SEMINAR REPORT

ON
INDIAN HABITAT:
“ANDRETTA ARTIST VILLAGE,
HIMACHAL PRADESH”

Submitted in partial fulfilment of the

requirement for the award of degree of
Bachelor of Architecture

Submitted by
MUHAMMED ASAD MP
[Link] – 4TH YEAR

Guided by
PROF. QAMAR IRSHAD
AR. MADIHA RAHMAN
DR. SAMEER ALI ABBAS ALI
AR. RIYAZUL SAMAD BIN MOHAMMAD

DEPARTMENT OF ARCHITECTURE
FACULTY OF ARCHITECTURE & EKISTICS
JAMIA MILLIA ISLAMIA
NEW DELHI-110025

1
 2023-2024
Department of Architecture
Faculty of Architecture & Ekistics,
Jamia Millia Islamia, New Delhi

In the partial fulfilment of the B. Arch degree program, this is to certify that ‘MUHAMMED
ASAD MP’ has worked on the Seminar report entitled “INDIAN HABITAT: ANDRETTA
ARTIST VILLAGE, HIMACHAL PRADESH” under our guidance and supervision.

Prof. Qamar Irshad

Ar. Madiha Rahman
Dr. Sameer Ali Abbas Ali
Ar. Riyazul Samad Bin Mohammad
Guide

Prof. Hina Zia Prof. Qamar Irshad

(Dean of Department) (Head of Department)

External Examiner-1 External Examiner-2

2
 Declaration

I MUHAMMED ASAD MP hereby declare that the seminar report entitled INDIAN
HABITAT: ANDRETTA ARTIST VILLAGE, HIMACHAL PRADESH submitted in the
partial fulfilment of the requirements for the award of the degree of Bachelors of Architecture
is my original research work and that the information taken from secondary sources is given
due citations and references.

MUHAMMED ASAD MP

Roll. No: 20BAR023

[Link]. 4thYear

2023-24

3
 DEPARTMENT OF ARCHITECTURE

FACULTY OF ARCHITECTURE & EKISTICS

JAMIA MILLIA ISLAMIA

Acknowledgement

All praise is to God alone, the Almighty, the Beneficial, the Omnipotent who demonstrated to
me the way and favored me with the persistence, strength and quality to embark upon this
work, and patience to tackle every problem with calm and ease while keeping me steadfast
and curious throughout my work. Without His mercy and generosity nothing could have been
possible. I thank God, the Exalted, for the completion of my dissertation Firstly, I would like
to express my deepest and utmost gratitude to my learned teacher and Supervisor Prof. Qamar
Irshad, Ar. Madiha Rahman
Dr. Sameer Ali Abbas Ali and Ar. Riyazul Samad Bin Mohammad, who altogether
encouraged and supported me and made himself constantly available, regardless of his busy
schedule. It is not often that one finds a mentor who always find the time for looking into the
little issues and barriers that unavoidably crop up in the course of conducting the research.
His sincere efforts in explaining the subject helped me to get acquainted with the topic well.
Therefore, I acknowledge his earnest support and guidance. It is solely due to his scholarly
consultations and advice despite his busy schedule that this work could be accomplished in its
present form. Lastly, I would like to extend my cordial gratitude to my parents for their
unwavering support and wise counsel because of whose moral guidance I was able to
complete my dissertation on time.

MUHAMMED ASAD MP
[Link]. 4th YEAR- DAY
Jamia Millia Islamia

4
 ABSTRACT
This seminar report explores the cultural richness of Andretta artist village in Himachal
Pradesh, India. It analyses its artistic heritage, settlement patterns, and challenges. The report
start by looking at arts and crafts in India and how Andretta fits into this wider artistic scene.
Then, it explore the concept and settlement patterns of artist villages in India, focusing on
what makes them unique. The report study Andretta's settlement pattern and current situation
to understand how it has evolved over time. Comparing it with the potentials of other artist
villages helps see its importance in the national artistic landscape.

The seminar report also examine pottery significance in Andretta tracing its history and
relevance. It sees how pottery connects with the local communities and impacts cultural
identity and the economy. Additionally, it looks at how Andretta uses local materials and
skills in its crafts, showing its dedication to sustainability and tradition.

Finally, the report discusses the various challenges Andretta faces, like infrastructure
problems and modernization. Through this report, it aim to uncover the cultural heritage and
current issues of Andretta, providing useful insights for policymakers, scholars, and anyone
interested in the village's unique artistic identity.

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CONTENTS
ABSTRACT............................................................................................................................... 5

SYNOPSIS ............................................................................................................................... 10

INTRODUCTION ............................................................................................................... 10

AIM ...................................................................................................................................... 10

OBJECTIVES ...................................................................................................................... 10

SCOPE ................................................................................................................................. 11

LIMITATIONS..................................................................................................................... 11

RATIONALE FOR SELECTION........................................................................................ 11

METHODOLOGY .............................................................................................................. 12

CONCLUSION .................................................................................................................... 12

CHAPTER 1: INTRODUCTION TO HUMAN HABITAT .................................................... 13

CHAPTER 2: INFLUENCES OF ART COLONIES .............................................................. 14

2.1 - ART COLONIES IN HABITAT DEVELOPMENT ................................................... 14

2.2 - CONCLUSION ........................................................................................................... 15

CHAPTER 3: BACKGROUND STUDY ................................................................................ 16

3.1 - ART & CRAFTS IN INDIA ........................................................................................ 16

3.2 - POTENTIAL OF INDIA’S CRAFT SECTOR ............................................................ 17

3.2.1 - ECONOMIC OPPORTUNITIES .................................................................. 18

3.2.2 - ENVIRONMENTAL BENEFITS ................................................................. 18

3.2.3 - SOCIAL EMPOWERMENT......................................................................... 18

3.3 – INFERENCES ............................................................................................................ 18

CHAPTER 4: CASE STUDY: ANDRETTA ARTIST COLONY ........................................... 19

4.1 - INTRODUCTION ....................................................................................................... 19

4.2 - HISTORY OF ANDRETTA ARTIST COLONY ........................................................ 19

4.3 - LOCATION ................................................................................................................. 22

4.3.1 - MAJOR LANDMARKS ...................................................................................... 23

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 4.3.2 - BUILDING USE MAP ......................................................................................... 23

4.3.3 - BUILDING VOCABULARY MAP ..................................................................... 24

4.3.4 – POPULATION ..................................................................................................... 25

4.4 - SETTLEMENTS OF ANDRETTA ART VILLAGE................................................... 25

4.4.1 – SETTLEMENT PATTERN .................................................................................. 25

4.4.2 – DWELLINGS AND CLUSTERS ........................................................................ 26

4.4.3 – TRADITIONAL AND CONTEMPORARY STRUCTURES ............................. 28

4.5 - IMPORTANT LANDMARKS OF THE SETTLEMENT........................................... 30

4.5.1 - THE WOODLAND ESTATE ............................................................................... 30

4.5.2 - SOBHA SINGH ART GALLERY & MUSEUM ................................................. 31

4.5.3 - ANDRETTA POTTERY AND CRAFT SOCIETY .............................................. 31

4.6 - PRESENT CONDITIONS OF THE SETTLEMENT ................................................. 32

4.7 – CLIMATE ................................................................................................................... 35

4.8 – INFRASTRUCTURE ................................................................................................. 35

4.8.1 – ELECTRICITY .................................................................................................... 35

4.8.2 – WATER ................................................................................................................ 35

4.8.3 – SEWEGE AND DRAINAGE .............................................................................. 36

4.8.4 – TRANSPORTATION ........................................................................................... 36

4.8.5 – HEALTH .............................................................................................................. 38

4.8.6 – EDUCATION ....................................................................................................... 38

4.8.7 – RELIGIOUS BUILDING .................................................................................... 38

4.9 – LIVELIHOOD ............................................................................................................ 38

CHAPTER 5: DISCUSSIONS ................................................................................................ 40

5.1 – COMPARISON OF ANDRETTA VILLAGE WITH POTENTIALS OF ARTIST

VILLAGES .......................................................................................................................... 40

5.2 – ISSUES ....................................................................................................................... 41

5.3 – SUGGESTIONS ......................................................................................................... 43

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CONCLUSION ........................................................................................................................ 45

REFERENCES ........................................................................................................................ 46

ANNEXURES ......................................................................................................................... 48

A – TABLE OF LITERATURE REVIEW .......................................................................... 48

B – LITERATURE GAP ANALYSIS .................................................................................. 50

C – QUASTIONNAIRE ...................................................................................................... 51

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LIST OF FIGURES
Figure 1: Pottery works from Andretta (D'[Link]) .......................................................... 16
Figure 2: Handicrafts cluster map of India ([Link]) ............................................... 17
Figure 3: View of Andretta Village ([Link]) ................................................ 19
Figure 4: Norah Richards ([Link]) .............................................................................. 19
Figure 5: Chameli Niwas mud dwelling (Author) ................................................................... 20
Figure 6: BC Sanyal ([Link]) Figure 7: Sobha Singh
([Link]) ......................................................................................................................... 21
Figure 8: Action area of site in map ([Link]) ................................................................... 22
Figure 9: Major landmarks (Googleearth) ............................................................................... 23
Figure 10:Building use map (Author) ...................................................................................... 23
Figure 11: Building vocabulary map (Author) ........................................................................ 24
Figure 12: Organic settlement pattern of Andretta (Googleearth) ........................................... 25
Figure 13: Norah Richards centre zoning (Googleearth) ......................................................... 26
Figure 14: Amphitheatre at Norah Richards centre (Author) .................................................. 27
Figure 15: Zoning of Andretta pottery (Author) ...................................................................... 27
Figure 16: Storage spaces in Andretta pottery (Author) .......................................................... 28
Figure 17: Slate roof in Kath-Kuni ([Link]) ...................................................... 29
Figure 18: Other traditional building in Andretta (Author) ..................................................... 29
Figure 19: Contemporary building in Andretta village (Author) ............................................. 30
Figure 20: The Woodland estate or the mudhouse (Author) .................................................... 30
Figure 21: Sobha Singh art gallery (Author) ........................................................................... 31
Figure 22: Andretta pottery (Author) ....................................................................................... 32
Figure 23: Slip designs of Andretta (Author) .......................................................................... 34
Figure 24: Solar panel on street lights (Author) ...................................................................... 35
Figure 25: Drainage adjacent to the roads (Author) ................................................................ 36
Figure 26: Farmlands in Andretta village (Author) ................................................................. 36
Figure 27: Road through the village (Author) ......................................................................... 37
Figure 28: Maranda station ([Link]) ..................................................................... 37
Figure 29: School in Andretta village (Author) ....................................................................... 38

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SYNOPSIS

INTRODUCTION
The artist colonies or artist villages serve as a creative hub for artists, students, business
owners, and neighbours living and working in it. These communities provide a platform for
contemporary artists who share similar perspectives to engage in critical rethinking of already
existing assumptions, values, and concepts within artmaking. They encourage artists to
explore innovative and different approaches, aligning with the evolving social changes, thus
helping the emergence of new ideologies in artistic expression. The primary objective of
these artist communities is to make interaction among artists from diverse backgrounds,
establishing a developing group of both local and international talents.

Andretta is a “village of artists” situated in the foothills of the Himalayas, 10 km from

Palampur. Several famous artists of the country have made it their home and settled here. It
has a population of around 1500. With Dhauladhar range of the Himalayas as a background,
Andretta over the years has attracted many noted artists, theatre practitioners, painters, and
more recently potters. Andretta offers opportunity to potters while providing a peaceful haven
for artists and writers.

AIM
This study seeks to perform a socioeconomic analysis of the Andretta art village, with a
particular emphasis on their livelihood patterns, cultural traditions, facing challenges, and
strategies for existence.

OBJECTIVES
• To assess the cultural significance of artist settlements, including their role in
preserving traditional crafts, promoting local heritage, and blending with artistic
innovation.
• To analyse the spatial distribution and organization of artist settlements in Andretta
village, including the types of artistic occupations practiced and the infrastructure
supporting these activities.
• To investigate the socioeconomic contributions of artists to the local economy,
including income generation, employment opportunities, and social empowerment.
• Understanding building infrastructure like dwellings, roads, and electrification.

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 • To evaluate the challenges facing the Andretta village in its existence.
• To investigate the involvement of locals in keeping the art heritage of Andretta art
village.

SCOPE
This dissertation aims to explore the settlements of artist occupations in Andretta village,
Himachal Pradesh. It seeks to understand the spatial organization, cultural significance, and
economic contributions of these settlements to the local community. It provides valuable
insights for the stakeholders, authorities and artisans, to contribute in the empowerment of
Andretta art village. It provides discussions related to the issues of Andretta art village.

LIMITATIONS
• Time and resource constraints may limit the depth of data collection and analysis.
• Challenges in accessing sensitive information related to the artistic practices, income
levels, and market access of individual artists and artisans.
• Potential biases or inaccuracies in data collection and analysis due to the subjective
nature of studying cultural and artistic phenomena.
• Language and cultural barriers.

RATIONALE FOR SELECTION

Andretta is chosen to provide insights about the artistic sector of India. It helps to understand
what the issues are existing in the art and craft sector of India. It helps to investigate, how the
villagers can involve in the empowerment of the village.

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METHODOLOGY

Table 1: Research methodology

CONCLUSION
In conclusion, this seminar report aims to provide insights into the settlements of artist
occupations in Andretta village, Himachal Pradesh. By examining their spatial organization,
cultural significance, and socioeconomic contributions, it seeks to highlight the importance of
traditional crafts and artistic practices in sustaining local livelihoods and preserving cultural
heritage. Despite certain limitations, the study attempts to contribute to the understanding of
artist settlements and inform policy and planning efforts aimed at promoting their sustainable
development and integration into the broader socioeconomic landscape of the region.

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CHAPTER 1: INTRODUCTION TO HUMAN HABITAT
Human habitat is a system to the climate in which individuals reside, work, and interface with
their environmental elements. It incorporates the physical, natural, and social parts of the
climate that straightforwardly influence human existence. Human territory can be normal,
like woods, fields, or seas, or then again human-made, like urban areas, towns, and rustic
settlements.

Human living space include both natural and man-made parts. The natural part remember the
widely varied vegetation for the climate, like the plants, creatures, and microorganisms. The
man-made parts incorporate individuals, their societies, customs, and ways of behaving, as
well as the establishments and associations with external connections. Human natural
surroundings aren’t just fundamental for human survival, but also necessary for our quality of
life. The climate where we reside influences our wellbeing, security, and close to home and
mental states. For instance, admittance to clean water, air, and nutritious food is pivotal for
keeping up with great wellbeing, while openness to contamination and ecological risks can
promote wellbeing issues. In ongoing many years, the quick development of human territory
has resulted in ecological and social difficulties, for example, deforestation, environmental
change, loss of biodiversity, and social imbalance. Tending to these difficulties requires a
comprehensive methodology that considers the interconnections between the physical,
natural, and social parts of human living space.

In summary, the term "human habitat" encloses the detailing of surroundings where
individuals reside, contains not only the tangible physical landscape but also the detailed
interplay of biological and social factors. This habitat serves for human existence, impacting
our survival, overall welfare, and the texture of our lives. Yet, alongside its pivotal role,
human activities have brought a lot of environmental and social difficulties that demand
immediate solutions. These challenges range from ecological breakdown and loss of
biodiversity to social inequality and displacement, requires urgent attention and proactive
measures to make less harmful future consequences.

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CHAPTER 2: INFLUENCES OF ART COLONIES

2.1 - ART COLONIES IN HABITAT DEVELOPMENT

Simply put, spatial and settlement development involves making planned changes to areas
like towns or regions, considering economic, environmental, social, and built-up aspects.
Public participation has become crucial for successful development as it helps gather local
resources. Art can also play a role in this by raising awareness and looking into hidden
talents, especially when considering the impact of the environment on people's well-being.
(Zoltán Bujdosó, The role of art colonies in local development through the example, 2021)

An art colony is a place where artists have the space and community to create their work. It
can also offer opportunities for others to learn from them. Art colonies are connected to wider
areas or global networks through art and the artists involved. Art is influenced by the social
and economic conditions of its surroundings, so art colonies and the areas around them are
closely linked. The special behaviour and activities of artists create spaces inside the
settlements, places of dwelling, culture, and standalone colonies. Nowadays creative and
artistic environments are associated with rural, less inhabited, and generally more natural
areas as well. In rural areas, art serves three main purposes. First, it helps expand the local
economy by using traditional materials and cultural heritage. Second, it creates jobs and
income through crafts, design, and music. This can keep young people interested in staying in
rural areas that lack development. Third, it brings the community together through literature,
poetry, and performances. (Zoltán Bujdosó, The role of art colonies in local development
through the example , 2021)

Beyond economic development, art colonies can provide help in community development as
well. These principles help in success of art colonies:

• Beyond local leaders the wider society should be involved in the decision making.
• Local municipalities can provide help beyond financial support (e.g. preferential rent
prices)
• Supporting the arts should be linked with community development events to help
people understand why the arts are important.
• Making the best use of resources that are already available.
• Using support programs that fit the different needs of artists.

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2.2 - CONCLUSION
In conclusion, when towns or regions plan changes in how they're built and organized, they
need to think about the economy, environment, and society. It's important for everyone in the
community to be involved because they can contribute their ideas and resources. Art helps
make people aware of important issues and talents that might not otherwise be noticed,
especially when it comes to how people feel in their surroundings. Art colonies are places
where artists can work together and teach others. These colonies often connect to bigger
networks through art. In rural areas, art isn't just about making things look pretty, it helps
create jobs, brings people together, and boosts the local economy. To make art colonies
successful, we need to involve everyone, use local resources wisely, tie art to community
events, and support artists in ways that fit their needs. Overall, including art in development
plans can make rural areas and beyond better places to live with happier, more connected
communities.

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CHAPTER 3: BACKGROUND STUDY
The background study helps in assessing the case study of an Indian art village. The
background of this case study is guided through the arts and crafts and its potential in Indian
society.

3.1 - ART & CRAFTS IN INDIA

The history of Indian handicrafts goes back to almost 5000 years from now. There are
numerous examples of handicrafts from the Indus Valley Civilization. The tradition of crafts
developed in India by religious values and the needs of common and the ruling peoples.

Looking back to the time of the Indus Valley civilization, we see a lot of skilled craftspeople
who were very good at making things like pottery, sculptures (from metal, stone, and clay),
jewellery, and weaving. These craftsmen didn't just make things for the people in their area;
they also traded with other places using sea routes. In the Vedic age, which was around 1500
B.C., there are many mentions in the Vedas of artisans who made pottery, clothes, and
wooden items. The Rig Veda talks about different types of pottery made from clay, wood, and
metal, as well as mentions of weavers and weaving. During the Medieval period, craftsmen
were very successful in making things like pottery, weaving, carving wood, working with
metal, and making jewellery. ([Link], 2015)

From the data, it is visible that Pottery, that served both functional and aesthetic purposes,
reflecting the cultural and economic significance of the craft throughout Indian history. It was
a prominent craft during ancient Indian civilizations, including the Indus Valley Civilization
and the Vedic age, as evidenced by mentions in the Rig Veda. Pottery making involved
various materials such as clay, wood, and metal, showcasing the versatility and skill of Indian
craftsmen. Going forward with the report, the Andretta pottery and its uniqueness is
described.

Figure 1: Pottery works from Andretta (D'[Link])

16
From the figure given below, it is visible that a huge number of art and craft villages are
situated in the central regions of India. Its due to the reason that, these regions are mostly
rural and have easy access to the urban spaces. So, the artisans coming from outside the
country can find ways to these rural areas. Also, the influence of the emperors in the central
region could be a reason for the development of art villages in the central regions.

Figure 2: Handicrafts cluster map of India ([Link])

3.2 - POTENTIAL OF INDIA’S CRAFT SECTOR

Despite some companies offering help to craft businesses, many handmade creations still face
challenges, and artisans struggle to make a living. They're losing customers, their skills are
becoming less valued, and they find it hard to sell in new markets. As a result, a lot of artisans
are leaving their traditional crafts behind and moving to cities to find poorly paid jobs in
factories. The United Nations says that in the last 30 years, the number of artisans in India
has gone down by 30%. This shows the importance of supporting artisans to protect our
history, culture, and their way of making a living. (Shastri, Artist Village, 2017)

Strengthening the possibilities of the crafts sector can provide improvement in economic,
environmental, and social conditions of rural communities.
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3.2.1 - ECONOMIC OPPORTUNITIES
The craft industry can provide jobs and income for skilled artisans. By supporting their skills
and products, we can prevent rural communities from moving to cities. Just like in Japan and
Korea, artisans can play a big role in building up manufacturing. (Mittar, 2017)

3.2.2 - ENVIRONMENTAL BENEFITS

Craft manufacturing methods produce much fewer greenhouse gases, so it's good to use local
and natural materials whenever we can. (Shastri, Artist Village, 2017)

3.2.3 - SOCIAL EMPOWERMENT

Teaching art and crafts can make future generations smarter.
It's important for charities to realize how much money the crafts industry can make. They
should invest in models that can make a big difference and help people make a living in a
way that lasts. (Shastri, Artist Village, 2017)

workshops for people to learn Indian crafts directly from artisans. This platform also allows

3.3 – INFERENCES
Arts and crafts have huge influences in Indian society. The crafts of India are many and
various, rich in religion as well as history. Its reflection of how the societies and communities
evolved throughout the years. Each arts and crafts have histories to tell to the community.
Through the arts and crafts, its trying to share the religious values and the needs of the
society.

The pottery is one of the significant crafts in Indian art and craft sector. It became very
popular and widely acceptable due to its functions and use of local materials in its
manufacturing process. It’s a craft that showcases the skill of Indian craftsman.

Its obvious that the arts and crafts have potential to change the face of Indian craft sector, by
enhancing its current situation and by providing more opportunities in it. By facing the
challenges in the current situations, and by finding solutions, the authorities and peoples can
help in harnessing the potential of Indian craft sector. It can be way of livelihood for people
who loves art and need to lead a life by interacting with art and craft in their life. And also
these art communities can help in economic development of the community by developing
commercial spaces in the art communities. Communities like this are the doors of the talents
and coming generations to learn about the values and culture of the society.

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CHAPTER 4: CASE STUDY: ANDRETTA ARTIST COLONY

4.1 - INTRODUCTION
Andretta is a peaceful village nestled in the Himalayas in India. It's just 13 kilometres away
from the tea gardens of Kangra Valley near Palampur in Himachal Pradesh. This village is
known as an artists' colony and is situated below the snow-covered peaks of the Dhauladhar
range. The surroundings are attractive and leave a lasting impression on visitors. Even when
away from the village, memories of its beauty remain bright. Anyone sensitive to beauty,
whether an artist or not, will quickly fall under the calm beauty of this dreamy land.

Figure 3: View of Andretta Village ([Link])

4.2 - HISTORY OF ANDRETTA ARTIST COLONY

Norah, an actress originally from Ireland, married Philip Richards, who was a professor at
Government College, Lahore. She arrived in Lahore, an important cultural centre, in 1908.
She later became vice-principal at Dayal Singh College, Lahore. (Singh H. , 2003)

Figure 4: Norah Richards ([Link])

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Throughout following years, she laid the foundations of contemporary Punjabi theatre by
presenting productions from Punjabi culture. Following the passing of her husband, she
briefly departed but later in 1924, she chose Andretta, as her permanent residence. Here, she
constructed 'Chameli Niwas', a traditional Kangra-style mud dwelling, utilizing indigenous
materials such as mud, slate, and bamboo (Dogra, 2002). Additionally, she designed a
temporary stage, to welcome both beginner and experienced Punjabi theatre artists to
showcase their talents.

Figure 5: Chameli Niwas mud dwelling (Author)

In 1935, the District Commissioner of Kangra gave Richards 15 acres of land, and the
Woodland Estate came into existence. She started a school of drama, and in time the village
was known as "Mem-da-pind", which means village of MemSahib.

During the 1940s, painter B. C. Sanyal and Professor Jai Dayal Singh, who studied under
Philip Richards at Lahore University, were involved in these activities. Sanyal organized art
exhibitions to raise money for the Norah Centre for Arts and a holiday destination. Another
famous painter, Sobha Singh, popular for his Sikh religious paintings, lived here until he
passed away in 1986 (Dogra, 2002). Philip Richards, during the 1940s and 1960s, played a
significant role to bring up Punjabi theatre and earned the nickname "grandmother of Punjabi
theatre” (Bariana, 2000).

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Figure 6: BC Sanyal ([Link]) Figure 7: Sobha Singh ([Link])

Going on, Gurucharan Singh, a noted potter who started the Delhi Blue Pottery in the 1952,
established base here. Active till the end, he died in 1995 at the age of 99 (Singh K. , 1998).
Freda Bedi, mother of actor Kabir Bedi, who converted to Buddhism, lived at the village for a
while (Iqbal, 2013)

In 1983, Mansimran "Mini" Singh and his wife Mary Singh, son of well-known potter
Gurcharan Singh, came to Andretta. They began Andretta Pottery and Craft Society, where
they make earthenware and have a museum for terracotta. With a grant from the Central
Government, they started a Rural Marketing Centre to help potters with Rs 1,35,000 (The
Hindu Group, 2004) The society also offers three-month residential courses for potters.
Nowadays, pottery from Andretta is sold in stores all over India.

Later in life, Richards was sponsored by the Punjabi University in Patiala, while in turn she
given her house and land around it to the university. Today, the estate of Norah Richards has
been renovated and maintained by the university. Each year on her birthday, 29 October, a
Punjabi theatre festival is hosted by the students.

21
4.3 - LOCATION

Figure 8: Action area of site in map ([Link])

Andretta is located at Kangra valley’s of Kangra district in Himachal Pradesh, and effectively
connects to the Dhauladhar peaks of the region.

4 Name : Andretta
5 Location : Kangra district, Himachal Pradesh, India
6 Connectivity : 14 KM away from Palampur
7 Area : 91.41 hectares ([Link], 2024)
8 Area of study : 1.85 hectares
9 Population : 1125 ([Link], 2024)
10 Climate : Humid-subtropic climate
Hot summers And cool winters
March to June (Warmest months)
December to February (Coldest months)
July to September (Monsoon months) (Siroliya, 2018)
11 Topography : Sloped terrain (Siroliya, 2018)
12 Seismic zone : Zone 4 (Siroliya, 2018)

Data showing that Andretta village consists of moderate population which will influence the
functional aspects of the village. From the background studies, its evident that art and craft
villages are efficient to work in less populated areas that are surrounded by the greeneries.

22
4.3.1 - MAJOR LANDMARKS

Figure 9: Major landmarks (Googleearth)

The Woodland estate Andretta Pottery

4.3.2 - BUILDING USE MAP

Commercial

Residential

Institutional

Religious

Mixed use

Figure 10:Building use map (Author)

Most of the buildings in the area comes under residential category. Other than that, the
buildings with mixed use are occupied by artists to work their own. Absence of commercial
buildings are visible in the region. Villages need to reach the nearest main road to access
essentials. Small grocery stores are available in the region, which sometimes are not
dependable for essentials. Institutional buildings are on the reach of hands, which helps in

23
providing education blending with the artistic culture of the village. The settlement is evolved
organically around the roads which passes through the village.

4.3.3 - BUILDING VOCABULARY MAP

Figure 11: Building vocabulary map (Author)

Vernacular Vernacular + contemporary Contemporary

In the present scenario, most of the buildings are contemporary. Also some buildings are
gradually changing to contemporary from vernacular architecture. The shift from vernacular
buildings to contemporary architecture is propelled by factors such as globalization and
urbanization, which foster a desire for modernity and cosmopolitan living. Technological
advancements enable contemporary designs to be more efficient, sustainable, and adaptable
to evolving lifestyles. Environmental concerns drive the integration of green design
principles, while cultural shifts and economic considerations also play a role. Ultimately, the
aesthetic appeal and prestige associated with contemporary architecture contribute to its
increasing popularity over traditional vernacular buildings. But this changing will disappear
the values and culture of the society. Revitalization efforts should be taken to restore the
traditional building which reflect the heritage and values of arts and culture.

24
4.3.4 – POPULATION
Andretta is a medium size village with total 273 families residing. The Andretta village has
population of 1125 of which 543 are males while 582 are females (Census2022, 2022)

Particulars Total Male Female

Total no. of houses 273
Population 1125 543 582
Child (0-6) 110 51 59
Schedule caste 540 265 275
Schedule tribe 24 10 14
Literacy 87.59% 93.29% 82.22%
Total workers 382 256 126
Main worker 174
Marginal worker 208 116 92
Table 2: Andretta data ([Link])

4.4 - SETTLEMENTS OF ANDRETTA ART VILLAGE

4.4.1 – SETTLEMENT PATTERN

Figure 12: Organic settlement pattern of Andretta (Googleearth)

Access road Settlements

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The village is situated in a calm and cool area on the foothills. The road that passes through
the village is maximum of 4 m wide and it’s the only way that leading from the main road to
the village. The buildings are formed on the sides of the road, which do not disturb the flora
and fauna of the landscape that reflects the beauty of the Andretta village. Observations
shows that most of the artisans and craft man always go for places which are in the hidden
beauty of nature, calmer and quitter to reside for the rest of their lives. All the major
landmarks comes in different parts of the region, which do not have direct contact or
interaction in between. The road passing through the middle of the area is not so rush, and not
a main road, so the visibility of the village is limited only to the villagers. The significant
landmark of Andretta, Sobha Singh art gallery, situated in the main town of Andretta, is not in
interaction with inside of the village.

4.4.2 – DWELLINGS AND CLUSTERS

Even though the dwellings are of different types for different artists and arts, also most of the
buildings in the region comes under residential category, the only dwelling which has typical
artistic style is of the Andretta pottery structure. Also, the Norah Richards centre put forward
the essentials of a typical arts centre. The zoning of Norah Richards centre include
Amphitheatre, students home, Norah Richards home and servants home.

Servant quarters

Amphitheatre

Students home

Norah’s home

Figure 13: Norah Richards centre zoning (Googleearth)

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As of the village is formed organically, no axes alignment is visible in the planning of any of
the building. The entry of the Norah Richards centre is near the amphitheatre, which seems to
be a great entrance welcome, to reflects the values of arts and culture. Even though the
zoning is spacious, incorporating a good green space around the buildings, which is good for
artists. The green spaces between the buildings can be effectively utilized as a central space
for the students and artists to function transparently. Even though the positioning of servants’
quarters intervening the function of the centre. Its positioned between the students homes and
amphitheatre which divided the art zones.

Figure 14: Amphitheatre at Norah Richards centre (Author)

The amphitheatre is designed in way to incorporate the flora and fauna of the Andretta
village. There is no defined pathway through the amphitheatre but do not disturb the flow of
movement through the theatre.

Figure 15: Zoning of Andretta pottery (Author)

Workshop Dry area Storage Staff room Mech. room

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The zoning of the Andretta pottery has enough space considered the visitors coming to the
pottery workshop. The entrance consists of main workshop and mechanical room. The
narrow path between the blocks is not enough to accommodate all the equipment through the
path. This type of planning is done due to the number of visitors is less. The path is leading to
the central open dry area, which will receive ambient sunlight to dry the clay works. Due to
the height of the building is less, the enclosure between the buildings receives enough
sunlight to dry the clay works. They are also providing a space for the visitors to see the
pottery works, the storage space. The only issue found in the zoning of the pottery studio,
there is not enough circulation space. The staff room is located at the end of the region, gives
privacy.

Figure 16: Storage spaces in Andretta pottery (Author)

4.4.3 – TRADITIONAL AND CONTEMPORARY STRUCTURES

The Andretta village is losing its architectural identity from the traditional structures to
contemporary structures. The Norah Richards residence is one of building now existing there
as a traditional building. People are shifting from traditional buildings to the contemporary
buildings considering the maintenance. The Norah Richards house is made with locally
available materials from Andretta. As an Artist choosing to live among the villagers in
Andretta, Norah Richards chose the same lifestyle. She made a mud house with a thatched
roof for herself. She named her house ‘Chameli Niwas’. It is a Kangra-style mud house built
using local style and materials, using mud, slate, and bamboo (Rakkh, 2020). Still now the
mud house is protected by the Punjab university. The slate tile, used to cover the roofs of the
mud house are also part of typical Kath-Kuni architecture, which is the heritage architecture
of Himachal Pradesh. Other than Norah Richards house, some local residences are made as

28
traditional buildings. But the number of traditional buildings are only countable. Due to the
maintenance costs and lack of materials, locals are shifting to built contemporary buildings
instead of traditional buildings.

Figure 17: Slate roof in Kath-Kuni ([Link])

Figure 18: Other traditional building in Andretta (Author)

Coming to the contemporary buildings of Andretta art village, there is specific for those kinds
of structures. Since most of the buildings are residence of locals, the follow up of trends in
designing the buildings are visible in the settlement. Buildings with flat roofs and sloped
roofs are visible in the settlement.

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 Figure 19: Contemporary building in Andretta village (Author)

4.5 - IMPORTANT LANDMARKS OF THE SETTLEMENT

Andretta is a perfect spot with rich cultural heritage and natural beauty. The most significant
cultural magnets of the settlement are:

4.5.1 - THE WOODLAND ESTATE

Figure 20: The Woodland estate or the mudhouse (Author)

The estate includes Norah Richard's home, a small open-air theatre, homes of well-known
artists, and the Norah Centre for Arts. This centre aims to welcome artists, musicians,
dancers, and writers to stay, host workshops, and connect with each other, enriching the
cultural legacy of Andretta. In the present scenario, this estate is not functioning effectively.

30
The use of the buildings is now only limited to students of Punjab university. Even though the
students coming for the events are not using it in the instructed way. There are even scenarios
that the estate is misused. There are no opportunities for the local peoples to lead programs in
the estate. This can be due to the policies and conditions that implemented by the authorities.

4.5.2 - SOBHA SINGH ART GALLERY & MUSEUM

The gallery showcases the achievements of national artist S. Sobha Singh, who lived in
Andretta for about 30 years. It features approximately 100 photographs illustrating the artist's
life journey, along with some of his personal belongings. There's also a section dedicated to
Kangra folk art and craft. Additionally, there's a souvenir shop named "Prampara" that offers
items related to the life, art, and works of S. Sobha Singh. This is the major landmark of
Andretta. Now a days, the tourists coming to Andretta, are only visiting this gallery, and
leaving to visit the other important structures like Andretta pottery and Woodland estate. The
Sobha Singh art gallery is a major building to show the values of Andretta art village. It will
definitely help in the uplifting of the society and widening of the arts and crafts of Andretta
art village to the regions outside Andretta. The Sobha Singh art gallery is situated adjacent to
the main road of the village, which major transportation occurs. So it opens a way for the
commercial development of the village. It is a showcase of the present and future generations
to learn the values and heritage of Andretta art village.

Figure 21: Sobha Singh art gallery (Author)

4.5.3 - ANDRETTA POTTERY AND CRAFT SOCIETY

The society has a studio where pottery is made and a museum showcasing terracotta
artworks. The kiln used for pottery belonged to a former potter named S. Mansimran Singh,

31
also known as Mini. In 1983, he and his wife Mary moved to the area and established a
government center to support local potters. Mini's father, the renowned potter Gurucharan
Singh, was interested in studying local pottery traditions. He started a small pottery
workshop, which has now become the well-known Andretta Pottery and Craft Society. The
pottery workshop is still a live location inside Andretta village. The students and tourists
coming to the Andretta pottery can experience the significance of pottery in India with the
rich values of Andretta pottery works. The pottery workshop is contributing to the uplifting of
the society by using locally available materials and local labours. The Andretta pottery also
brought many renowned potters and craftsman to teach pottery to the visitors that are coming
from different parts of India. It can help to penetrate the significance and values of Andretta
pottery to the different parts of India, keeping it alive in Indian craft sector.

Figure 22: Andretta pottery (Author)

Andretta facilitates as a peaceful space to artists and writers. The settlement is developed
against the background of the Kangra valley, the Natural attraction near the settlement
consists of Trekking, River rafting, Eco-trails, Tea garden trails, Bird watching, Paragliding
etc.

4.6 - PRESENT CONDITIONS OF THE SETTLEMENT

• The Andretta artist village is now popular only with the Sobha Singh art gallery. The
visitors coming to Andretta are able visit Sobha Singh art gallery. But the Norah
Richards centre is not seemed to be a good option for visitors. It is due to its lack of
visibility to the outsiders.

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• Norah Richards' house was fixed up by Punjabi University, Patiala, with the help of
local builders. Having an authority to maintain the settlement is necessary for the
future.
• The small theatre was regularly used by students from Punjabi University, who
perform plays every year on Norah's birthday, which falls on October 29th. Villagers
and visitors come together to watch the students' well-acted dramas. But right now,
the students are not using it regularly. It can result in the disappearance of Andretta art
culture.
• Sobha Singh Art Gallery & Museum is managed by her daughter Bibi Gurucharan
Kaur, assisted by her son Dr. Hirday Paul Singh and Family (Siroliya, 2018). Many
visitor from India and abroad travel to visit artist’s Gallery. Still the function of the
gallery is live. Sobha Singh art gallery need to be maintained to transform the ethics
and values of Andretta art village to the young generations. It can make major impact
in the development of Andretta society. It is the significant landmark in the Andretta
in present scenario, due to its visibility and publicity to the outsiders. And its located
adjacent to the main roads, so the accessibility is also easier for the public.
• The Gallery occasionally arranging different art-focused events (called Sobha Singh
Kala Utsav), such as workshops, talks by experts, and seminars, all held on the artist's
birthday anniversary. It is a huge opportunity to propagate the ideas and philosophies
of Andretta village to the outsiders. It can be also used to establish commercial
relationship with the stakeholders from art sector to make economic impact in the
Andretta village. These events are the only thing that’s going on consistently in the
Andretta village. Artists are coming from different parts of the world during the
events, from USA, Singapore, France etc, and they teach the local people about arts.
• They've tried to protect the area's traditional folk art and crafts. Recently, locally made
handicrafts have been added to "Prampara," the souvenir shop at the Sobha Singh Art
Gallery & Museum. It shows that art gallery is on a mission to develop the
commercial part of Andretta art village. They are also incorporating the locals as their
workers. So, it opens a window for the locals to learn about their village and the
values of arts and crafts.
• The Andretta Pottery and Craft Society operates a Tourists Advice Centre (TAC) to
gather and offer comprehensive information about the nearby areas. The Andretta
pottery is also leading learning programs for students and other peoples to learn about

33
 pottery and its manufacturing. They are also exporting pottery works to different parts
of the world, helping to propagate the significance of Andretta pottery. The use of
locally available materials from Delhi, West Bengal and other local regions are
contributing to the development of Indian economy. There is also unique pottery
designs that are only designed in Andretta pottery, called ‘Slip design’, which in
future can be the identity of Andretta pottery.

Figure 23: Slip designs of Andretta (Author)

• The Tourists Advice Centre includes a craft shop selling mainly Himachal products a
cafeteria, an information room and an area for proposed camping site.
• Even there are drawbacks in the village, Andretta is keeping its legacy of art & craft
and performing arts, has fixed its position in India as an authority on arts.

Even though these are some of the present scenarios of the Andretta art colony, there are
always negative scenarios which lead to the fade out of Andretta art village. As discussed in
the above points, Andretta is losing its identity due to the shifting of its diversity from the
heritage to the modernism. The significant attraction like Norah Richards centre is losing
visitors due to that lack of its publicity. Even though the Punjab university has made efforts to
preserve the Norah Richards centre, regular or consistent activities are not going over there
properly. The locals seemed to lost interest in arts and crafts in the recent times. And the
students coming to the centre are spending their time, by means of leisure only. It’s against
the morals and values of the Norah Richards art centre. Its should be addressed in a way that
protect the centre for the future. Cultural identity of the setting has been lost over ages due to
unplanned growth of the settlement. There are no regular active efforts by the government
and locales to preserve the rich cultural heritage of the region. Without proactive measures to
conserve its rich cultural heritage, Andretta risks losing its identity as a significant artist
community in the nation. Encouraging this uncontrolled and disorganized expansion of the
settlement will ultimately reduce the economic development of the region and lead to people
relocating to cities in pursuit of a better quality of life. There is absence of proper

34
Infrastructural setup for tourists and artists to stay and explore the settlement. Due to this
absence, there is lack of encouragement over workshop participants. Along with this, no
active artists’-in-residence program for followers of these great artists to come, stay and work
and absence of regular activities such as exhibitions, workshops, lectures, seminars etc. to
encourage interaction between locales and artists are challenging to Andretta.

4.7 – CLIMATE
Andretta and Palampur enjoy pleasant weather most of the year. In summer, (April-May)
temperatures are between 25°-35°C. July and August see heavy rainfall. Winter temperatures
can dip to -2°C. Wild button roses are in full bloom from March to May (Techsol, 2020).

4.8 – INFRASTRUCTURE
The infrastructures like transportation, education, water, and electricity are available in the
village. But there is absence of health infrastructure. The public roadways are maintained
over time.

4.8.1 – ELECTRICITY
There are no issues regarding the electricity to the Andretta village.
Proper amount of electricity is provided for the smooth functioning
of the village. Solar panels are used to serve electricity to the
village. Himachal Pradesh Electricity Borad Limited (HPEBL) is
dealing with the electricity of Andretta village. Street lights are
served with solar panels.

Figure 24: Solar panel on street

lights (Author)

4.8.2 – WATER
No water issues reported by the locals. They are able to get enough water that required for the
daily functioning of the village. Water received mainly from stream ‘Awa Khadd’, flows
through Kangra district. Water irrigation facilities and wells are also available in the village.

35
4.8.3 – SEWEGE AND DRAINAGE
The village consist of drainage ways through the roadsides. But there is no proper sewage
system in the village. Due to lesser population, waste management is not a great concern to
the authorities. Even though the villagers are using the drainage channels for the sewage
channels also. As the drainage channels are open, treating it in a unhygienic way will lead to
health issues. The drainage water later passes through the channels, to the surrounded
farmlands of Andretta village.

Figure 25: Drainage adjacent to the roads (Author)

Figure 26: Farmlands in Andretta village (Author)

4.8.4 – TRANSPORTATION
Transportation to Andretta village is mainly with the help of public buses. Some of the
residents also have their own vehicles. From Palampur to Andretta, a bus or a taxi ride takes
30 minutes. The bus stops are only available in Andretta main town. From there villages can
be visited by means of foots or other private vehicles. Buses are scarce and routes change due
to the weather and road conditions. If the weather and everything is good, buses are available

36
on every 10 minutes. Inside the villages pockets roads are passing which comes maximum of
4 meter wide.

Figure 27: Road through the village (Author)

Direct flights operate between Delhi and Gaggal airport, Dharamshala. From Dharamshala
airport, Andretta is 45 km/2 hours by taxi.

The nearest railway station is Pathankot, 114 km from Palampur. From Pathankot, toy train
takes 7 hours to Maranda station, 2 km from Palampur. Taxis are available from both stations.
But due the recent climatic influences like landslides disrupted the toy train services.

Figure 28: Maranda station ([Link])

From Delhi to Palampur, (via Chandigarh), daily overnight Volvo buses (private and
government) are available. HRTC has daily buses from Chandigarh to Palampur.

37
4.8.5 – HEALTH
There is no health clinic inside the artist village. But the available health clinic are around 2.5
km. These clinics comes in the major town area of Andretta. There is absence of major
hospitals. Even though the population of the village is less, the people need to move to the
town in the absence of emergency clinics inside the village. It will get disrupted when there is
road block due to climatic conditions.

4.8.6 – EDUCATION
Primary schools are available in the village. It will help in the development of generations to
study by understanding the morals and values of Andretta art village, as it blends with the art
society. For higher education villagers have to move the nearest towns. Villagers are reporting
that families are moving to the cities considering better education. In future, it may result to
disappearance of Andretta art heritage in the young generation minds. Government higher
secondary schools and technical educational institutions are available within 600 m radius
from the village.

Figure 29: School in Andretta village (Author)

4.8.7 – RELIGIOUS BUILDING

Similar to the health centres, major religious buildings are only available in the nearest towns
of Andretta art village. Most of the locals are comes under Hindu religion. Due to this, Hindu
temples are very common here.

4.9 – LIVELIHOOD
The Andretta village is renowned as an art village to the outside world. Even though, the local
are involved in lot of other jobs rather than arts and crafts. As present the arts and crafts are
leading by the younger generations coming from other parts of India, who are interested in
38
arts and crafts. The locals in involved in arts and crafts, in a way that they tend more to the
miscellaneous works in different art studios of Andretta. Other than this, the locals are not
involved in major works in arts. In some cases, the local work as guides in the art galleries.
So this will help them to learn about the local arts of Andretta by themselves. For instance, in
the Sobha Singh art gallery, one local is working as a guide for the tourists to help them
understand the arts, crafts and the life of Sobha Singh. Providing opportunities similar to this
for the locals, help them to mould with the artistic culture of Andretta village and help them
to learn about arts and crafts.

The skilled craftsmen are now disappearing in the Andretta art village. In Andretta pottery,
they have made significance in transferring the skills through generations. Shubham
Sankhyan, the present major influence in the Andretta pottery, still teaching the tradition
pottery skills to the people coming from different parts of world. He grew up with a lot of
creative people who came to the studio from across the world. After reaching adulthood
Shubham acquired his formal training from Mini, Mary, Sandeep Manjeerakar and Rajesh
Kulkarni, the potters who have been working in the studio since the beginning. He is
currently a passionate member of the Andretta Pottery studio. He has been working on the
studio since 2014. He is working on taking Andretta pottery to the next level and reviving
traditional art of this region.

Now the locals started to think and seek new job opportunities outside the village. After
graduation or any equivalent education, locals are moving to corporate cities for jobs. Other
than this, a fraction of the local are involved in farming also. As Andretta village is located
surrounded by farm lands, it is easy for the locals to involve in farming also. Also villagers
are involved local merchandises. The villagers holds shops and rental properties in the major
towns of Andretta. The locals are also able to generate income by providing local materials
for arts and crafts in Andretta.

Even though Andretta is popular pottery works, there are also other kind of arts working in
small scales inside the villages. It will include glass works. Also film makers also residing in
Andretta village.

39
CHAPTER 5: DISCUSSIONS
This chapter explores about the common issues associated with Andretta art village. Along
with this, comparison with the potential of artist villages in enhancing Indian economy and
commonalities of the artist villages discussed.

5.1 – COMPARISON OF ANDRETTA VILLAGE WITH POTENTIALS

OF ARTIST VILLAGES
The Andretta village contributes in someway in harnessing the potential of India’s craft
sector. Even though there are drawbacks in the functional aspects of Andretta village, its
history shows that they have influence in enhancing Indian craft sector. Now a days, its very
common in artist villages, the artisans facing challenges in making a living with the arts and
selling their products to the market. In case of Andretta, they have a unique product in
Andretta pottery studio, called ‘slip design’. And the pottery studio is making efforts to
selling the product even in international market. It is huge advantage about the village, that
they are able to make their signature and propagate their design uniqueness in the
international market. Teaching the skills of Andretta slipware will promote and trigger artists
to work in Andretta and scale the manufacturing of the pottery.

Economic opportunities – Andretta is not a large scale artist village. Now a days the number
of artisans is decreasing in the village and the heritage of arts are disappearing gradually.
Studio like Andretta pottery and Sobha Singh Art gallery are the present live locations of
Andretta village. So the economic opportunities are only limited to these locations in the
present scenario. They are generating income by allowing tourists to learn about the arts and
teaching local skills also. As of now, a huge economic gap is there in the village. The
authorities or stakeholders need to promote the village and facilitate opportunities to develop
and learn the art skills for the locals and other people also, so that the village can generate
more income for its survival. This can be also done promoting commercial activities in and
around the village to sell the handmade products.

Environmental benefits – Environmental benefits can be achieved by using locally available

materials in the craft making processes. In Andretta as far, pottery is the major
manufacturing, the materials used are from local regions along with other parts of India. They
collect materials from Delhi and West Bengal also. This will also help in developing the

40
economy of the country itself. By exporting the products made from these materials, can help
in propagating the significance of Indian building materials to the outside world.

Social empowerment – The empowerment of a society is big factor for the survival of the
society. Andretta opens windows for the locals to learn about the arts and crafts in some way.
But it is not effective. In most cases the villagers are not involved in the arts and crafts. Most
of the artisans and craftsman are coming from different parts of India who are interested in
arts. It shows that there are gaps for the locals also to involve in the arts of the village. The
Norah Richards centre is providing facilities to learn about arts in some occasion, in which
anyone can join. But due to the lack of awareness and other activities of the villagers, they
are not always able to contribute in this kind events. Also, Andretta pottery is taking
workshops about pottery manufacturing. But it is mostly targeted about the tourists and other
people who can afford the money for the coaching. And also, as the Andretta village is not a
large-scale craft village, the commercial activities about the crafts are less in the village. The
villagers are limited to doing common merchandise and other jobs in the village, which is
not influenced by the local arts and crafts. As of now, the only way the villagers are
influenced in the arts by doing miscellaneous works.

Another important aspects in comparison is the keeping the identity of the village through the
traditional architecture. In Andretta, most of the buildings are contemporary architecture.
Only a few buildings are still following the traditional architecture by using the local
materials. The significant example of this is the Norah Richards home. The Punjab university
is still preserving the architecture. And there are buildings who are following both vernacular
and contemporary styles. But the sum of these two buildings not even make it half the
number of contemporary structures,

As discussed above, not all the common factors of an art village are aligning with Andretta
art village. In short we can say that, Andretta is a village that evolved arts and local living
together. We can see artisans, arts and crafts, and on the other side common village people
who are not involved in arts in any way. Even though, due to the influence of renowned
artisans, Andretta still have significance in art sector of India.

5.2 – ISSUES
Artist villages are one of the greatest assets of a nation in developing its economy. It has the
potential to enhance economy through selling artistic products, developing the skills of
craftsman and by promoting the use of local materials. Even though every art villages will not

41
be able to align with all these factors. In case of Andretta, the significant issue facing the
village, the disappearance of artists and arts gradually. It is happening due to several reasons.
One of the major issue is – The recent artists of Andretta art village are leaving their premises
now, and transferring the authorities of their properties to their coming generations. These
generations are not informed about the importance of arts and culture, the values of the artist
village. As a result, the properties are shifted from their heritage functions to contemporary
residences and other type of buildings. It also result in disappearance of traditional
architecture of the artist buildings. In long term, scenarios like this will shift the face of the
artist village to a new contemporary village. Like Jane Jacob discussed in her book, “The
death and life of great American cities”, this change can also be termed as gentrification. It is
the process of changing the diversity of a region in a rapid manner. Jane Jacob point out this
as the major reason for destruction of the whole diversity of the village or city.

The limited awareness about arts in the present society will lead the disappearance of art
villages like Andretta. It is the one of the major issues happening in the Andretta right now.
Even if the villagers are aware about the arts of the village, they are satisfied with the income
generating from it, and it is not helping them to meet their daily need. So its obvious, the
villagers seek new job opportunities other than arts.

A number of renowned artists made their footprints in Andretta artist village. The Andretta
pottery is sill carrying those values in their generations. But as discussed, other art centres
could carry those values to their younger generations. It is the reason why Andretta is losing
its artistic traditions. Also the involvement locals in keeping the arts and crafts in the village
lost over time. In the present scenario of the village, the locals are only involved in the
miscellaneous works of art studios. It will not help them to learn in depth about arts and
crafts, also they will not be able to generate a required income for their daily life. As a result
of this, the villagers are not satisfied with working in Andretta art village.

Another significant reason – Norah Richards centre providing facilities for the locals to
involve in the art and crafts, with the Punjab University. But this facility and events only
happening once in a year, or maximum three times per year. As an artist village, which
always need consistent events, or at least weekly events, for revitalisation of the village, the
work of Norah Richards centre, not seemed to be efficient. Most of the villagers are not
involved in the events. In a long term, if the events not finding any purpose for the villagers
other than the students of Punjab university, gradually the events will be disrupted.

42
The above discussed are from the functional aspects of an art village. Considering other basic
aspects like the infrastructure, the significant issues are with the health care. Villagers need to
visit the nearest towns for basic medical cares. In some cases, due the climate, the roadways
are restricted, so the emergency medical cares are disrupted.

Even the basic education facilities are available in the village, the villagers have to move
other cities like Delhi, for better education. It is also a reason that the growing generations of
Andretta, are not able learn about the Andretta art and craft culture, by means that they are
spending the most of their learning journey in other region. They are missing opportunities to
learn in blend with the art and craft culture of Andretta art village.

5.3 – SUGGESTIONS
• Authorities should focus on improving the infrastructure of Andretta to welcome more
artisans to come reside in Andretta. The impact and influence of renowned artisans
will help in propagating the ideas of art and culture in the village. It will also increase
the visibility of Andretta art village to different parts of the world. As a result of this,
there are chances that the visitors of the village will gradually increase, and the locals
can involve in commercial activities related to crafts, thus make good living.
• Artisans are handing over their premises to their younger generations who don’t know
the values of those properties. It gradually turning into common selling property,
resulting in disappearance of art traits in the area. This can be encountered by taking
the authority of those premises by any art related authorities or personalities, who has
vision to develop the art sector of India.
• The authorities should also help in increasing events related to arts, to increase the
awareness of arts and crafts among the villagers. They can provide financial support
to new artisans and learners to promote arts and crafts in the village.
• In the disappearing scenario of traditional architecture, supporting measures must be
taken to support the preservation of tradition buildings by incorporating modern and
innovative technologies, to guarantee the ling life of the buildings.
• Arts and crafts should be applicable to all sections of the society. It is necessary to
provide arts and crafts learning opportunities for villagers also, in a way that they can
afford the money for coaching.
• The schools of the village and nearby areas should promote education related to arts
and crafts of Andretta village to bring younger generation into the subject.

43
• Studios and artisans need to work collectively, with a vision that contribute to the
enhancement of the society.
• Authorities and locals should promote cultural tourism. Cultural tourism is one of the
leading reasons why so many countries can protect their indigenous crafts. Promoting
cultural tourism that respects and supports these communities can contribute to the
protection of their art forms.
• The locals can learn the online marketplace for selling the products of Andretta. It will
help them to reach more wider areas and increase the sales.
• The use of local materials in arts and crafts can be promoted by creating awareness in
the village. Local resources should make available at cheap rates. It can also be made
available more conveniently to the villagers so that they don’t have to go to other
places to receive the resources.

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CONCLUSION
In conclusion, the Indian habitat seminar report on Andretta artist village highlights the great
cultural richness and artistic heritage of this unique community in Himachal Pradesh, India.
Through an exploration of its arts and crafts scene, settlement patterns, and contemporary
challenges, I have gained valuable insights into the village's significance.

Andretta's place within India's wider artistic landscape underscores its importance as an artist
village, where traditional crafts and local skills were celebrated and preserved. But through
the study and site visit, I was able to find that Andretta is losing its values and culture due to
some contemporary challenges. The study of pottery in Andretta reveals its deep historical
roots and its impact on local communities, both culturally and economically. The Andretta
pottery keeping its legacy with renowned artisans and representing Andretta art village in the
international market also.

Moreover, Andretta's commitment to using local materials and sustainable practices

underscores its dedication to preserving tradition while adapting to modern demands. The
recognized Andretta studios are dedicated in using local materials and materials from
different parts of India. However, the report also sheds light on the village's challenges, such
as infrastructure issues and the impact of modernization, which threaten its cultural integrity.

In summary, this report provides as a wide study of Andretta's cultural heritage and current
realities, offering valuable insights for policymakers, scholars, and anyone interested in the
preservation and promotion of Andretta's unique artistic identity within the dynamic
landscape of contemporary India.

45
REFERENCES
Bariana, S. S. (2000, July 11). PU writers’ home at Andretta. Retrieved from
[Link]: [Link]

Census2022. (2022, NA NA). Andreta Population - Kangra, Himachal Pradesh. Retrieved

from [Link]: [Link]
[Link]

[Link]. (2015, NA NA). Cultural India : Indian Crafts. Retrieved from

culturalindia: [Link]

Dogra, C. (2002, April 13). Fragrant memories of Norah Richard’s Chameli Niwas. Retrieved
from [Link]:
[Link]

Iqbal, R. (2013, July 4). Himachal's pot secret. Retrieved from [Link]:
[Link]
om/2013-07-04/travel/38528897_1_himachal-pradesh-malana-hptdc

Mittar, H. K. (2017). Craft Revival. NA: Craft and the Creative Economy.

Rakkh. (2020, NA NA). Norah Richards house in Andretta village. Retrieved from
[Link]: [Link]

Shastri, J. (2017). Artist Village. New Zealand: Unitec Institute of Technology.

Shastri, J. (2017). Artist Village. Auckland, New Zealand: Unitec Institute of Technology.

Singh, H. (2003, March 01). A Tribute to Lady Gregory of Punjab. Retrieved from
[Link]:
[Link]

Singh, K. (1998, November 14). This above all. Retrieved from TribuneIndia:
[Link]

Siroliya, Y. (2018). Development of Andretta Artist’s village. Punjab: Chitkara University.

Techsol, M. (2020, NA NA). Andretta Pottery. Retrieved from [Link]:

[Link]

46
 andretta#:~:text=Andretta%20and%20Palampur%20enjoy%20pleasant,dip%20to%20
%2D2%C2%B0C.

The Hindu Group. (2004, July 30). Andretta-A sanctuary of potters. Retrieved from
[Link]:
[Link]
es/[Link]

[Link]. (2024, NA NA). Indian Village Directory. Retrieved from [Link]:

[Link]

Zoltán Bujdosó, B. B. (2021). The role of art colonies in local development through the
example. ECOCYCLES, 1.

Zoltán Bujdosó, B. B. (2021). The role of art colonies in local development through the
example . ECOCYCLES , 2.

47
ANNEXURES

A – TABLE OF LITERATURE REVIEW

SL. PUBLICA TITLE AUTHO YEA APPROACHABLE
NO TION R R CONTENTS
TYPE

1 Blog Art Of Rural India: Santosh 2023 Basic introduction to the

Explore The Colors Jha top 7 art & craft villages
Of Crafts With 7 in India
Villages

2 Thesis Developments of Yash 2018 Andretta as an art

Andretta artists’s Siroliya settlement; significant
village Magnets of the settlement,
present Scenario of the
settlement, Development
of the settlement,
Vernacular Architecture of
Himachal Pradesh,
Vernacular Architecture of
Foothills, Parameters for
Climatic responsive
Design, Study and
Analysis of Typical
Dwelling unit,
international Art colonies,
Artists settlements in
India

48
3 Academic An Artisan Village, Jinal Concept of An Indian
paper Surat, India: Shastri, Craft Village, In-depth
Safeguarding the Annabel case studies of Indian art
Art & Craft Pretty villages, the study of arts
Heritage of India and crafts, Conceptual
Design of Typical
Housing Model, Spatial
organization

4 Article The role of art Zoltán 2021 Art colony, culture, local
colonies in local Bujdosó, development,
development Béla
through the example Benkő,
Csaba
of Cered Art Colony
Patkós

5 Research Artist village Jinal 2017 History of art & craft in

paper Shastri India, Harnessing the
potential of India’s craft
sector, concept of craft
village, meaning of an
artist village.

6 Research Prathaa: Kath-Kuni Bharath 2018 Settlement patterns, built

paper architecture of Dave, Jay form and climate,
Himachal Pradesh Thakkar,
Mansi
Shah

7 Case study Khamir craft Design concept, typical

resource Centre, street layout, massing,
Bhuj functional analysis,
construction details

49
8 Blog Gandhi Nu Gam, Madhu 2022 Sustainable development:
Gujarat – A Hidden Keeping the Local culture
Gem of Kutch, An alive, Traditional Bunga/
inspiring story Kutch houses at Gandhi
Nu Gam,

Table 3: Table of literature review (Author)

B – LITERATURE GAP ANALYSIS

The study focuses on Andretta art village in depth analysis of the present scenario in
comparison with the typical art villages. It also aims to understand the significance of pottery
in Andretta village, and how the locals and local resources are involved in the manufacturing
process.

As a base of a study, the analysis is going through the basic infrastructural facilities of the
village, to understand the overall standing of the village in the present scenario.

As the above discussed are the primary analysis about the village, more data is obtained by
considering the background the study about typical artist villages. As from the background
study, it is obtained that how an artist village will harness the potential of Indian craft sector.
Comparing this, the study analyses on how Andretta can help in harnessing the potentials of
Indian craft sector. It focuses on:

• Incorporation of locally available materials and human skills in the crafts of Andretta
art village.

• Significance of pottery in Andretta art village and how the local communities
influenced by it.

• Challenges facing in the economic opportunities of Andretta craft sector.

• Opportunities of the local community in generating income through the arts and crafts
of the village.

• How Andretta is achieving environmental benefits through using local materials.

• Awareness of art and crafts among the local in Andretta village.

• Challenges facing in the empowerment of the society through the arts and crafts.

• Visions and missions of Andretta artisans.

50
 • Overall present scenario of Andretta art settlement.

C – QUASTIONNAIRE
1. Are you satisfied with the living conditions in Andretta?

Ans:- Yes, the living conditions of Andretta is fine. I am satisfied with the environment of the
surroundings. We also have necessary infrastructure in and around the village. The village is
surrounded by green sceneries. The major issue we are facing here is the destruction due to
climate change.

2. What are the major issues regarding the climate change?

Ans:- Landslides are the major issue in rainy seasons. Due to that, sometimes the roads are
blocked, and we are not able to move outside the village.

3. Is there uniqueness about Andretta village, considering other artist villages?

Ans:- Everything is unique here. The people, the village, the ambience etc. And in Andretta
pottery, we have our own design called slip designs. It is originated from Andretta pottery
studio. A very few craftsmen are out there in India, who do slip design works. Our pottery
studio has one of them.

4. Why pottery is significant in Andretta art village and how its influenced by and to the
local communities?

Ans:- There is no specific thing about pottery here. Some of the renowned artisans did pottery
works in Andretta. So, we just followed it. About the local communities, most of the visitors
are coming here from outside Andretta to learn and attend pottery workshops. Local peoples
are not involved directly in these activities. They just carry up the miscellaneous activities.

5. Other than pottery, what are other types of arts and crafts existing in Andretta?

Ans:- There are also glass workers, painting, film makers, etc

6. Where from the resources are obtained?

Ans:- Basically from Delhi and West Bengal

51
 7. Why Andretta is called as an artist village? is it because the locals are influenced by
arts and crafts?

Ans:- No, its not because of the locals. Its because some of the renowned artists settled here.
Initially it was Norah Richards, who settled here. She was a playwriter. Then Sobha Singh
visited the village. He was a painter. Then Sardar Gurucharan Singh started pottery in the
village. Then there was BC Sanyal, who was an artist from West Bengal, he also settled here.

8. What about the locals, are they doing jobs involving in art and crafts or any other?

Ans:- Some people are indirectly involved in art and crafts. For example, we have staffs from
locals to guide the tourist about arts and crafts. Locals in indirectly involved in pottery works.
Locals are indirectly involved in keeping the play theatre of Norah Richards.

9. What kind of theatre it is?

It is play theatre. They were conducting plays here after every three four months. But right
now it is decreasing. Its an old structure. Its almost 90 years old structure. The stages and
everything is made from mud.

10. Are peoples are coming from foreign countries to take part in the theatre events.

Ans:- No, only local people were joined for the events along with the students.

11. Is the whole community is moving with a vision to the future about Andretta village?

Ans:- Whole community is not thinking collectively. But at their own, everybody is doing
some contribution. For example, in the Sobha Singh art gallery, many foreign artists come
and display their works here. They have organized seven exhibitions of the people from USA,
Singapore, France and all that. They organise their exhibitions for 15 days, they sell their
work, they train the locals. Sometimes we call meeting with villagers to interact with them.

12. Are the majority of the villagers are involved in these events?

Ans:- Majority cannot involve. Because these are small ventures. Atmost 20 peoples from the
village will be involved.

13. Is there any specific community among the villagers?

Ans:- No

14. What are the factors influence the economy of villagers?

52
Ans:- Considering the art sector, economy depends mainly on tourism. Because people come
to the village to see these three four artist magnets. They choose taxis to visit them.

15. What are the major transportations in the village?

Ans:- Taxi as well as local bus services.

16. At present scenario, are the village is working properly, or are they facing challenges?

Ans:- There are issues. The major issues are that the artisans transferred their premises to
their families. Due to this, the family members are selling those properties considering the
money only they are receiving by selling it. Due to most of the art heritages are now
disappearing. And Norah Richards art centre is not working properly. There is lack of
interaction between the locals and the arts, because people are involved in other activities
rather than arts, which provides them better financial assistance.

17. Is the Norah Richards centre now working properly, is there challenges facing in the
functioning of the centre?

Ans:- Initially, there were events in every 3 or 4 months. But right now, events are only
happening in the birthday of Norah Richards.

53