INTERTWINING ART CULTURE AND ARCHITECTURE OF

KUTCH .(working topic)

Kutch district, which borders Pakistan, is the second biggest district in India and is located
in the westernmost region of the state of Gujarat (22.5 to 24.5 N lat, 68.0 to 72.0 E long).The
vast, thickly packed peninsula is between the Arabian Sea and the vast deserts of Sindh and
Thar. The Rann's saltwater marshlands cover the majority of its 45,674 square kilometers.
Kutch is mostly a dry desert, similar to other arid deserts found all over the world.
Resting on the map in the shape of
a tortoise, the region got its name
from kachhua (tortoise) and offers
a landscape as rough and rugged as
the tortoise shell.

The structural styles, the

lithological make-up and the tec-
tonic events have played crucial
roles in the
geomorphological evolution of the
district, as well as in shaping its
present landforms.

From the perspective of a road traveler, the ter-

rain of Kutch consists of vast stretches of bar-
ren, arid desert that continue into the distance.
The numerous dry river beds and valleys are
divided up by irregular lush and green fertile
spots and thorny desert vegetation. The Motu
and Nanu Rann desert regions are located in the
northern and northeastern regions of Kutch. The
northeastern regions are home to the grasslands.
The majority of the productive areas are found
along the southern shore.
The remaining area is made up of an arid tableland that is nearly always dry, with low rocky
hills strewn throughout the nearly always dry river and stream banks. This semi-desert region
extends from east to west.
FLAURA AND FAUNA
There are three main zones that make up Kutch's flora.
The shoreline area.
The dry deciduous zone or hilly center.
The Grasslands in Banni
Numerous occupations and cultural activities result from these different environments. Many
profound expressions drawn from nature have resulted from the diversity of flora and animals
as well as the wisdom of the people. It is evident in their jobs and beliefs, as well as in the set-
tlement forms, clothing, and jewelry.
Cattle, sheep, camels, horses, and wild asses have access to a wide range of feed in the Banni
grasslands of Kutch. Due to the vast herds in this area, the Rabaris, who are nomadic travel-
ers, established here decades ago. Grass, weeds, and feed have all contributed to the survival
of herds and shepherds.
Imported “Prosopis julifora” plants from Australian wastelands have frequently caused more
problems than they have solved. It refer to this as the ‘ganda bawal’. Because they burn
slowly and don’t produce a lot of smoke, the roots of this plant can be used as fuel. They are
well known to be high in protein and to contribute to both lower soil salinity and higher soil
fertility. But they choke nearby plants and river beds, and they kill delicate eco-systems.

Traditionally, ‘cher’ grass is used for fuel, food, and timber. The roof of the ‘bhoonga’ is
made of tons of hollow bamboo that are growing in the marshlands. Many paintings and
handicrafts use dyes, which are derived from a variety of natural plants.
Black sheep wool is known to be the primary clothing material used by the Rabaris. Higher
quality wool is usually sold for a profit, while black wool is typically thrown away as waste.
ART AND CRAFT OF KUTCH
 Bhuj
 Nakhatrana ( pottery and lippan
(rogan art and art, handloom
copper bells. ) weaving )

 Lakhpat
( Embroidery
work ) Great Rann
White desert

Little Rann

 Bhachau
( embroidery )
 Anjar,
 Abdasa  Rapar
 Mandvi  Gandhidham ( namda art )
( Bandhani
(metal work :
work ) ( batik printing )
ornaments ,knife ,etc )
 Mundra
( block printing
and dyeing )

ARCHITECTURE OF KUTCH
The BHOONGA, a fascinating self-contained dwelling unit, appears here in Kutch, where
we can also watch how it behaves in social environments and in clusters. This unit modifies
itself to meet basic needs with a carefully placed restraint, taking into account the rabari
farmers' economic situation, their aspirations, and their respectable social customs.
The simplest type of housing is called a bhoonga, or rabari (rah-bari), which means "one who
stays out." It It combines material, physical, and aspirational sensitivity with an effective
display of pure geometric form.
A typical bhoonga is a circular settlement with a
thatched conical roof above and thick cylindrical walls
supporting it. With a diameter of 10 to 15 feet and a
height of 3 to 4 feet, it is raised on a plinth to shield it
from the damaging effects of saltwater floods. The walls
are typically 1-1.5 feet thick and 7 feet to 8 feet high.
The walls are first plastered internally and externally
using a mixture of mud and dung, and then they are cov-
ered with a white substance known as ched nedi mitti.
SHORT STATEMENT PROBLEM
“Harmonizing Kutch’s art, culture, and architecture: bridging tradition with modernity.”

MOTIVATION FOR STUDY

Born in the vibrant tapestry of Kutch, my architectural journey is a heartfelt ode to my roots.
The sands of Kutch have shaped my identity, and now, as I embark on this thesis, I am driven
by a deep passion to intertwine its rich art, culture, and architecture. Through design, I aspire
to weave a narrative that not only preserves the essence of my birthplace but also contributes
to its evolution. This thesis is a personal and professional commitment to create spaces that
resonate with the soul of Kutch, where tradition dances harmoniously with innovation, and
where every brick tells a story of the land I call home.”

AIM
To uplift the artisan community and the cultural identity of kutch artisans .

OBJECTIVE
1. Creating a space that integrate the traditional craftsmanship of artisans.
2. Incorporating locally sourced material in construction for supporting economics and pro-
mote environment sustainability.
3. educating artists to encourage them to speak out about their work.As Dr. Su’ad abdul
kabeer  stated, “You dont need to be a voice for voiceless ,Just pass the mic “.

SCOPE
1. Study of local architecture ,art form and culture of kutch.
2. understand the urban context and how the project will contribute to overall fabric of com-
munity .
3. Initiatives that educate the community and fostering a sense of ownership.
4. How to be a bridge between “old tradition ,new rendition “

LIMITATIONS
1. Determining the educational and tourism aspects of project .
Decide whether the project aim to educate visitor about the local craft and architecture or
whether it has tourism oriented focus .
2. Balancing traditional and modernization .
Since modernization enhance functionality and aesthetics so it should not overshadow or
compromise cultural identity of community.
3. Financial Constraints .
The constrains on material ,installation were may be costly so budgeting should be insure
that project remain financially viable and does not burden on the community .

LIST OF CASE STUDIES

1. Khamir craft resource center
2. The Living and Learning Design Center , Ajrakhpur
3. Nirona village , near dhordo .
4. Rann of kutch (white desert),

LIST OF REFERNCE CASESTUDY

1. Rann-Booklet at forest Gujarat govt, website .
2. Gujarat Tourism Department.
3. Indian National Trust for Art and Cultural Heritage (INTACH)
4. United Nations World Tourism Organization (UNWTO).
IDENTIFICATION OF PROJECT SITE
criteria for selecting site :
1. Historical importance : choose a site with any historical importance and having land-
marks which ties local art and culture .
2. Community engagement opportunities : site close to proximity to a community engage
in cultural practice .
3. Accesssebility: decide whether the site is situated in rural or urban area .
4. Environmental topography : site should be suitable for envisioned architecture design
and project sould be responsive to local climate and landscape
5. Possibility of cultural rehabilitation: seek out a location where the initiative can sup-
port the rebirth of religion culture this may be apply to region facing major decrease in
culture which would act as spark for revived joy and pride.
6. Legal and regulatory consideration .
7. Corporative communities .
8. Tourism potential

METHODOLOGY
1. Research and Contextual Understanding: Conduct extensive research on Kutch's cul-
tural, historical, and architectural nuances, informing the design process.
2. Community Workshops: Engage in participatory design through workshops, ensuring
that the local community actively shapes the project.
3. Collaboration with Artisans: Establish partnerships with local artisans, integrating their
craftsmanship directly into the architectural elements.
4. Sustainable Practices: Employ sustainable building practices and environmentally con-
scious design choices, aligning with the ethos of Kutch's ecological balance.

INTRODUCTION TO DESIGN PROGRAM

The design thesis project, “Harmony in Heritage,” is a comprehensive exploration and
intervention that aims to seamlessly integrate art, architecture, and culture in the culturally
rich Kutch region. Recognizing Kutch’s unique identity, the project seeks to celebrate and
preserve its cultural heritage while introducing innovative elements that contribute to the
region’s sustainable cultural evolution.

BY ~ VAIDEHI SHAH