SPACE-MAKING (BUILDING) CRAFTS OF KUMAUN REGION OF UTTARAKHAND: INVESTIGATING INTER-RELATIONSHIPS BETWEEN CRAFT AND INTERIOR ARCHITECTURE

Abstract

This is a trans-disciplinary research of qualitative nature, focusing on empirical and longitudinal aspects of craft, in relation to applications in interior architecture (spacemaking), specifically for the case of the Himalayan state of Uttarakhand in India. It majorly concentrates on the space-making attributes of likhai kaam (wood carvings) and aepan (ceremonial paintings) seen in the interior architecture of Kumaun region of Uttarakhand, especially in the traditional residences (at least two hundred years old). In fact, aepan has been classified by the researcher, as a narrative craft rather than art. This is primarily a deductive research and employs a case study based approach. The research is spread across two phases. The reconnaissance and pre-feasibility study constitutes the Phase I of the research, and takes into consideration, case studies from both Garhwal and Kumaun regions (administrative divisions) of Uttarakhand. This phase highlights the potential examples of space-making applications of crafts. Subsequently, the in-depth, main study constitutes the Phase II, which is done in the Kumaun region, focusing on more intricate examples of the identified crafts (Mathpal, 2013; findings of the Phase I). The research aims to investigate inter-relationships between craft and interior architecture, and recommend inter-disciplinary perspectives linking them, by inquiring craft as – knowledge (episteme); skill and process of making (techne); culture and way of life (ontology); a narrative medium (narratology); ornamentation (aesthetics); and, an object of study, in relation to interior architecture (space making). This enquiry builds on the presupposition that there are missing links between craft and interior architecture, especially in India, in the context of current pedagogy; practice; policies; perspectives and paradigms, despite having civilizational archetypes and discourses that prove otherwise. To bridge the possibly missing perspectives linking craft and interior architecture, the researcher translated various models and codes deduced from different theoretical perspectives, into interior architecture (Coles and House, 2007), with craft (space-making or building craft) being the focus (Saraswat, 2018). In fact, craft does not have a specific definition or concept, and it is extremely demanding to understand and decode it. Together, varied definitions and sensitising concepts (Blumer, 1969), which are referred to and adopted, serve as the theoretical framework for this research and the new perspectives, it develops.This research holds a national importance, and is partly supported by the Ministries of Culture and Education, which have identified the Himalayan state of Uttarakhand as a priority area, under several schemes for studying; documenting; investigating; and, safeguarding the tangible and intangible cultural heritage of India, which is constantly facing erosion. This research is also significant, because it is aligned with the objectives of the Twelfth Five-Year Plan (2012-2017); the National Design Policy (2007); the Design Manifesto (2014); the National Education Policy (2020); The National Skill Development Mission (2015); The Uttarakhand Skill Development Mission (2013); and, India’s Innovation Roadmap (2010- 2020); Intangible Cultural Heritage (2013 onward). This Himalayan region is also an attraction for international researchers. Hence, this study promises wider outreach and discourse. A sparse number of researches done to bridge the gap between disciplines like craft and interior architecture (Semper, 1851, 1860-63; Gropius, 1963; Tschumi, 1985), especially in India (Thakkar and Morrison, 2008; Thakkar, 2004, 2012; Saraswat, 2017), make this research stand out for contributing to this discourse. This is one of the earliest researches done in India, linking craft and interior architecture, focusing on Uttarakhand. It emphasises on establishing the importance of documenting and studying the identified crafts, with an emphasis on the quintessential role played by them in space-making - at a surface level; structurally (including furniture); and, as an object of use (both utilitarian and decorative). Moreover, it is not easy to reconcile informal approaches adopted by craftbased studies with formal research training, focusing on interior architecture. This research is an attempt in this direction, and is guided by conceptual, theoretical, and analytical frameworks (Crawford, 2020; Gilgun, 2020; Iqbal, 2007; Coral and Bokelmann, 2017), which address these challenges. To address this trans-disciplinary research, the researcher developed a comprehensive research design matrix, which defines stage-wise objectives and scope, aligned with both the phases of the research; subjects and sampling strategies; methods for data collection and assimilation; tools for investigation and analysis; and, outcomes. It is contextualised and adopted for this research, based on validation achieved through expert reviews and reliability established through the pre-feasibility study. The stages identified and defined as per this matrix are – Conceptual Framework and Historiographical Account (White, 1988); Comprehensive Literature Review (CLR) and Causal Layered Analysis (CLA) (Inayatullah, 2017); Theoretical Framework and Deductive Qualitative Analysis (DQA); Emerging Gaps; Data Collection and Documentation - Narrative Enquiry, Participatory Research and Case Studies (Merriam, 2009); Analytical Framework; Data Analysis – Content Analysis (Rutger and Robert, 2013), Inventory Analysis (Toledo, 2018; Arthur and Hearn, 2021) and Spatial Analysis. The major objectives which are formulated to achieve the aim are – to deduce theoretical inter-relationships between craft and interior architecture; to document and collect data on the crafts and interior architecture of Uttarakhand; to analyse space-making elements (SME) and space-making crafts (SMC) in the interior architecture of Kumaun region, and develop a system of classifying them, based on their roles and applications in interior architecture; and, to recommend inter-disciplinary perspectives linking craft and interior architecture, and propose practical applications of space-making crafts of Uttarakhand in contemporary interior architecture. The primary empirical data of the study are composed of documents and archives; oral narratives (structured and unstructured interviews and audio files) of stakeholders from different backgrounds (craftspersons, entrepreneurs, academicians, historians, curators, NGOs, District Industries Centres and Govt. officials, architects and individuals); visual narratives (photographs, sketches, field notes, video files and route maps); and portfolio of drawings (interior architecture details). The unstructured interviews are spontaneous, and provide insights into how people come to understand their attitudes and appreciations toward crafts through individualized meanings that are articulated verbally and visually. The other elements gathered during structured narratives (visual and oral) and field observations, also support the enquiry. The data is collected and assimilated through methods like theory triangulation (eclectic literature and diverse theoretical perspectives); case study (visual and analytical documentation of the identified cases); interaction study (participatory research); and narrative description (oral and visual narratives). It is observed that the Kumaun region (especially, Almora) offers a better opportunity for interventions in the craft sector (both utilitarian and space-making). The analysis of the six cases studied during the main study, showcases that the most prominent likhai kaam is seen in the façades, and aepan is mostly seen in the interior spaces. The likhai Kaam is seen at all levels – surface; structure (including furniture); and, objects of use and décor. The aepan is seen at surface level – walls, floors, thresholds, main entrances; and, objects of use and decor. However, the interviews, stakeholder discussions and interaction studies, bring to light that a miniscule percentage of the participants have seen or understood crafts, in relation to space-making, despite the age-old practices of likhai kaam (14th Century AD) and aepan (7th Century AD) in buildings. The major findings of this research highlight that likhai kaam, once an integral part of the cultural history of this region, is endangered today (also validated by a recent study done by the Uttarakhand Handloom and Handicraft Development Council (UHHDC) in 2020). The research also showcases that aepan has a low earning potential. But, both these crafts are scalable. The study further offers new information and perspectives on craft, which go beyond cultural boundaries. It brings to light that crafts do not have to be understood in terms of noneconomic activities only. They are capable of contributing to a wider economy. Crafts explored within the milieu of interior architecture (space-making) can create opportunities for employment in the craft sector as well as building construction industry. This could ensure continuity and revival of a languishing craft such as likhai, and rekindle a low-earning craft like aepan. The above-mentioned aspects have not been addressed by previous studies, which largely focus on the two identified crafts bereft of space-making attributes. To conclude, the key significance of this research is in terms of the contribution to the global body of literature, emphasising on inter-relationships between craft and interior architecture, which is substantially sparse, let alone focusing on developing countries of the global south. Secondly, complimenting the earlier studies focusing on other parts of India, this research delves into a new dimension of understanding and studying crafts of Uttarakhand, in relation to space-making. Thirdly, the key methodological strengths of this research centre around narrative enquiry; participatory research; and case studies, which can be replicable in other parts of the country. Lastly, the study assists in establishing that Uttarakhand being a Himalayan state, can lead by example, in creating linkages between craft and interior architecture, which could be employed in the contemporary building construction industry, to generate craft-based ecosystems and livelihoods in the mountainous regions. Moreover, the recommendations and perspectives presented, could also be applied on other crafts and craft clusters, across India. This research may be useful to a diverse group of people and open a window towards a more informed enquiry into traditional crafts.