NORTH EASTERN HILL UNIVERSITY

MAWKYNROH-UMSHING, MAWLAI, SHILLONG – 793022

DEPARTMENT OF ARCHITECTURE
SCHOOL OF TECHNOLOGY, NEHU, SHILLONG

EFFECTS OF MECHANIZED PRODUCTION TECHNIQUES IN TRADITIONAL

ARCHITECTURE OF INDIA

AKASH JYOTI DEKA – 18BARCH4

MANAS PRATIM DAS – 18BARCH16
ANKUR JYOTI SAIKIA – 18BARCH18
MADHURJYA GOSWAMI – 18BARCH19

UNDER THE GUIDANCE OF

AR. IBYNTA TIEWSOH

ASSISTANT PROFESSOR, DEPT OF ARCHITECTURE,
NEHU
 1.1.2 HANDCRAFTS IN INDIAN ARCHITECTURE
ABSTRACT
This paper investigates the effect of mechanisation in Indian handcrafts and
the handcraft industry of Architecture. Some literature traditional architecture
study has been conducted to understand the current showcase the rich heritage and
situation of the handcraft industries and how true culture of our nation. With
mechanisation is affecting the architecture of India. For beautiful designs, the artisans
this research we have considered both new and old carry a legacy of their land,
construction methods with the help of some case myth, culture and carve their
art into built forms that can be Dilawar Jain
studies on roof, jaali and stone architecture of India and Temple, India
tried to find out key factors where both of them differ in forwarded to generations.
terms of materials used, aesthetics, functionality and Indian artisans were highly
cost factor with the help of a comparative analysis. The regarded and rewarded until
main vision of the paper is to find out the aspects in the outbreak of 19th century
which handcraft architecture differs from machine- industrialization. However, the
based construction in context of traditional construction Indian Government, since
and Identity of Indian Architecture. independence has
implemented various plans to
1. INTRODUCTION secure this sector, the
industrialization has been
continued to affect artisans.
1.1 ABOUT THE TOPIC Technological advancement is
1.1.1 MASS PRODUCTION VS HANDCRAFT also a major reason behind the
Since the Industrial Revolution of the 19th century, Stone jail in Jaisalmer,
reduction of handcrafted India
machines have transformed humankind's physical products into machine made
environment as well as their mental landscape. products.
Architecture has undergone a metamorphosis in the age
of mechanization. The influence of mechanization is 1.1.3 MASS PRODUCTION IN INDIA
visible mainly in three aspects of modern architecture:
• the types of material used In India as labour
• the culture of adornment, substitution, and imitation shortage grows, the
• the changes wrought by mass production. construction industry
looks increasingly
Through the industrial manufacture of products there towards mechanization.
has been a deterioration of handicraft methods and the From the year 2000 a
subsequent degradation of our sense of materials which growth in building
CNC water jet carving stone
cluttered our built environments. Machines facilitated construction at 9% per
mass manufacture of objects, lowering the cost of annum has been consistently recorded and it is
commodities and encouraging the desire to clutter. expected to continue and grow further.
Ornamentation is no longer employed with hard work, The labour shortage will thrust the industry to large
labour, and craftsmanship, as it once was; it is now mass scale mechanization which also results in increased
produced, and the cheaper it is created, the more it productivity and reducing timeframe. With rapid
thrives. This trend was not limited to the higher classes economic development in India it can be found that
or any particular economic element of society after the there is total change in construction process and system
Industrial Revolution. in the construction industry.
In the 19th century, imitation of handicrafts became
easier than ever before. This was because factories were 1.2 RESEARCH QUESTION
producing objects that 'imitated' artefacts fashioned
How are mechanized production techniques affecting
using skill and effort involving time and labour. A whole
the traditional architecture of India?
range of substitute materials and imitation goods thus
flooded the market, changing public taste and, over
time, the very aesthetics of built environments. 1.3 AIM
The factory system of production changed the The aim of this research is to understand how the
economies around produced objects. Prices were modern architectural elements which are widely used in
reduced with the quantity of the product produced. As today’s construction industry is impacting the
a result, products were diminished in emotional and traditional architectural features of India and its rich
social value while their material value remained. heritage.
1.4 OBJECTIVES
The following are the objectives of this research:
• To gather historical data and cultural context
process’s influence on the architectural style across
India.
• To study the features, design, material creativity and
architectural value.
• To understand the craftsmen techniques in the
region and to study their styles and methods.
• To study the impact of the machine craft and mass
production on traditional architectural elements.
1.5 SCOPE
• To study the implementation of the modern
architectural elements in several architectural styles
of india – Jaalis, Stone architecture and roof
architecture.
• To do an analysis of how machine crafts affect the
traditional methods of construction.
1.6 LIMITATIONS
• The research is limited to three particular
architectural features of India – Jaali architecture
from North India, stone architecture from Gujrat and
Roof architecture of Kerala.
• Secondary data collection for literature study.
• Limited research papers found on specific
regions/architectural styles of India.
1.7 METHODOLOGY
The research methodology adopted for this research
consists of-
• Case studies were done in several locations of India
like Kerala, Chennai, Rajasthan, Lucknow, Gujarat etc
• Secondary data collection includes literature reviews
from online research papers, references from
internet etc. research on different mass-produced
building elements, its uses, functionality, pros & cons
and doing a comparative analysis based on the
gathered data.
• Evaluation and findings based on case studies.
2. LITERATURE REVIEW
2.1 STONE ARCHITECTURE OF INDIA
Introduction
The history of stone is
largely visible to us
today because of the
durability of the
material. The history of
stone follows the
history of civilization.
Stone travels a long
journey from the quarry
to the finished product,
and this journey
involves a lot of people. The number of hands engaged
in the processing of stone is far greater than any other
craft known. These hands were called "craftsmen' of
stone, a term used to describe both the cutter and the
master builder.
The master builder was known to be the sthapati, a
senior advocate of the shahstras born into the
Vishwakarma community like the Sompuras in Gujarat.
Under them were the shilpis, who were specialized in
raw material identification, processing, carving,
construction methods etc. The Women folk also have
started engaging in the craft community from rural folk.
They engage in carrying loads to quarrying and after the
carving is done, they polish and dress the stones.
Since stone is available in abundance, it proved to be
very invincible. The significant reason for the success of
stone buildings in India is the identification and use of
quality stone suited to carving. The Indian subcontinent
has stones of all varieties, shapes and sizes from
expensive marble to cheap granite. It also has a variety
of stone craft and stone working skills. These are best
visible in the carved Granite temples of south India, the
igneous rock cut caves of Ajanta and Ellora, the
intricately carved Jain temples of western India, the
sandstone carvings at Konark and Jaiselmer, stone
erotica at Khajurao and the master planning of Fatehpur
Sikri.
Stone earlier was recognized in various uses, the
products of stone were fashioned differently from
region to region, sophisticated urban houses and the in
ornately carved temples and palaces. Traditional stone
carving skills were showcased in iconic buildings like
places, temples, mosques and forts which reveal
intricate carvings on elements like copings, columns,
forans, brackets, arches and beams.
2.2 ROOF ARCHITECTURE OF KERALA
2.3 JAALI IN INDIA
Introduction
Introduction
The lush green
Jaali has formed an
landscape and warm,
identity in the traditional
humid climate of
architecture in hot
Kerala combined with
Climates. It is a traditional
the unique culture of
architectural element that
the people generated
is found across the world
an architecture which
in different forms and
was simple and
materials catering to
elegant, uncluttered
different needs. It
and in complete
provides privacy due to
harmony with the
difference in light levels
nature. While in most
from outdoor to Indoor, so
parts of India stone
Jaali in the present times is more popular for this quality.
&bricks replaced wood,
Kerala traditionally
Examples of Jaali in the traditional architecture is found
continued using wood redefining and developing its
invariably only in hot climates. It is more popular for its
own style of architecture also called as Dravidian style.
aesthetical beauty and workmanship, especially the
The Architecture style of Kerala is commonly referred to
ones found in the desert regions. What is hidden by the
as Malayali Architecture, Malayali Architecture etc.
aesthetic beauty is its potential to deal with challenges
posed by the hot climates. Low energy building design
Since most temples and houses are surrounded high
for hot climates will have to deal with 2 main targets,
walls and roofs end up being the only element visible
they are appropriate ventilation.
from the outside, the roof is the most important
good shading and adequate day lighting.
element in traditional Malayali architecture. For this
reason, much care and effort is lavished on it. Roofs
The primary function of a perforated screen is to cut-
appear in various forms, the most common one being
down the amount of heat and excess light, but also
the double hipped roof with pierced gables, called Nasik
provide adequate ventilation into the spaces, while
as or “noses,” at either end. The heavy rainfall
keeping the view, privacy, security and aesthetic beauty.
necessitated that the roofs be steeply pitched and have
deep overhangs. The roof angle was usually around 45°
to the horizontal. The roof with intricately carved gables
protruding from the roof with overhangs supported by 3. CASE STUDIES
wooden brackets. The roof is prefabricated that is 3.1 CASE STUDIES ON STONE
different members are fixed on the ground and
assembled at the top. No nails are used. The roof is kept ARCHITECTURE
in position by interlocking with the hole in the rafters. 3.1.1 CASE STUDY 1: HUTHEESING JAIN
Structurally the roof frame was supported on the pillars TEMPLE
on walls erected on a plinth raised from the ground for
protection against dampness and insects in the tropical
climate.

There is a local variation of roof forms observed in

Kerala and has summed them up into ten distinct types,
and stated that roof is a significant element in the
traditional residential building. The geometry of the
roof, profile of the rafter, projections of the eaves of the
porch, gable, intersections of roof planes and the variety
of coverings etc. distinguish the roof forms in different
sub regions of Kerala toward the southern are, the roof Aerial view of the temple
designs show steeper and more variations of bent ridges
and provision of gabbles (mukhappu). Toward the Location: Ahmedabad, Gujrat
northern region, the dominant roof design is hipped Year of construction: 1848 - 1901
roof. Architect: Premchand Salat
The Hutheesing Jain temple serves as a case study for TRIVEDI CORPORATION PRIVATE LIMITED
understanding the carving of a typical Jain temple
created entirely with conventional carving methods. The throne of Swaminarayan, the domes of the temple
and its doors are made of gold, whereas the pillars and
The temple is made from the the ceilings are in marble.
local stone. of Porbandar called The temple complex is spread across 5 acres of land. The
Dhrangadha, which is a type of shimmering structure has 7 shikharas with a main dome,
Sandstone. The stone has a 25 smaller domes and 258 carved pillars made of pure
rough carved unpolished finish marble.
with brown texture. The Kirti
Stamba, was made of Makrana Trivedi group rebuild all the
stone quarried in Rajasthan. elements of the temple using
machine type of carving with
Kirti stambha made
The temple has elements with yellow stone
CNC machines like water jets.
representing Ahmedabad's local The Spindler is set through a
architecture and stonework as method of coding. The finishing
exemplified by the entrance touches done by hand.
portico and represents the Most of the craftspeople are from Orissa whereas the
facade of a traditional haveli managers, engineers, graphic designers are from
(Desai). Ahmedabad. The craftspeople were involved in the
The temple construction finishing and carving stage.
provided livelihood to many such
craftsmen. The temple is said to KEY TAKEAWAYS
be carved with a capacity of • Completely carved with CNC machine stone
more than 100 artisans, some carving techniques.
from Orissa for sculptures of Jain Detailing on the • Less craftspeople involved with the construction.
wall
deities.

3.1.3 FINDINGS
KEY TAKEAWAYS
• Completely handcrafted with conventional stone
carving techniques. COMPARATI HATHEESING SWAMY NARAYAN
• Ornamentation reflects the tradition of that time. VE ANALYSIS JAIN TEMPLE TEMPLE

Conventional CNC carving techniques

carving using computer
3.1.2 CASE STUDY 2: SWAMI NARAYAN techniques using software and machines
CARVING
TEMPLE TECHNIQUE
chisel and
hammer.

Location: Bhuj, Gujrat

Material: Marble and gold Since it is a time- Since most of the works
Year of construction: 2002 -2010 consuming done by machine so the
process and overall process time is
more craftsmen less so the cost gets
Shri Swaminarayan ECONOMIC are needed so reduce
Temple in Bhuj, a Hindu FACTOR the overall cost
temple located around is higher.
333 km from Ahmedabad,
is one such marvel in
Gujarat that was
reconstructed after 2001 Handcrafted Machine made
elements are elements are the same
earthquake that ruined
more detailed and very hard to find
the whole structure. The
and all pieces uniqueness.
temple was rebuilt by AESTHETICS
are unique.
Trivedi group Pvt ltd using
CNC machine carving
techniques.
3.2 CASE STUDIES ON ROOF ARCHITECTURE The Chandramandapa is a ‘Kalari’ – A Martial-Arts
training centre, Chennai.
3.2.1 CASE STUDY1: SHREE
PADMANABHAPURAM PALACE, ROOF ARCHITECTURE OF THE HOUSE
THIRUVANANTHAPURAM
This house is constructed in the traditional vernacular
style architecture of Kerala. The raised roof allows for a
Location: Thuckalay, Tamilnadu-Kerala Border
greater air flow and to take advantage of being on the
Construction: Early 1400s
seaside, to compensate for the absence of air
Architecture: Vernacular wooden architecture of Kerala
conditioning, by providingRoofnatural
detail coolness that is vital
to all performers. According to tradition, this Kalari
ROOF ARCHITECTURE OF THE HOUSE adheres to the concept of ‘green’ and sustainability in
An play of volumes, its use of timber, stone, and tiles. It faces east.
scale, spatial planning Its basic structural design starts in the traditional
& courtyards, all of technique. It is a or pit house, dug out of the sand, to a
which have a strong depth of four feet from ground level. By its dimensions
underlying of 42 feet by 21 feet and rising to an overall height of 21
cohesiveness. Play of feet, it follows to the ancient Kalari.
light & shadow
through jalis. Light & The Padipura And The
ventilation from non- Thaikottaram Roofs MATERIAL
structural wooden Consequently, the roofing materials used in such
frames. Cool & houses made of laterite blocks, lime, timber and clay
comfortable ambience tiles.
inside.
The roof forms are the CLAY TILES
most dominating They were mostly
element in the whole rectangular in shape,
complex, which through their wonderful arrangement with a thick edging at
creates an impressive visual composition – an ever- one so that they could
changing play of light, shadow & mass. be suspended from
MATERIAL the battens, raring
The most prominent feature of traditional buildings is later periods, “fish
the sloping roof with ‘eaves’ (roof ears). It hangs low, tiles” or Dutch tiles
shielding the walls from rain and harsh sunlight, thus, came into vogue and were popular in southern Kerala.
keeping the interiors cool.
3.2.3 CASE STUDY: 3 THRISSUR KERELA
KEY TAKE AWAY Architet: Vinod Kumar
• The aesthetics of the original style of Malayali
Architecture is much better than the adapted ones. A typical 110mm thick
• The element of purity and structural compositions RCC slab, that was
of the members works as aesthetics itself, rather imitated to have a
than just padding. sloping profile, was
constructed over the
structure, but by leaving
3.2.2 CASE STUDY 2: CHANDRAMANDAPA, a shaft element in the
house, creating a breeze The Timber has been replaced
CHENNAI that travelled through with metal members of Malayali
the house naturally, Architecture -An adaptation.
creating a fresh clear
environment. The traditional houses of Kerala also did
the same thing, although with timber and terracotta,
the architect approach was to using RCC was a conscious
attempt, since the profile of the Kerala roof and the
‘Mukhappu’ / Gable ends is what the actual end result
to combat the climatic needs.
MATERIAL of Jaali found
The roof style, over a in this
structure of concrete Palace.
or steel, and just Glazed Jaali,
covering it with old floral shaped
style terracotta or perforated
mangalore tiles. Jaali and
rectangular
New construction techniques and new materials are shaped
Street view of the mahal
more feasible in recent times due to unavailability of perforated
local materials. Jaali. The
two perforated Jaalis are found on the West
New construction techniques more affective to the
facade and both are chosen to be studied.
environment.
There is no shading
element, as the Jaali itself
3.2.4 FINDINGS was providing solar shading
3.3 CASE STUDIES ON INDIAN JAALIS due to small perforations.
The perforations on the
COMPARA TRADIYIONAL MODERN Jaali 1 were floral shaped of
TIVE APPROACH APPROACH 30mm diameter and the
ANALYSIS screen was only 10mm
Clay tiles offer natural RCC structures thick, it does not allow Jaali 1
insulation thereby are cost- direct sunlight inside a) due
reducing the expense on effective and to its shape and b) the lower part of the screen
electricity. And extremely requires less
ECONOMIC that receives afternoon light has lesser
durable maintenance maintenance
FACTOR perforations due to the presence of a window.
cost is zero.
Thatch roofs are
economical but require
The Jaall 2 is 100mm thick
more maintenance. with rectangular holes that
Clay tiles are water-proof, RCC slabs are is inclined downwards. As it
fire-proof, rust-proof and more durable. was inclined down wards, it
weather-proof. Not easy to did not allow direct sun light
DURABILIT indoors. It was favoured by
The damaged tiles simple replace often.
Y the guard because it lets in
to replaced.
Their color doesn’t fade large volume of air and also
away. felt cooler. The screen has a Jaali 2
Life expectancy of clay RCC structures perforation percentage of
tiles is at least a 100. are best during 30% per sq.m.
MAINTAIN Maintenance of early years but
ANCE traditional structures is as decades KEY TAKEWAYS-
easy as compared to passed can be a
Hawa Mahal is one of the best examples for
framed RCC structures. burden.
traditional handcrafted jaali works.
The traditional The traditional A variety of Jaali designs and patterns could
architecture of Kerala, architecture of
MATERIALS be found which gives it a unique identity
depends largely on the Kerala, depends
Detailed craftsmanship could be seen
wood, bamboo etc. largely on the
throughout the
View from the structure.
entrance
wood, bamboo
etc.
3.3.1 CASE STUDY 1: HAWA MAHAL,
JAIPUR 3.3.2 CASE STUDY 2: 18 SCREENS HOUSE
Location: Jaipur, Rajasthan Location: Lucknow,
Built: 16th century India
Material: Red and pink sandstone Architect: Sanjay
Puri
It was built in the 16th century, exclusively for Year: may, 2019
the ladies of the palace. The palace is a Area: 790 sq.m
rectangular block facing East-West made of
pink sandstone. There are three distinct types
The house is the amount of daylight entering inside, allows
planned alluding cooler air flow, and also creates a physical
to the traditional barrier from the outside but still keeps a visual
Indian courtyard connection with the outside.
house in response
to the climate of Material used in screens-GFRC (Glass Fiber
the location where Reinforced Concrete)
temperatures in • Thickness of GFRC-10mm, 15mm,
summer months is 20mm, 30mm & 35mm.
usually around View from the balcony • Lighter than traditional concrete & high
35° C. strength.
The extensive requirements of the 6-bedroom • Adaptable and can be moulded in
house are interspersed with sheltered open different shapes.
terraces and landscaped gardens around a 2- • Fine surface finish and durable.
floor high naturally ventilated courtyard.
KEY TAKEWAYS-
18Patterned screens derived from traditional
Indian architecture and the famous Lucknow
• It is a leading example of use of
'chikan' are extensively used. These screens:
extensive jaali works in modern
construction.
Provide shelter from the sun
• The design is inspired from traditional
Create different light patterns throughout the
jaali design of the region.
day
Mitigate traffic noise from the arterial road • Modern materials and techniques has
been used to built the jaalis.
Create a visual barrier (outside to inside)
Maintain the micro-climate •
Materials used: 3.3.3 FINDINGS
Walls and Slabs- Form finished Concrete
Screens- Glass Fiber Reinforced Concrete COMPAR HAWA MAHAL 18 SCREEN HOUSE
(GFRC) ATIVE
Windows and Doors- Wood (treated) ANALYSIS

DESIGN OF JAALI PATTERN Red and pink GFRC (Glass Fibre

sand stones were Reinforced
A series of experiences are created in this MATERI used to make Concrete) is used
house with the use of the "patterned screen" AL to make the jaalis.
and its design facilitates natural ventilation
and sunlight within and is simultaneously
contextual to the location, sun articulation, Used as building Used as a shading
tradition, culture and social aspects. envelope to device to hide the
FUNCTI express the form. openings.
The jaall pattern ONALIT
used in this project Y
is of the same
design in all the
spaces. Both the Traditional tools Concrete is
interiors, as well like hammer and poured onto
the exterior chisel were used moulds with glass
surfaces are TECHNI to carve out the fibre mesh.
adorned with the QUE stone.
jaali. In interiors, it
is used in ceilings,
partition wall, clear
storey window as Each type of jaali Each jaali is same
well the balconies of is unique in and quality is
ASTHE design. constant due to
the rooms. In the
TICS mass production.
external facade, it
acts as an aesthetic Detail of the Jaali design
element, controls
4. CONCLUSION
• In the modern society it can't be denied that mass
production plays a major role in the construction
industry but that should not affect the
craftsmanship of a particular region.
• Throughout the case studies it is seen that the
effect of mechanization or mass production is
different for each elements of construction
techniques.
• In the stone architecture, it can be seen that there
aren’t many changes in terms of design aspects but
there has been a mass decline in quality of finishes
and depth. Though there are some benefits of
mechanized production like – cost and time factor,
it also diminishes cultural and traditional values.
• From Malayali roof architecture it is learned that
they keep the traditional style and functionality
same but in terms of material use there has been a
huge impact of mass production. Traditional timber
frames are getting replaced by steel members, clay
tiles replaced by RCC and Mangalore tiles etc.
• Jaali is seen as important building element used in
hot regions which can be seen in buildings even
before the Mughal era. But the style and material
of jaali is changing with time. Jaalis which were a
thing of luxury before are now mass produced,
reducing production cost, therefore popularity
amongst commoners increased.
• The mechanized production and introduction of
modern materials have helped the general
population to experience the otherwise
unaffordable or luxury items that could only be
used by the elite class in old days.
• Mass is becoming a blooming industry in the
construction sector which is helping the society
both economically and technologically.
• Even after all the benefits that mass production
comes with, it can be a threat for a particular
section of people. The local artisans and craftsmen
are the main victims.
• Mass production has led to a decrease in the
number of handcraft practitioners which results in
the loss of traditional architectural style, culture
and identity of a place.
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