decoding craft expressions: wood carvings of traditional...

jay thakkarD e c o d i n g C r a f t E x p r e s s i o n s : W o o d C a r v i n g s o f T r a d i t i o n a l H o u s e s o f G u j a r a t

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Decoding Craft Expressions: Wood Carvings of Traditional Houses of Gujarat

l ’École française d’Extrême-Orient (EFEO) T h e F r e n c h S c h o o l o f F a r E a s t G u j a r a t a n d S i n d h S t u d i e sP a r i s , F r a n c e

Jay ThakkarA s s i s t a n t P r o f e s s o r , C E P T U n i v e r s i t y

R e s e a r c h H e a d , D I C R C , I n d i aA u t h o r o f Naqsh & Mat ra


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introduction

GujaratCEPT

DICRCMatraNaqsh


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Introduction Background

Area of TeachingInterior Design Studio, Graphic Design, Wood workshop, Craft & Technology, Craft Traditions

Author of BooksMatra (2008)Naqsh (2004)

Academics

Associate ProfessorFaculty of DesignCEPT UniversityIndia

Research

Research HeadDesign Innovation & Craft Resource Centre (DICRC)SID Research Cell, India

Professional

Honarary SecretaryInstitute of Indian Interior Designers (IIID) - Ahmedabad

Visual Communication Consultant

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Pakistan

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Palanpur

PatanRadhanpur

Himatnagar

Ahmedabad

Rajasthan

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Baroda

Kapadvanj

Godhra

Sankheda

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Daman(Goa, Daman, Diu)

Diu(Goa, Daman, Diu)

Bhavnagar

SurendranagarMuli

LimbdiSayla

ChotilaRajkot

Jamnagar

Porbandar

Santalpur

Junagadh

Amreli

Savarkundla

Rajula

Keshod

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Mandvi

Bhachau

Mundra

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Introduction CEPT

Centre for Environmental Planning & Technology (CEPT) UniversityAhmedabad, India

Faculty

Faculty of ArchitectureFaculty of Public Policy & PlanningFaculty of TechnologyFaculty of DesignFaculty of Arts & HumanitiesFaculty of GeometricsFaculty of Climate Change

Centre

Centre for Sustainable Environment & Energy (CSEE)Design Innovation & Craft Resource Centre (DICRC)Centre for Continuing EducationCentre for Rural DevelopmentCentre for InfrastructureCenter for Urban TransportCentre for Research, Development & Consultancy


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Introduction DICRC

Design Innovation & Craft Resource Centre (DICRC)

Vision

To document, study, analyse, research and generate resource related to Space Making Crafts (SMC) of the vernacular and traditional buildings of India

Undertake research projects addressing social concerns as well as professional and academic interests related to the Space Making Crafts (SMC)

Establish a platform for research scholars to disseminate acquired knowledge

Create opportunities for public involvement (including craftspeople) towards issues of sustainable craft practices and traditional and vernacular built environments


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Naqsh: The Art of Wood Carving of Traditional Houses of Gujarat: Focus on Ornamentation

Author: Jay Thakkar

Mātrā: Ways of Measuring Vernacular Built Forms of Himachal Pradesh

Authors: Jay Thakkar & Skye Morrison

Published by SID Research Cell, School of

Interior Design, CEPT University in August 08

ISBN – 819040968-9, Hardbound, 315 pages,

800 images (sketches, hand measure drawings,

technical drawings, 3D CAD drawings,

photographs)

Published by SID Research Cell, School of

Interior Design, CEPT University in October 04

ISBN – 817525285-5, Hardbound, 240 pages,

over 1000 images (B/W, colour, sketches)

Research Publications


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42 43

Typology of houses House is a space inhabited by people and their stories. The character of a Himachal house, the ‘story unit’ is basically a cuboid (figure 39, 40). The smallest houses are single cuboid stacked in two or three layers (ground level, first level, second level). The size of the house increases by placing cubes side-by-side and then extending the larger rectangular units up by one or two levels (figure 37, 38). The largest house where we made measure drawings is three side-by-side stacked cuboids extending up three levels (figure 103). Closer examination of the interior spaces of this house revealed half levels and intermediate spaces not obvious from the external viewpoint (figure 192). Each house size is determined by capacity. This capacity is not only the size of the family but also the family’s socio-economic status.

4 0 a 4 0 b 4 0 c 4 0 d 4 0 e 4 0 f

4 0 k 4 0 l 4 0 m

4 0 j4 0 i4 0 h4 0 g

3 7

3 8

3 9

37. Front view of six-cuboid module house, Upper Dhagoli Village. Looking up

the front facade of this older house, there are six-cuboids stacked beside and above

each other in the basic inner structure. The shifts in patterning of layers of stone and

wood, as well as irregular insertion of small doors and windows create non-aligned

openings in the structural wall that assist in the seismic design.

38. Plinth and steps for animals and people, Jhaknoti Village. Different layers

of stacked stones form a plinth for the cow and steps to bring people around to

entrances of the house while defining the outer footprint of the built form. This

transitional space is another example of the multiple uses of transitional space.

Photograph: Rajesh Sagara

39. Schematic digital illustration of stacking of cuboids. These cuboid modules

represent the key volumes of the rooms in the kath-khuni houses we measure drew.

Starting with the smallest house, with just three cuboids to the large houses with nine

or more cubes.

40 (a to m). Typology of Kath-Khuni Houses, Himachal Pradesh. These sketched

views of types of kath-khuni vernacular are all front elevations and include an indication

of human scale. The schematic of cuboid-module under each house represents the

configuration of the volumes within them.

180 181

Part 6 Construction sequence Part

6 C

onst

ruct

ion

sequ

ence

1 9 0 a . 5 5 1 9 0 a . 5 6 1 9 0 a . 5 7 1 9 0 a . 5 8 1 9 0 a . 5 9 1 9 0 a . 6 0 1 9 0 a . 6 1 1 9 0 a . 6 2

1 9 0 a . 4 7 1 9 0 a . 4 8 1 9 0 a . 4 9 1 9 0 a . 5 0 1 9 0 a . 5 1 1 9 0 a . 5 2 1 9 0 a . 5 3 1 9 0 a . 5 4

1 9 0 a . 3 9 1 9 0 a . 4 0 1 9 0 a . 4 1 1 9 0 a . 4 2 1 9 0 a . 4 3 1 9 0 a . 4 4 1 9 0 a . 4 5 1 9 0 a . 4 6

1 9 0 a . 3 1 1 9 0 a . 3 2 1 9 0 a . 3 3 1 9 0 a . 3 4 1 9 0 a . 3 5 1 9 0 a . 3 6 1 9 0 a . 3 7 1 9 0 a . 3 8

44 45

Variations

The most common variation in vernacular built form is the addition of balconies on the first and second levels of the house (figure 41 to 45). These extensions can be open, semi-covered or completely covered. They can enclose one, two, three or four sides of the house (figure 46). They are a transitional space between levels and between the inside and the outside acting as the ‘middle zone’ of the social space of the house.

Other variations to the basic structure include the addition of washing rooms, laundry or storage spaces as extensions of the balcony or beside the ground floor (figure 132). In the case of the balcony these additions are for domestic activities or increased social use of the built form. On the ground floor additions create enclosures for outdoor ‘rooms’, increased or altered storage space and sometimes innovative spaces for new purposes (a shop, a place for modern vehicles or a guest space).

4 4

4 1 4 2

4 3

4 5

4 6 a

4 6 c

4 6 b

4 6 d

45. Villagers watch the performance of SID students and faculty, Jhaknoti

Village. The lower balcony is a social space. A group of women from a family who

have come to learn of our measure drawing exercise are watching us with both

delight and curiosity.

46 (a to d). Digital schematics of configurations of balconies, Himachal Pradesh.

This is a series schematic plans of kath-khuni houses we measure drew, where different

configurations of balconies are highlighted. These are only some of many possible

ways the villagers integrate balconies to the basic cuboid house form.

41. Hanging out the wash, Dhagoli Village. Wet clothes are rung out away from

the house. They are hung to dry suspended in the fresh air to catch both breezes and

the afternoon sun.

42. Lower balcony as a laundry facility, Dhagoli Village. Here the flat floor of

the open lower balcony is put to complete use to dry the garments and keep their

shape after washing. Activities around cleaning and water take place outside the

house because there is no infrastructure of indoor plumbing. The balcony is both a

workspace and a temporary storage space.

43. Carved semi-enclosed upper balcony, Dhagoli Village. A woman is standing

out on the open part of the upper balcony outside of her kitchen. The cusped arches

frame her view of the mountains from outside the kitchen, the heart of the house.

44. Young boys watch the action from an open lower balcony, Dhagoli Village.

The balcony is used as a focal point for news and gossip as well as a place to do

homework and play. Photograph: Kireet Patel

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N o t t o s c a l e

94 95

Living at home

Social use of space

People who share a common location, beliefs and activities express their values through the way they live. This is true about the villagers of Sutlej region in Himachal Pradesh. In each level of their houses and in each season of the year space is used in a pattern that makes the village a cohesive unit. Climate plays an important role in defining the use of the space within as well as outside the house. The warm sunny days pulls the activities out of the house on the balconies and plinths, while

during the colder times during winter and night, the daily activities gets contained within the warmth of the wood-and-stone walls. We studied the levels of the house in terms of social patterns in order to understand why it is constructed and used in a particular manner. We examined in detail the salient features of the house, the chulha (or hearth) and the personal storage systems in order to understand how each house reflects the personalities of the inhabitants while at the same time represents members of a coherent community.

1 0 6 a 1 0 6 b 1 0 6 c

1 0 7 j

105. Digital sectional perspective of rooms, Aukta House. A cross section cut from the front of the house shows the organization of spaces and their function.

106 (a, b, c) Illustration of section of Kath-khuni house in different seasons. These cross sections of a house are in different seasons and climatic condition. Activities of people and

animals indicate the changing use of spaces.

107. (a to m) Function indication through colour-coded plans and sections. A key of coded colours indicates functions and organization of spaces according to the levels of each

floor. Three houses of different scales are chosen to indicate the similarity in the space organization.

Granary

First floor balcony

Storage room

Second floor balcony

Kitchen

Roof attic

Gaushala

mezzanine

Storage room

Living room

Wash room

Roof attic

Middle attic

Entertainment room

Gaushala

1 0 7 a 1 0 7 b 1 0 7 c

1 0 7 d 1 0 7 e 1 0 7 f

1 0 7 g 1 0 7 h 1 0 7 i

1 0 7 k1 0 7 l

1 0 5

A u k t a h o u s eH a p p i s i n g h h o u s eL o h l t a h o u s e

102 103

First floor

The middle level of the house (the first floor or in some cases the split-level room) is used for storage of practical items. If the house is large enough there will be an indoor granary at this level. Otherwise the room(s) will include wooden bins, cupboards or boxes on a large scale meant to keep a years supply of grain, vegetables, bedding and clothing for the changing needs of the seasons. These rooms are dark, self-contained and compact. Not only does this keep foodstuffs cool and safe, but also it prevents deterioration of cloth and other natural materials since it is in a cool, dark place. This floor is another upward

layer of insulation from the cold of the ground floor and the outside. It is frequently accessed by a ladder and trap door system from the top floor. There are usually doors to the outside on balconies. These doors, as the Gaushala doors are small and airtight, preventing any excess heat loss during the winter. Students who ventured into these rooms thought they were like secret compartments on a ship. They were silent, smelled of wood and the musty odours of the cows and gave you a feeling of security that there would be enough to make it until the weather improved. This middle zone is a buffer for the smells of the cattle and the outside, keeping the top floor as the freshest zone of the house.

1 1 4 a

1 1 5 c

1 1 5 b

1 1 5 a

1 1 4 b 1 1 4 c

113. (a to f) Human activity in different

houses. First floor plans (c, d, f) and

cross sections (a, b, e) of three houses

(Lohlta, Happi Singh, Aukta). Depending

on the size of house, more activity

and more people and animals can

interact. Plans of the first floor of small,

medium, and large houses illustrate

the storage spaces at this level. This is

complemented by the cross sections

representing the activities of villagers at

different levels. are complemented by

their corresponding plans.

114. (a, b, c) Interior sketch of first floor storage room.

This room (a) is activated by the addition of a in-built storage

unit (b) and by the homeowner filling the unit with grains

for the coming winter (c). The organization is open-ended,

whereby the owner of the house has the possibility of

organizing the spaces when the house is constructed.

115. (a, b, c) Storage Elements, houses in Sutlej river

valley, Himachal Pradesh. There is a need for storage at

every level of the house. The first floor has the independent

(a) or in-built (b) storage. Many times enclosed balconies

also are filled up with inherited storage boxes (c).

1 1 3 a . L o h l t a h o u s e f i r s t f l o o r p l a n

1 1 3 b . L o h l t a h o u s e c r o s s s e c t i o n 1 1 3 d . H a p p i s i n g h h o u s e c r o s s s e c t i o n

1 1 3 c . H a p p i s i n g h h o u s e f i r s t f l o o r p l a n

1 1 3 f . A u k t a h o u s e c r o s s s e c t i o n

1 1 3 e . A u k t a h o u s e f i r s t f l o o r p l a n

220 221

Tower temples

These are multi-storeyed temples build in Kath-Khuni method with Pent-and-Gable and composite roofs that quite literally tower above the surrounding buildings. We saw tower temples in Jhaknoti, Dhagoli, Old Jubbal (upper temple) and Sarahan (Shimla district) that ranged from three to seven floors high. These buildings were not only temples but also defensive structures used to observe the comings and goings of people, animals and events. For this reason, they were built in strategic locations in the form of soaring towers to enable surveillance of routes along which an enemy might attack. In order to prevent penetration by unwanted outsiders, in many of the tower temples there were no permanent staircases or steps. Instead, a log of wood was notched to create ladder (sanghah) to reach the entrance. This could be drawn up or down as required by the temple guards. In present day, they function purely as the religious edifice strongly guarding the belief system of the society.

In Tower temples the topmost floor holds the clan deity (kul-devata) or the community deity (gram-devata). The lower floors of the temple are used for storage of holy vehicles, food, grain, weapons, and musical instruments and housed the kitchen and assembly hall. Tower temples have solid stone plinths at their base that are nearly one whole storey high. This provides stability and added security by preventing ground level access. Thick sections of wood and stone were employed for the construction of walls, to ensure uniform distribution of the superimposed load on the foundation. Watch-holes were constructed in the wall for surveillance and firing on attackers. The balcony and the topmost floor are made primarily of wood. The balcony has a series of openings, usually enriched by cusped arches. The most elaborate carvings are observed on the panels of the balcony, and the subjects chosen by the woodcarvers either pertained to local culture or were nature motifs. Where the practical events of daily life take place in a house, the ritualistic events of the deity and nature occur within the space of the temple. A wooden balcony encircles the topmost floor. In earlier times, the balcony was used for protection and surveillance. Today it acts as a circumambulatory for viewing the surrounding terrain.

Multi-tiered pyramidal roof

These single-storey temples have a layered pyramidal roof (hansakara) capped with a conical canopy on the vertical axis. The Prashar Rishi temple visited during the 2005 study tour falls under this category. Built around 1340, the Prashar Rishi temple is situated on the bank of a lake separated from society. It is said to have been built to celebrate the solitude of the sage Prashar who is thought to have meditated on this spot. It sits like a gem in the peaceful surrounding landscape. The temple is an elaborate wooden structure with kath-khuni walls holding up a four-tiered pyramidal roof. There is an articulated clearance between the tiers. The lower three tiers have pent roofs covered with fine slate tiles, while the top roof is a conical shape and sharply pitched.

The top roof of the Prashar Rishi temple is currently covered in galvanized iron sheets and a canopy. The outer surface of the sanctum is exuberantly carved in high-relief style on the door and window frames with stylized floral and figurative narratives. The temple we observed in Jhaknoti, which was constructed some fifteen years ago, also exhibited a roof made out of metal sheets in form of Multi-tiered pyramid. This clearly demonstrates the need of the community to continue the traditional forms at least within the arena of religious buildings.

2 3 9 a

2 4 0 b

239. (a, b, c) Tower Temple. Schematic

illustration of tower temple at Jhaknoti

Village (a) and Bhimakali temple at Sarahan

Town (b), where the main temple is a tower

temple while in the surrounding area are

examples of many roof types from pent to

pent and gable to composite roofs. Sketch

of tower temple at Dhagoli Village (c).

240 (a, b, c) Multi-tiered pyramidal temples. Schematic illustration of Prashar Rishi

temple at Prashar Lake (a). Sketch of local newly built temple at Jhaknoti Village (b)

and Prashar Rishi temple (c).

2 3 9 b

2 3 9 c

2 4 0 a

2 4 0 c

210 211

standardization of forms, principles and procedures, which further indicates that, fundamentally, all these temples belong to the same family. Two factors are at play in these types of temple: The first factor is the observance of the tenets of the Shilpashastra, the ancient system of divination of space and rules for the protection of Gods was known to master craftsmen through their patrons who funded the temples. In an oral tradition, they passed on the tenets of Hinduism including the visual and architectural vocabulary. The local people interpreted this knowledge using available local materials and their own expertise. They practiced their own aesthetic preferences by stylizing, simplifying and exaggerating classical forms to suit their own desires.

The second factor influencing the building of these temples is the guild system. In this medieval system there were master artisans in

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2 2 9

227. Upper temple, Old Jubbal Village. The Old Jubbal tower temple has survived

with the patronage of kings and queens. It is a freestanding building rather than a

temple in the darbargadh. The temple has stone carving with woodcarving motifs (see

figure 233) and narrative folk woodcarving inside the temple.

228. Prashiar Rishi Temple, Mandi District. From the overview (see figure 218), we

view a detail of the main temple roof structure resplendent with flags. This multi-tiered

temple is extremely well maintained including intense folk woodcarving inside and

outside the temple.

229. Local kath-khuni temple, Jhaknoti Village. According to the villagers, this multi-

tiered roofed temple is recently constructed and has a metal roof (like some granaries).

The roof trim is hanging wooden pedants that imitate the edge of a shawl and cast a

shadow as a whole cloth on the building. The gentle sound of the wooden pendants

in the fresh mountain air beckons the villagers to gather at their folk temple.

58 59

Woodcarving integrated in built forms

Woodcarving as ornamentation of built forms is one of the oldest crafts of Himachal Pradesh. Ornamentation of large wood-and-stone built forms is an artistic testament to the sustainable natural resource of the great deodar cedar tree and the people’s ability to create visual narratives. Woodcarving is a form of folk art that enables the people to express their culture – whether the motifs are abstractions from nature, spiritual awareness or the replication of patterns found in local flora and fauna. Towards the end of our 2006 trip in the village of Sarahan, we had an enlightening encounter with traditional Himachal Pradesh woodcarvers working on the restoration of an ancient temple (figure 70). We talked with the craftsmen while they worked and came to understand the four stages of their process. We received permission to photograph the work in progress. There are a clearly defined repertoire of motifs and patterns in Himachal Pradesh surface woodcarving that, with personal variation, all appear to be from the same artistic community.

The ornamental images are repeated in all Himachal Pradesh vernacular built forms with greater or lesser intensity. Temples receive the most attention followed by darbargadhs, large houses, and finally granaries. This is in direct proportion to the size of the structure and the resources available to employ master artisans. Woodcarving is integrated into the construction of the building, and not added later (figure 71). The exception to this is freestanding wood sculptures of temple deities and masks carved for festivals or rituals. Three-dimensional carving is most often found in temples and darbargadhs, but we did not meet the artisans who produced this work. Sculptural carving appears on columns, studs, door-frames and hanging pendants. In local temples and houses, there are sculptural wooden deities either in the sanctum or in prayer niches. We saw only a few examples of old sculptural woodcarving. The woodcarving that we observed was two-dimensional (planar surface-based). In our examples, a prepared piece of wood has only the single outer surface ornamented.

The process of carving has four phases and utilizes tools fabricated by the local blacksmith (figure 72). The basic woodcarving tools include the aari (handsaw), basola (adze), randa (plane) nehan (chisel) and hathodi (hammer). The first phase of production is wood preparation when the craftsmen measures and cuts the wood to the desired size with the help of carpentry tools. When the satisfactory size and surface is achieved the master artisan moves into the second phase of production. He draws the pattern on the wood with pencil or pen. Less elaborate and repetitive designs are achieved with the use of stencils. This is the critical part of the process because it is when the master artisan creates the story in images on wood. The ornamentation is a mixture of classical forms, popular local motifs, repetitions of previous work and new variations within the parameters of local aesthetics. The degree of creative expression varies depending on whether it is to be used in religious, communal or secular built forms. Expression also depends on the skill and knowledge of the artisan and the quality of his tools. Rules are much more stringent and defined for woodcarving on temples. The skill level of the carver must be excellent.

7 1

7 0 a

7 0 c

7 0 b

7 0 d 7 0 e 7 2

70 (a to e). Documenting woodcarvers working on a temple restoration, Sarahan Town. Two students talk with

the lead carver (a) and his apprentices about their craft practice. The two carvers discuss a section of a doorframe (b)

while a woman finishes another carved piece of wood with sandpaper (c). The master carver holds a rounded chisel

in a section of a carefully drawn floral motif (d). He shows in detail how the curved chisel fits his needs to achieve an

accurate design (e). Photographs: Tarang Sagara

71 Carved and painted wooden door in a kath-khuni house, Jhaknoti Village. Here we see how the carving

is layered in the construction of the door and frame. Contrasting bright colours emphasize the figures and the

patterning of the carving. The overall effect is a beacon inviting you into the house.

72. Handmade woodworking

tools, Sarahan Town. These are

the essential tool kit of a traditional

woodcarver, including basola, (adze),

nehan (chisel), hathodi (hammer) and

punch tools. The metal would be

fashioned by a local blacksmith and

the handles added by the woodcarver.

Photographs: Tarang Sagara

58 59

Bo

x o

f Kn

ow

led

ge

214 215

2 3 22 3 3

Hari Chaudran laments the loss of woodcarving.

“In this age of iron and cement, woodcarving which was so profuse and common in the past has been virtually eliminated from the process of building”

Regional and local wooden temples are the expression of reverence for the Gods and the skill of the local people. They all use local wood as the primary material, a precious and costly commodity. We could see how closely these temples are integrated into the lives of the villagers. They took pride in protecting their deities, respecting their religious traditions and expressing their worldviews through the ornamental art used to tell the story of the gods in pictures.

233. Detail of stonecarving, Old Jubbal Village. Upper Temple (see figure 227)

entrance door. Low relief imagery is similar to the woodcarving. Coins nailed on to

the door and prayer flags and flowers adorning the metal hardware are the part of

the auspicious rituals.

231. (a to l) Folk carving in Sutlej valley temples (2006 study tour). Integrated with classical carving and sometimes standing alone local woodcarvers

have created a distinctive repertoire of folk carvings. From local stories to Ganesh to heroic deeds to the delicate trail of leaves and spirals, these

repertoires of the folk forms tells us the integrated story of the lives of the villagers of Himachal Pradesh.

232. Elaborate entrance of local temple, Dhagoli Village. This first floor level with locks, bells and enchanting folk carving on structural beams and

doorframes represent the importance of embellishment that was embodied to the temples of this region.

2 3 1 a 2 3 1 b 2 3 1 c

2 3 1 d 2 3 1 e

2 3 1 f 2 3 1 g

2 3 1 h

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2 3 1 k 2 3 1 l

Publications Matra


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Publications Naqsh


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Decoding systems

Decoding a building


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Decoding systems Decoding a building

XYZ Axis System

Surface

OrnamentationTangibles Material Elements

IdeationGenesis Volume Composit ion

X Axis Z AxisX Axis

Y A

xis

Sub Axis

IntangiblesPerception

+Memory

Gravity+

Logic

Spatial+

Intel lect

Analysis of Expression

Analysis Typology

Analysis of Construction

Analysis of Articulation

Space Making Craft Expression

Area of study

Tradit ional Building Practice

Tradit ional Spatial Configurations


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X

T = Time

Z

Y

Process

XT = Time

Z

Y

Application

CraftsCraftspeopleMaterialsToolsTechniquesContext

OCM+ =

Benchmark & Turning PointsTangibles Craft-Design Process

IntangiblesHistory

+Achievements

Wisdom+

Sustainable Application

Analysis of Innovation & Integration

Analysis Typology

XYZ-T Analysis Application

History of Space Making Crafts

Area of study

Contemporary application of temporary practice

Decoding systems Decoding a building

XYZ-T Axis System = Operational Craft Matrix (OCM)


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Traditional houses of Gujarat

Typologies of tradit ional housesWooden houses

Decoding system - Craft ExpressionsWood Carvings of tradit ional houses


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Typologies of traditional houses

Vernacular HousesRow House Type Wooden Houses

Individual House Type Wooden HousesRow House Type Colonial Houses

Individual Bungalow Type Colonial Houses


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Gujarat Typologies of houses - Vernacular Houses

Source: Sangeetha Priya

Source: Sangeetha PriyaSource: Gaurav Dinodia

House, Savarkundla, Amreli District

House, Amreli, Amreli District

House, Banni, Kutch District

House, Ahwa, Dang Distict

Source: Jay Thakkar


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Gujarat

Bhunga houses in Ludiya and Bunni, kutchMaterial: Mud and Grass

Source: “Banni house form, A Study of the phenomenon of change”, Aporva Amin, Unpublished thesis, CEPT University

Typologies of houses - Vernacular Houses


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Gujarat Typologies of houses - Row House Type Wooden Houses

Source: Jay Thakkar


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Gujarat Typologies of houses - Individual House Type Wooden Houses

Raj Mahel, Amreli

House, Khambat, Anand District

House, Kapadvanj

Source: Jay Thakkar

Source: Jay Thakkar Source: Jay Thakkar


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Gujarat

Kapadvanj houses, North GujaratMaterial: Brick masonry with wood

Section

First floor plan

Ground floor plan Elevation

Source: Cross culture influences and their impact in interior of Bohra houses of Siddhpur. Suthar Shweta, Unpublished thesis, CEPT University

Typologies of houses - Row House Type Wooden Houses


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Gujarat Typologies of traditional houses

Bohra houses in Sidhpur, North GujaratMaterial: Brick masonry with wood

Source: Cross culture influences and their impact in interior of Bohra houses of Siddhpur. Suthar Shweta, Unpublished thesis, CEPT University

Section

First floor plan

Second floor plan

Ground floor plan

Front Elevation


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Gujarat Typologies of houses - Row House Type Colonial Houses

Source: Mitraja Vyas Source: Rishav JainSource: Rishav Jain

Source: Rishav Jain Source: Rishav Jain

House, Khambat, Anand District House, Nadiad, Kheda District

House, Kapadvanj, Kheda District House, Kapadvanj, Kheda District

House, Nadiad, Kheda District

House, Kapadvanj Source: Jay Thakkar


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Gujarat Typologies of houses - Individual Bungalow Type Colonial Houses

Source: Sangeetha Priya

Source: Sangeetha PriyaSource: Shri Soumaya

Source: Jay Thakkar Raj Mahel, Amreli

House, Amreli

House, Kapadvanj

House, Bhavnagar, Bhavnagar District


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Gujarat Typologies of houses - Individual Bungalow Type Colonial Houses

Source: Colonial Bungalows of Ahmedabad : A study of characterisation through Interior. Shaikh, Mubassir, Under Graduate Research Thesis, CEPT, 2005.

Section

Section

First floor plan

Ground floor plan

Detailed Part Section

Colonial houses, Ahmedabad, Central GujaratMaterial: Brick masonry with wood

decoding craft expressions: wood carvings of traditional...

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