Himalayan state of Uttarakhand in India. It majorly concentrates on the space-making attributes of likhai kaam (wood carvings) and aepan (ceremonial paintings) seen in the interior architecture of Kumaun region of Uttarakhand, especially in the traditional residences (at least two hundred years old). In fact, aepan has been classified by the researcher, as a narrative craft rather than art. This is primarily a deductive research and employs a case study based approach. The research is spread across two phases. The reconnaissance and pre-feasibility study constitutes the Phase I of the research, and takes into consideration, case studies from both Garhwal and Kumaun regions (administrative divisions) of Uttarakhand. This phase highlights the potential examples of space-making applications of crafts. Subsequently, the in-depth, main study constitutes the Phase II, which is done in the Kumaun region, focusing on more intricate examples of the identified crafts (Mathpal, 2013; findings of the Phase I). The research aims to investigate inter-relationships between craft and interior architecture, and recommend inter-disciplinary perspectives linking them. A sparse number of researches done to bridge the gap between disciplines like craft and interior architecture, especially in India, make this research stand out for contributing to this discourse. This is one of the earliest researches done in India, linking craft and interior architecture, focusing on Uttarakhand. It emphasises on establishing the importance of documenting and studying the identified crafts, with an emphasis on the quintessential role played by them in space-making - at a surface level; structurally (including furniture); and, as an object of use (both utilitarian and decorative). Moreover, it is not easy to reconcile informal approaches adopted by craft-based studies with formal research training, focusing on interior architecture. The major objectives which are formulated to achieve the aim are – to deduce theoretical inter-relationships between craft and interior architecture; to document and collect data on the crafts and interior architecture of Uttarakhand; to analyse space-making elements (SME) and space-making crafts (SMC) in the interior architecture of Kumaun region, and develop a system of classifying them, based on their roles and applications in interior architecture; and, to recommend inter-disciplinary perspectives linking craft and interior architecture, and propose practical applications of space-making crafts of Uttarakhand in contemporary interior architecture. It is observed that the Kumaun region (especially, Almora) offers a better opportunity for interventions in the craft sector (both utilitarian and space-making). The analysis of the six cases studied during the main study, showcases that the most prominent likhai kaam is seen in the façades, and aepan is mostly seen in the interior spaces. The major findings of this research highlight that likhai kaam, once an integral part of the cultural history of this region, is endangered today (also validated by a recent study done by the Uttarakhand Handloom and Handicraft Development Council (UHHDC) in 2020). The research also showcases that aepan has a low earning potential. But, both these crafts are scalable. The study further offers new information and perspectives on craft, which go beyond cultural boundaries. It brings to light that crafts do not have to be understood in terms of non-economic activities only. They are capable of contributing to a wider economy. Crafts explored within the milieu of interior architecture (space-making) can create opportunities for employment in the craft sector as well as building construction industry. This could ensure continuity and revival of a languishing craft such as likhai, and rekindle a low-earning craft like aepan. The above-mentioned aspects have not been addressed by previous studies, which largely focus on the two identified crafts bereft of space-making attributes. To conclude, the key significance of this research is in terms of the contribution to the global body of literature, emphasising on inter-relationships between craft and interior architecture, which is substantially sparse, let alone focusing on developing countries of the global south. Secondly, complimenting the earlier studies focusing on other parts of India, this research delves into a new dimension of understanding and studying crafts of Uttarakhand, in relation to space-making. Thirdly, the key methodological strengths of this research centre around narrative enquiry; participatory research; and case studies, which can be replicable in other parts of the country. Lastly, the study assists in establishing that Uttarakhand being a Himalayan state, can lead by example, in creating linkages between craft and interior architecture, which could be employed in the contemporary building construction industry, to generate craft-based ecosystems and livelihoods in the mountainous regions. Moreover, the recommendations and perspectives presented, could also be applied on other crafts and craft clusters, across India. This research may be useful to a diverse group of people and open a window towards a more informed enquiry into traditional crafts. Keywords: craft, interior architecture, space-making, Uttarakhand, India
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Handicrafts are getting tremendously popular in the global market. Many developing countries are exporting handicrafts to the developed world, creating a new source of revenue and employment. Sillanwali in Pakistan is famous for its handicrafts and has always fascinated people with keen interest in handicrafts and traditional furniture. Sillanwali is known throughout Pakistan and at international level for its wooden handicrafts with colorful geometric patterns and oriental designs. The current research is a qualitative analysis of occupation of carpentry which involves the knowledge, skills, techniques and tools adopted by handicraft makers. Utilization of these handicrafts is not only for practical purposes but also decorative. It is an attempt to explore a renowned wood work being done in the district for over decades. The data was collected through participant observation and in depth; interviews of 45 workers and owners of Sillanwali handicraft main market. The results indicate that the artisans involved with the occupation have majorly chosen the field on need rather than interest basis. The profession skill and techniques are passed on to the next generation; thus lack of access to global economy, knowledge regarding profitability of new trends and designs severely hinders the industries growth.
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Design Issues (MIT Press)
