Application and Collaboration

05

Himachal Pradesh

Indigenous Building Practices

1

About the Project

This is a research project on a distinctive traditional
building technique called the kath-khuni construction
prevalent in Himachal Pradesh, India. This indigenous
tradition of construction reflects excellent sustainable
and earthquake-resistant building techniques using
local materials and human resources.
The indigenous building traditions such as kath-khuni
construction now face gradual erosion due to the
increasing loss of local building skills and knowledge,
and displacement of local natural building materials
with a growing influx of non-indigenous ones that
may be cheaper initially but turn out more expensive
in the long run. This project aims to help preserve and
sustain kath-khuni building techniques and local skills
by undertaking collaborative research on existing and
emerging building practices.
This project is part of a planned series of research and
documentation activities to disseminate knowledge
about indigenous building practices and heritage of
India. The project builds upon the foundational work
already carried out by SID Research Cell at Faculty of
Design, CEPT University, India by project partner A/
Prof. Jay Thakkar, with Dr. Skye Morrison and design
students which is published as a book Matra: Ways of
Measuring Vernacular Built Forms of Himachal Pradesh
(2008).

Indigenous Building Practices of

Himachal Pradesh

Design Innovation and Craft Resource Centre (DICRC),

CEPT University, Ahmedabad, India

 2013
Design Innovation and Craft Resource Centre (DICRC)
CEPT University , Ahmedabad, India.

Contents
01) Pre - field work

01

Preparations

02

02) Fieldwork

05

Field work route

06

On-site investigation

08

Interaction with locals and mistris

10

Glimpses of places visited

13

03) Research and analysis

19

Panoramic reconstruction

20

3D reconstructions

22

04) Dissemination

25

Field-work report

26

Website

27

Published journals

28

Published articles

30

Presentations

31

Exhibition in Wunderlich gallery

32

Exhibition at Hutheesing gallery

34

Exhibition display

36

Press coverage

38

Book: Prathaa

40

05) Award

43

44

Zumtobel Group Award

Team Members
Prof. Bharat Dave completed doctoral studies at the Swiss
Federal Institute of Technology (ETH), Zurich, masters
program at the Carnegie Mellon University, Pittsburgh (USA),
and undergraduate studies in architecture at the School
of Architecture, Ahmedabad (India). Funded by nationally
competitive grants, his research revolves around innovative
spatial design practices and futures supported by digital
technologies.
Jay Thakkar is an A/ Prof. at Faculty of Design and Head of
Research at Design Innovation and Craft Resource Centre
(DICRC) at CEPT University, Ahmedabad, India. He has a Masters
in Visual Communication from the Birmingham Institute of Art
and Design (BIAD), United Kingdom and a Diploma in Interior
Design from the School of Interior Design, CEPT University. Jay
Thakkar is a co-author/author and designer of two books 1.
Matra: Ways of Measuring Vernacular Built Forms of Himachal
Pradesh (2008) (co-authored with Dr. Skye Morrison) and 2.
Naqsh: The Art of Wood Carving of Traditional Houses of
Gujarat Focus on Ornamentation (2004).
Mansi Shah is a senior researcher at DICRC, CEPT University,
Ahmedabad, India. She completed her Masters degree in
2010 in Urban design at the Domus Academy (Milan, Italy),
validated and awarded by the University of Wales, Cardiff, U.K.
She completed her undergraduate degree in architecture from
South Gujarat University, Surat (India). Her project Beyond
Green a guerrilla idea to promote green movement was
displayed during Salone del mobile, a design festival in Milan
in 2010.
Illustrations and fieldwork assistance
Soumya Basnet, Victor Bunster, Rishi Soni, Tarang Sagara

Collaborations
The research is a collaborative project and was
initiated in 2011 between researchers based in DICRC
(Design Innovation and Craft Resource Centre) in the
Faculty of Design, CEPT University, Ahmedabad, India
and in CRIDA (Critical Research in Digital Architecture)
in the Faculty of Architecture, Building & Planning,
The University of Melbourne, Australia. The project is
supported in part by the Australia India Institute based
at the University of Melbourne.

Collaborations

Critical Research in Digital

Architecture (CRIDA)
The University of Melborne

Design Innovation
& Craft Resource Centre
CEPT University, Ahmedabad

Australia India Institute,

Australia

Pre- Field work

Preparations
To collect data in the field within a limited time,
we undertook several preparatory tasks prior to
embarking on the actual fieldwork.

Day

Date

21-Jun-11

22-Jun-11

23-Jun-11

24-Jun-11

25-Jun-11

26-Jun-11

27-Jun-11

28-Jun-11

29-Jun-11

10

30-Jun-11

11

1-Jul-11

12
13

2-Jul-11
3-Jul-11

Place
Ahmedabad
Shimla
Shimla
Janog
Sainj
Sainj
Balag
Ghodna
Sarahn-Chopal
Sarahn-Chopal
Hatkoti
Devidhar
Gawas
Hatkoti
Pujarli 4
Jubbal
Harkoti
Hatkoti
Summerkot
Pujarli 7
Rampur
Rampur
Sangla
Kamru
Chitkul
Sangla
Nirmand
Nirath
Nirath
Shimla
Shimla
Ahmedabad

Alt.(mts)
49
2205
2205
1980
1412
1412
1340
1290
2165
2165
1400
2267
1400
1948
2084
1400
1400
2103
2100
1041
1041
2680
2800
3460
2680
1534
945
945
2205
2205
49

Itinerary
Tentative itinerary based on locations of interest
were identified in our background research.
The itinerary, in turn, helped identify specific
information about topography and landscape
including distances that were expected to be
travelled and sites to be visited.

Maps
We carried several different maps at various scales
of Himachal Pradesh sourced from books, travel
shops and government agencies. However, detailed
and reliable village level maps of many parts of
this mountainous landscape are not yet available.
Quite often during our fieldwork, the way to reach a
destination was identified or sketched out with the
help of local people as we travelled on the road.
2

Fieldwork equipment
A kit of tools was assembled to carry out the
documentation process. Key tools and gadgets
included different sizes of measure tapes, graph
papers, stationary, still and video cameras with
accessories, dictaphone, distance laser meter,
panoramic tripod, flashlight, and digital media for
daily data backup.

Field-work planning Diary

To familiarize and prepare ourselves for
fieldwork data collection, the following
scrapbook diary was compiled. It contains
information drawn from sources at hand.
Inevitably, some of the information turned
out to be not so accurate. Even our travel
route changed closer to the fieldwork.

Fieldwork

Fieldwork route
In order to understand and document the multifaceted
aspects of indigenous building practices in Himachal
Pradesh, the research was carried in a number of sites
in an arc from Shimla to Chitkul in Kinnaur district, in
the south-east corner of Himachal Pradesh. Fieldwork
route and the places visited.
Jeori

Sara

(1041 mts)

Rampur
14

Nirmand 18

(1534 mts)

13

19

Sarmali

13

Pujarli 7 (2

Nirath

(945 mts)

12 Summer

80

10
80

(1948 mts)

Pujarli 4

Janog

(2205 mts)

Shimla
1

Balag

(1340 mts)

Rohru
11

Theog

Jubbal

Kotkhai

(2084 mts)

20

31

11

3 Sainj (1412 mts)

Devi

20

10

20

(2103 mts)

Narkanda

(1980 mts)

13

7 Hatkoti (
20

15

30

Ghodna 5
(1290 mts)

25

Chopal
11

Sarahan
(2165 mts)

110

Tiu

100

Nichar

ahan

Karchham

Kamru (2800 mts)

16
2

15

Sangla

26

(2680 mts)

2100 mts)

Chitkul

rkot

Chirgaon

17

(3460 mts)

idhar
8

Bhatiyara
15

Dhum ghat
Bhatvadi
Hingvada

9 Gawas (2267 mts)

(1400 mts)

Kuddu

uni

On-site investigation
During research fieldwork, diverse data were
collected which included images, video and audio
recordings, sketches, panoramic images, and recorded
conversations with master carpenters and craftsmen,
temple priests, inhabitants, academic scholars and
others.

Audio- video recordings

On-site
investigation
involved
audio-video
documentation of on-site construction, interaction
with craftspeople, overall villages, landscapes and
details.

Photographic and panoramic documentation

Setting up photographic equipment for
panoramic documentation of the Kamru fort
and surroundings.

Discussions and notes

Engaging discussions with native
Himachali people on life, construction,
building techniques, traditions and more.

Sketches
Sketches from the fieldwork diary show
recorded observations, village maps, on site
study of construction system and smaller
details.

Interaction with locals and mistris

B. S. Malhans (Shimla)

Raja Yogender Chand of Jubbal, Rajkumari

Aditya Kumari and Tikka Anirudh Chand

Prof. Laxman Thakur

(Shimla)

Dr. O.C. Handa

(Shimla)

Rajaji of Ghodna, Ghodna

Pujari Nandlal
Sharma (Janog)

Tikka Kirti Chand

(Sainj)

Kunwar Anshuman
Singh (Sainj)

Chenu Devi (Balag)

Jay Lal Vishwakarma

(Sarahan-Chopal)

Charander Singh
(Devidhar),

Kahanchandji
(Devidhar)

Rajendra Singh
(Devidhar)

Uday Singh (Gavas)

People of Gavas

Lekhraj Chauhan
(Summerkot)

K.C Kaith (Pujarli7)

People of Pujarli 7

Weaver Manisukhji
(Sangla)

Vidyaratan (Kamru)

Pitambar Negi
(Kamru)

People of Sangla

K. C. Kaith (Pujarli 7)

Resident (Janog)

People of Chitkul

Artisan, Chitkul

Artisan (Chitkul)

Resident (Chitkul)

Children (Sangla)

People of Pujarli 7

Team at Sangla

People at Kamru

Team members at Nirath

Team members at Kamru fort

10

Documentation and interaction

On-site investigation involved a number of stages: the
determination of site through maps, physical survey of identified
sites, photographic, learning from mistris and locals, audio-video
documentation and so on.

11

Glimpses of places visited

Janog
A few kilometers east of Shimla toward Sainj in the Sutlej valley,
a fork in the road ends up at Janog. It houses the distinctive
Chikhadeshwara tower temple. It is located in a corner of an
enclosed courtyard surrounded by an upper floor ringed with
beautifully carved wooden panels.

Sainj
Strategically located along a gentle bend of the
river in the middle of this landscape is the imposing
darbargarh of the rajah of Theog.
Built in the traditional kath-khuni style, the building
rises up on a rocky base with steps leading up to a
platform that is ringed overhead with sacrificial horns.
An interior courtyard reveals a very porous interior
spatial fabric. The rough and rocky materials on the
outside are replaced by fine woodwork inside.

Balag
Located on a hill, Balag is home to a beautiful traditional
tower temple. After making way through narrow
winding streets, the tower suddenly bursts into view,
looming large against the farmland behind it.
Very close to the tower temple is located what must
be an even older temple seat. Located inside an open
courtyard are shikhara-style stone temples, one of
which has been added on one side with a traditional
roof.
12

Godhna
Sweeping around a hill-side road, a small climb
brings into view a sprawling compound of Ghodnas
darbargarh with an adjoining stretch of temple
grounds. What remains of the panels and frames
along the main wooden door entrance shows an
amazing level of wood carving. The darbargarh, on
the other hand, is a curious hybrid of traditional and
colonial motifs and materials.

Sarahan (Chopal)
The village of Sarahan Chopal though tiny in size
makes up in terms of what it has to offer. One famous
trek that goes up to the hill. Another one winds
through the village and a patch of pricey weeds
continues to the distinctive and rare double towers of
the Bijjat Devata Temple. The main entrance leads into
an inner courtyard. The tower on the right with the
wooden log with stepped notches is the older one,
the other one is the latter addition to the complex.

Devidhar
The old temple (left) Sahav Khantu Devata
Temple is built in the traditional kath-khuni
style topped up with a tower.
The new temple under construction sits on
a stepped base on a hill and faces a beautiful
deodar tree. It is a treasure house for
seeing, hearing and understanding ancient
building practices with most welcoming
crew at work on the temple site.

13

Gavas
The village of Gavas seems to appear out of
nowhere with what must have been a vibrant and
living community. It has spacious wooden houses
with beautiful carvings visible even now. At the
end of a winding street is a doorway that leads
into a majestic complex of temples (Gudaru Devata
Temple complex) and supporting structures. Parts
of this complex are intact, others appear quite worn
out adding to mysterious sense that envelopes the
place.

Jubbal
Slightly aloof among the rapidly growing urban fabric
sits the Darbargarh of the rajah of Jubbal. Its position
and size makes it hard to miss from almost any vantage
point in the valley. Sporting a distinct palette of colors
and forms, the kot opens out on a terrace towards
views of the gently rolling hills beyond. The kot has
grown incrementally over time in layers. With a bank
of rooms on multiple levels all around, the central
courtyard houses a spartan tower temple, its presence
is never far away from any corner inside. The lower
terrace with its gardens and fragments of structures
that survived still evoke shadows from another time.

Pujarli 4
Turns out that there are seven different villages
that share the name Pujarli. Among these, Pujarli
4 houses a famous Rudra Devata Temple complex
that appears quite old and continues some of the
mystic rituals including divine consultations. The
temple sits on one side of an approach courtyard
and faces the distant hills and mountains on
other sides.

14

Hatkoti
The temples of Hatkoti come into view from the
approach roads as we descend into the valley. The
temple compound is relatively large, houses two
main temples in the traditional Himachali style
located on either side of the bhandar building in the
middle. Five shikhara-style stone temples are located
along one of the edges of the compound.

Summerkot
Against the backdrop of low buildings, roofs and mountains in
the distance, the tower temple of Summerkot stands out in the
landscape. A series of steps through a gate rise up to a platform
on which the tower stands. The surrounding terrace with wildly
sprouting shrubs carry a sense of abandonment and neglect.
However that is just surface reading- the fact that the building is
now in the care of ASI suggests there is more to this tower partly
reflected in the carefully restored external elements.

Pujarli 7
Some distance away from Summerkot on a
hill lies another tower temple undergoing
renovations. It has the looks, materials
and building components that are clearly
weathered. The multiple personas of such
tower structures become visible here: a temple,
a watchtower, a defense post, a fort If local
folklore are to be believed, there is much that
hides in various levels inside the temple and
among ruins scattered around Summerkot
including water wells.

15

Rampur
In a narrow valley lies Rampur- a
busy urban center with a palace
on a sprawling ground that
is slightly elevated from the
national highway that just skirts
around it. The Padam Palace is
a curious mix of traditional and
foreign motifs and materials.

Sangla
The approach to Sangla brings into view a terrace
edged with modern shops and buildings that could
be almost anywhere in a small town in India. The real
village of Sangla though hides behind those shops
along the slopes going down to the river. This is the
place where very fine wood carvers are to be found
carrying on generational traditions and craftsmanship.
In between wooden buildings of Sangla lies a
remarkable temple of Nag Devata.

Kamru
Visible from Sangla and higher up along the slopes is the famed
village of Kamru. The steep climb opens out into a remarkable
courtyard that is flanked on one side by the Hindu temple
and on the two side by the Buddhist temple structures. The
religious space is freely shared here signified by the central
pavilion with beautiful carvings. A small narrow path winds
up the hill to the old fort of Kamru. The high terrace on which
the fort stands offers views along almost all the directions. The
temples and buildings inside the fort grounds are quite aged,
some undergoing renovations now.

16

Chitkul
The road east from Sangla continues along the old
India Tibetan Highway leading to Chitkul, the last
village of India along this highway. For a village that
remains inaccessible during winter, Chitkul reflects
a meeting ground of sorts of different cultures that
cohabit these heights. The Hindu and Buddhist
motifs overlap here, literally and figuratively.

Nirmand
A fork off the national highway winds up the mountains
to the famed town of Nirmand. The first glimpses of the
place are deceptive as there is a much older history
to this place. A famed copper plate inscription, the
legend of a warrior Brahmin Parashuram, and surviving
fragments of wooden houses all conjure up a place
with urban character. The few stone fragments and
scale of houses suggests a vibrant settlement that
existed at one point here that clearly outgrew the rural
or mountain worldviews.

Nirath
Nirath is a tiny dot on the map along the national highway and
is home to one of the very few temples dedicated to the Sun.
The external walls of the stone temple feature some of the most
intricate and beautiful sculptures. The motifs and faces that
grace these walls suggest contemporaneity with the classical
Indian canons and times. The inner courtyard contains many
smaller shrines and fragments of stone and wooden carvings. A
mandapa-like structure occupies one corner of the compound
with beautifully carved wooded columns. A similar pavilionslike structure lies some distance away from the temple precinct.

17

18

Research and analysis

19

Panoramic Reconstruction
A series of images acquired by rotating camera by
15 degrees were taken to generate 360 degrees
panorama.

Equipment set-up at Pujarli 4

Image tiles

Overlaid images

Blended image
20

Kamakshi Devi Temple/ Fort, Kamru

Bijjat Devata Twin Tower Temple, Sarahan

These are some final blended images covering

360 degrees view.

Interior of New temple contortion at Devidhar

Barakila Tower Temple, Chitkul

21

3D Reconstructions
Based on images gathered in the field, 3D
reconstructions of objects and buildings were
developed. These are examples of extracting 3D
geometry with textures for Balag temple, another small
temple, and volumetric model of Sainj durbargarh.

Kath-khuni building images

from multiple view points.

This is the example of 3D model with texture-mapped on

all surfaces from the images taken.
22

Theog darbargadh at Sainj

Tower Temple at Pujarli 7

Kamakshi Devi Temple/Fort at Kamru

Interactive 3D Models
Using image-based reconstruction techniques, visible
surfaces of built volumes were extracted. This data was
extrapolated to develop 3D geometry of buildings.

Temple at Chopal (Sarahan)

Padam Palace, Rampur

Tower Temple at Summerkot

23

24

Dissemination

25

Fieldwork Report
The research carried out in this project has been
developed into a working report which has detailed
information and photographs of all villages.
The report is available to download on http://himachal.
crida.net/flip/field-report/HTML/

Balag

Temple and Details

Shiva temple, Tower temple
There are three temples in Balag, a small village in
the sub-division of Theog. Two are of the rock-cut
variety and one built in the old devra style. 1
Shiva Temple
... As with many temples in Himachal, this temple too
has legends connected with the famous Hindu epic,
the Mahabharata. What is more interesting is that in
Balag, mythology surrounding the Hindu deity Shiva
has got inextricably linked to the allegories related to
Mahabharata.
... The most important temple is dedicated to the
divine destroyer, Shiva. The temple displays all the
motifs and symbols connected to his apologue. Nandi,
the divine bull, guards the entrance to the temple.
The shikhara, the rising tower which covers the
sanctum sanctorum, is bedizened with his emblems,
weird animals and grinning ganas, his attendants
or ghostly hosts, on account of their nature. These
are supposed to be of ghostly origin and generally
benign except when someone transgresses against
their Lord.
[... One] temple is dedicated to Nakul, one of the ve
Pandava brothers and twin brother of Sahdeva. It is
embellished most attractively on the face of its little
shikhara (temple dome) with the face of a gure
not unlike that of Pashupatinath (Lord of Animal-like
Beings). Surrounding this are gorgeous oral and
lacy patterns, wrought delicately in stone. 1

Temple with wooden mandapa

Tower temple and a steep ladder to reach the upper level

Back view of the Tower temple

Cantilevered entrance structure to the bhandar

Wooden dowels

Bhandar and roof of the temple with kurud covered in sheet metal

Cantilevered entrance to the bhandar

Tower temple
This is the oldest devra of Balag, which, while not
de-consecrated, no longer sees regular worship. As
can be seen, it looks to be of an entirely different age
and design than the other two temples. 1

References

Design Innovation and Craft Resource Centre (DICRC)

CEPT University
Kasturbhai Lalbhai Campus, University Road
Ahmedabad-380009, Gujarat, India
Phone: +91-79-26302740
Ext: 316, 317, 319
dicrc@cept.ac.in, www.cept.ac.in

Shimla Gallimaufry, http://olio-gallimaufry.

blogspot.com/2010/03/some-lovely-templetenantless.htmll

The University of Melbourne

Faculty of Architecture, Building & Planning
Grattan Street
Parkville VIC 3010, Australia
Phone +61-3-83447259
b.dave@unimelb.edu.au

Indigenous Architecture and Building Practices in Himachal Pradesh, India

Indigenous Architecture and Building Practices in Himachal Pradesh, India

Pages from the fieldwork report

Jubbal

Kamru

Overview

Fort architecture and Details

Altitude: 2084 meters

Map

Placed over a packing of dressed stone that

acts like a pedestal for an exalted piece of art,
the tower-like temple of Kamru rises ve storey
high. Here is an exemplary piece belonging to
an architectural genre unique to this part of the
world. A series of thick sleepers of deodar wood
are horizontally placed, one atop the other. The
mesh, thus, created has an inll of nely-dressed
stone neatly slotted in without the use of mortar.
The presence of forests of deodar, has played
a major part in the evolution of this building
style. The wood, like teak, is termite-proof and
weather resistant, and although untreated,
has withstood the vagaries of weather through
the centuries. Kamru temple-cum-castle is a
glorious example of how local craftsmen, using
local materials, created a highly evolved style of
traditional architecture.

Location and Approach

Jubbal is located at an average elevation of 2084
metres. A small beautiful hill town, it is famous
for its apple orchards and the Jubbal Palace.
The place is associated with history of the royal
family of the Rana Karam Chand (1835-1877)
who was the rst Raja of Jubbal.

The castle-like temple has an image of Kamakhya

(Kamakshi) Devi. This is said to have been
brought here centuries ago from Assam.
The castle at Kamru belongs to the thakurai
period, when the residences for the thakurs and
the protective goddess were provided in the
same high-rising tower. The tower measuring 11
meters square on the ground, was designed as
a defensive citadel and adequately garrisoned
against attack. It was with that consideration
that the ve-storeyed tower had been planned
as a multifunctional structure on a one storey
high plinth. To reach the ground oor, a portable
ladder must have been provided. It could be
lifted up conveniently into the building when
required. Such provision may also be found at
Chaini tower temple in the Outer Saraj of Kullu.

Brief about the Palace

Jubbal Palace was the regal dwelling of the
erstwhile Jubbal rulers of this hill station.
An amazing citadel, which reminds of a fairy
tale palace, Jubbal Palace is placed very prettily
in the midst of hills. The Ranas abode is built
in partially Chinese style, the lower portion
consisting of sandstone, whereas the greater
half is banded round with impressive colonnades
capped by suspended attics. The palace is
noteworthy for the vast stacks of deodar timber
used in its structure.
Designed by a French architect, the modern wing
of the palace displays a curious blend of Indo
and European styles. Its convoluted wooden
ceilings are simply superb. Another imposing
allure is the stunning display of ancient artilleries
used by the royal families of Jubbal. 2

Jubbal Palace

References
1
Mark Brentnall, The Princely and Noble
Families of the Former Indian Empire Vol. 1:
Himachal Pradesh, Indus Publishing Company,
2004, P. 171.
2
http://www.mustseeindia.com/Jubbal-JubbalPalace/attraction/12099

Jubbal Village

Indigenous Architecture and Building Practices in Himachal Pradesh, India

26

The fort of Kamru with a temple dedicated to Kamakshi Devi

Serving to heighten the character of the visage,

an elegant wooden balcony provides ingress
to the tower. As if that were not enough, like
a crown adorning a noble face, the upper two
oors of the tower expand laterally and comprise
elaborate wood work.

Jubbal ... nestles at the end of the Bishkalti

valley, and is dominated by the Rajas palace,
which stands high on fortied walls above
the river Bishkalti. The palace itself is largely
a timber construction, built around a central
courtyard, painted blue and cream, topped by
a red roof. 1

Panoramic view of the fort and temple complex

The Kamru temple-cum-castle, as it stands

today, is an elaborate structure of wood-n-stone
four walls. This structure might have undergone
extensive modications and additions after it was
held by the early rulers of the Bushahr kingdom.
The balcony-like canopy in front of the main
door on the plinth and the enclosed projections
on the two top oors are such additions. 1

References
1
Mian Goverdhan Singh, Wooden Temples
of Himachal Pradesh. M.L Gidwani, Indus
Publishing Company, 1999, P. 137-139

Fort base rises off a high pedestal

Carving on the entrance door of

Kamru fort

Detail of the carving

Carving detail of the gable above the Geometrical carving on the gable
entrance door

Embossed metal of the temple doors.

Indigenous Architecture and Building Practices in Himachal Pradesh, India

Website
An online website (http://himachal.crida.net/) that
includes representative sample of data (i.e. images of
sites, buildings, details, and their construction; audio
and video clips of interviews; 360 degree panoramic
reconstructions of sites; and three dimensional
reconstruction of selected buildings. It is intended
as a repository of documents and knowledge about
vernacular architecture and building practices in
Himachal Pradesh.

27

In one year we had a papers published in INTACH,

CONTEXT, ABACUS and ARCHITHESE and articles in
Domus and IA & B.

28

Published Journals
ABACUS (Monsoon 2011, Vol 6, No. 2, pp.1420):
Indigenous Building Traditions of Himachal Pradesh
Abstract
The traditional construction in Himachal Pradesh is a
natural response to the availability of materials and local
tools, guided by knowledge of forbidding geography,
harsh climatic conditions and deeply embedded cultural
practices of the region. The architecture that has evolved
over a long period of time demonstrates profound
understanding of constraints, local resources and the
building science. The paper, on the basis of collaborative
research and field work in Himachal Pradesh, highlights
the native sensibility of the local builders, materials,
traditional method of construction and subtle process
of cultural transmission. This process exhibits simple
yet satisfying ways in which locals and craftspeople of
Himachal Pradesh have evolved vernacular architecture
using a venerable building method called kath-khuni
that is aesthetically pleasing, seismically sound and
sustainable.
CONTEXT (Spring 2011, Volume IX, Issue 1, pp.517):
Details of Resistance: Indigenous Construction Systems in
Himachal Pradesh
Abstract
A vernacular building technique called kath-khuni
construction is widely encountered in the hills of
Himachal Pradesh. It provides an effective mechanism
for buildings to resist frequent seismic tremors that
rock the landscape of Himachal Pradesh. This method
of construction has been practiced and perfected with
empirical knowledge over a long period time. This article
describes various construction elements, materials and
joinery details in the traditional kath-khuni construction
and the resulting compositional richness in the making
29

of walls, openings, and corners. The paper highlights

various sustainability and environmental responses
embedded in this traditional building practice.
INTACH Architectural and Cultural Dimensions of
the Sacred: Woodandstone Temples of the Western
Himalaya
Publisher: INTACH, New Delhi
Language: English
ISBN: 978-93-82343-09-7
Abstract
Himachal Pradesh is known also as the land of divine or
dev bhoomi. With its relative isolation and demanding
climate, it fostered pockets of vibrant and distinctive
cultural zones. The architecture of indigenous hill temples
occupies a special place both materially and spiritually,
in the hills and is evident in a large number spread across
the state. This paper focuses on indigenous hill temples
of the western Himalayas especially hill temples. Their
architecture is imbued with the character of hills and
built by traditional craftspeople using local materials
(timber and stone) and a technique known as kath-khuni
(cator and cribbage) construction. This particular style
of construction has evolved over a long period, handed
down from generation to generation via oral lore and
material practice. The tower temples reflect a profound
synthesis of empirical building knowledge, rituals
and space making craft skills resulting in fascinating
architectural exemplars. This paper describes different
facets of hill temples including construction techniques
and their details, materials, associated beliefs and rituals,
and special place of wood carving craft as an integral
component of indigenous building knowledge and
techniques.

30

ARCHITHESE (Monsoon 2011, Vol 6, No. 2, pp.1420):

Being and Belonging in the Mountains: Indigenous
Architecture of Himachal Pradesh, India
Abstract
A distinctive legacy of indigenous building practices
and associated crafts survives in the Himalayan hills
in India. These traditions, on the one hand, represent
specific material expressions and, on the other hand,
encode specific symbolic and cultural associations. The
assemblage of indigenous buildings and their making
while discrete in material terms and finite in temporal
terms reflects at a deeper level cultural choices about
being and belonging in a particular landscape. Based
on our fieldwork documentation of building practices
in Himachal Pradesh, India, we discuss how indigenous
architecture and associated crafts are underpinned by
mutually reinforcing material conditions and practices,
social and cultural beliefs, and permeability to external
influences.that is aesthetically pleasing, seismically sound
and sustainable.

31

Published articles

CEPT
E-News Magazine
Volume 2.

No. 2, FEBRUARY 2013

Roots'13: CEPT was

delighted to have with
them a group of five
Sufi musicians from
Bikaner, who lovingly
sat with the student
musicians in the SA
Basement for four days,
teaching them theories
and ragas of Sufi music,
on a Tabla and a
Harmonium.

Getting to the root of it, IA&B 26 (5),

January 2013, 112-121.
Prathaa: Exhibition, CEPT E-news
magazine Vol. 2. No. 2, February
2013, 05

Prathaa: Kath-khuni architecture of

Himachal Pradesh, Domus India 16
(2), 5 March 2013, 17-18.
Gujarat Journal, Vol 6 No. 5, 15
February 2013, 29-30

32

Presentations
1) Presentation:
Indigenous Building Traditions of Himachal Pradesh:
Bharat Dave, Tiffin Talks series, Australia India Institute,
University of Melbourne, 26 August 2011.
2) Lecture:
Approaches to Digital Documentation of Spatial
Environments: Bharat Dave, DICRC, Hutheessing
Galery, CEPT University, Ahmedabad, 30th January
2011

33

Exhibition in Wunderlich Gallery

Exhibition Indigenous Building Practices in Himachal
Pradesh, India demonstrating the distinctive building
technique, kath-khuni construction prevalent in
Himachal Pradesh, India was held in the Wunderlich
Gallery, Ground Floor, Architecture Building from the
13 - 31 August 2012.

34

Exhibition display and

interactive videos

35

Exhibition & book launch at Hutheesing Gallery

Prathaa: Kath-khuni architecture of Himachal
Pradesh
The exhibition and book launch was held at Hutheesing
Visual Art Centre, CEPT University, Ahmedabad, 29-31
January 2013
The threeday exhibition of Prathaa: Kath-khuni
architecture of Himachal Pradesh included illustrative
panels, video and interactive media. On Tuesday, 29th
of January, architect Nimesh Patel inaugurated the
book and Prof. Krishna Shastri (Dean, Faculty of Design,
CEPT University) opened the exhibition.

Talk by Authors
Prof. Bharat Dave, A/Prof. Jay Thakkar and Mansi
Shah talk about their journey and documentation
of Himachal Pradesh architecture.

36

Chief guest for the evening

On Tuesday, 29th of January 2013,
Architect Nimish Patel inaugurated
the book at the Hutheesing gallery,
CEPT University

Inauguration
Exhibition opening by Prof.
Krishna Shastri, Dean, Faculty
of Design, CEPT University

37

Exhibition display
The threeday exhibition of Prathaa: Kath-khuni
architecture of Himachal Pradesh included illustrative
panels, video and interactive media.

38

Panels
The panels were nailed on boards that assembled
into an impressive exhibition unit. Each unit
displayed panels on architecture of Himachal as
well as interactive videos.

Fieldwork Video glimpse at the exhibition

'A walk in the mountains' is a small movie which
presents a glimpse into the life of people living in
Himachal Pradesh and showcasing the treasure of
indigenous architecture. The video has been shot in
the villages in Shimla and Kinnaur districts. We thank
all the wonderful people and artisans for sharing
their knowledge and moments with us.

39

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40

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Constructing history Ahmedabad

Mirror 30 January 2013: 9. Print

City Bhaskar/ Divya Bhaskar 30

January 2013: 4. Print

Bhagat, Chaitali. City Bhaskar/Divya

Bhaskar 3 February 2013: 3. Print

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Book on architectural practice launched

snapped

Pics: Piyush Patel. DNA

Book launch, Tuesday, ahmedaBad

A
Pics: Piyush Patel. DNA

3-day exhibition and

book launch of
Prathaa: Kathkhuni architecture of
Himachal Pradesh was
held on Tuesday at
Hutheesing visual art
centre. The book, which
captures the details of
indigenous building tech-

niques for sustainable

structures was launched
by well-known architect
Nimesh Patel. An exhibition presenting an overview on distinctive building technique was
opened by Prof Krishna
Shastri, Dean, Faculty of
Design, Cept. Prof
Bharat Dave from the
University of Melbourne,
Asst Prof Jay Thakkar
and Researcher Mansi
Shah has authored the
book. The project aims
to help preserve & sustain kath-khuni building
techniques & local skills
by undertaking collaborative research on existing and emerging building practices.

On the occasion of Gandhi Nirvana Din, senior artists and a Gandhian Manhar Kapadia presented a series of paintings inspired from the life and events of Gandhi. The divine virtues and philosophy of Bapu
are captured in 22 paintings which are on display at Amdavad ni Gufa until Feb 3

Diana Penty at the launch of a

magazine

Book on architectural practice

Miley Cyrus
poses
Bradleys
launched
DNA
30 January
2013: 4. next
A
Print

nearly topless
M

iley Cyrus has gone

nearly topless in her
new photoshoot for
the March cover of Cosmopolitan magazine.
The 20-year-old former
child star, who steams up
the women magazines upcoming issue, can be seen
wearing a white blazer,
teamed up with low-slung
white pants, US magazine
reported.
In an interview with
magazines writer Kyle
Buchanan, the former Hannah Montana star asserted
that one of the things she is
happiest about is her relationship with fiance Liam
-- ANI
Hemsworth.

Playing the part: Bradley Cooper

ctor Bradley Cooper

has formally been approached by director JJ
Abrams to star in a biopic on
cyclist Lance Armstrongs rise
and fall from grace.
Cooper
previously
expressed his desire to portray
the disgraced cyclist after he
was stripped of his titles between 1999 and 2005 when it
was revealed that he had taken
performance-enhancing drugs.
Abrams confirmedthat he is
considering Cooper for the role

a biopic?

years ago, he had said in an

interview.
Abrams and his Paramount
Pictures partner Bryan Burk
recently snapped up the screen
rights for Cycle of Lies: The
Fall of Lance Armstrong, a new
book by sportswriter Juliet Macur, who has covered the drugs
cheat for over a decade.
Damon and Matthew McConaughey are also contenders to
play the infamous cyclist in the
project.

Gujarat Samachar 30 January 2013: 3. Print

IANS

Shakira
headed

home

C
Unhappy:
Mila Kunis

Kanye gifts gold

bracelets to
Kim Kardashian
K

Gifts galore: Kim Kardashian

and Kanye West

Govinda at the press meet

of Deewana Main Deewana

west view

after the latter reached out to him

via e-mail.
Cooper sent me an e-mail
and we have been talking, contactmusic.com quoted Abrams
as saying.
Some time back Cooper had
expressed his keeness to play
the disgraced cyclist.
I would be interested in
playing Armstrong. I think he
is fascinating. What a fascinating character. I remember
Matt Damon was going to do
his autobiography at one point

Mila never wanted

Fifty Shades Of
Grey role
ctress Mila Kunis is not eager to star in an
upcoming adaptation of Fifty Shades of
Grey and reports suggesting so are unsubstantiated. A source told eonline.com that Kunis
never gave an interview that claimed she wanted
the role of Anastasia Steele.
However, Kunis hasnt come forward to deny the
reports, so there was still hope, the source said.
Several famous actresses have been linked to the
role, including Emma Watson, Anna Kendrick and
Alexis Bledel. As for the role of Christian Grey,
actors who have expressed interest include Ian
Somerhalder and The Canyon actor James Deen,
who also happens to be a porn star. IANS

Mallika Sherawat at the

promotion of Dirty Politics

anye West has splurged 65,000

dollars on jewellery for pregnant girlfriend Kim Kardashian during a recent shopping
extravaganza at the Cartier store
in Paris.
The 32-year-old Kardashian,
who posted an Instagram snapshot revealing her wrist with
five gold bracelets from the
luxe, captioned the picture as
The Don strikes again!!! US
magazine reported.
According to ETOnline,
the
jewellery package
includes the Cartier Panthere
Bracelet, which is embedded
with diamonds, a yellow gold
Cartier Love Bracelet with diamonds, the Cartier Juste un
Clou and two animal print
bracelets with an estimated total of 65,000 dollars.

olombian singer Shakira

was released on Sunday
from the clinic in the
northeastern Spanish city of
Barcelona where she gave birth
last week to her first child,
Milan Pique Mebarak, clinic
spokesmen told a news agency.
The singer, boyfriend and
F.C. Barcelona player Gerard
Pique, and the child left the
clinic in the early afternoon in an SUV with
tinted windows driven
by one of Shakiras
brothers.
The singer did not
stop to take questions from reporters,
heading straight for
Piques residence in
Cabrils, a town some
25 km from Barcelona, where the couple will be living
until construction
is completed on
their new house in
Ciudad Condal.
No photos of the
babys face have
been
released,
with the only image made public
being a photograph posted by
Pique on Twitter
of the childs legs.
Milan weighed
almost 3 kg at
his birth by Caesarean section last
IANS
Tuesday.

Nainani,Hina Promoting indigenous building

practices DNA 29 January 2013: 3. Print
Being mom: Shakira

ANI

Sandesh TV (video): 31 Jan 2013

41

Book: Prathaa
Prathaa: Kath-khuni architecture of Himachal
Pradesh
Authors: Bharat Dave, Jay Thakkar, Mansi Shah
Publisher: SID Research Cell, CEPT University,
Ahmedabad, 2013
ISBN: 9788190409681
ISBN-13: 978-8190409681
Paperback: 156 pages
Language: English
The book is available to purchase on Amazon.com
This book documents an indigenous building technique called the kath-khuni
construction prevalent in Himachal Pradesh, India. The relative isolation of the
hills and the demanding environment fostered development and persistence of
distinctive prathaa, i.e., traditions practiced for centuries. These indigenous building
traditions reflect synthesis of material and environmental constraints with social
and cultural beliefs and rituals. This book illustrates the role of indigenous building
traditions in a dual sense: architecture as an outcome of specific material assemblies
to fulfil specific functional purposes and architecture as a process to bind together
people, places and resources in order to sustain particular cultural norms, beliefs and
values.

prathaa

Prathaa: Tradition that is practiced for centuries.

Kath-khuni Architecture of Himachal Pradesh

This book documents an indigenous building

technique called the kath-khuni construction
prevalent in Himachal Pradesh, India. The relative
isolation of the hills and the demanding environment
fostered development and persistence of distinctive
prathaa, i.e., traditions practiced for centuries. These
building practices reflect synthesis of material and
environmental constraints with social and cultural
beliefs and rituals. This book illustrates the role
of indigenous building traditions in a dual sense:
architecture as an outcome of specific material
assemblies to fulfil specific functional purposes
and architecture as a process to bind together
people, places and resources in order to sustain
particular cultural norms, beliefs and values.

prathaa
Kath-khuni Architecture of Himachal Pradesh
Bharat Dave | Jay Thakkar | Mansi Shah

| Bharat Dave | Jay Thakkar | Mansi Shah

SID Research Cell

School of Interior Design
CEPT University
Ahmedabad, India

42

102(a-c).102(a-c).
Wall construction.
Wall construction.
a. Carpenter
a. Carpenter
fixing a wooden
fixing a wooden
log in the
logwall
in the
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CoursesCourses
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s
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s
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101. Kath-khuni
101. Kath-khuni
wall construction.
wall construction.
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wood-and-stone
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wall of awall
temple
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is filled
infillwith
is filled
stone
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stone rubble.

pins. The
pins.
outer
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outerof
faces
the of
wall
theaswall
wellasaswell
the as
corner
the corner
often have
often have the wood
the wood
beamsbeams
stacked
stacked
on toponoftop
each
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each with
otheran
with
upper
an upper
specially
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large stone
large pieces
stone pieces
at the corner.
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piece apart wooden
wooden
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structure.
from protecting
from protecting
the wood
the wood
also, according
also, according
to localtobeliefs,
local beliefs,
helps helps
to ward
tooff
ward
evil.off
When
evil. When
the solid
theload
solidbearing
load bearing
walls are
walls
built
areabove
built above The framework
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of thisof wood-and-stone
this wood-and-stone
wall iswalltheis key
the key
the plinth
the plinth
level, the
level,
stone
the stone
piecespieces
are arranged
are arranged
in an alternating
in an alternating characteristic
characteristic
of kath-khuni
of kath-khuni
construction.
construction.
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This method
of
of
manner
manner
strengthening
strengthening
the corners
the corners
with staggered
with staggered
joints, joints,
both both non-rigid
non-rigid
framework
framework
and dry
andmasonry
dry masonry
construction
construction
helps helps
in
in
diagonally
diagonally
and laterally
and laterally
imparting
imparting
strength.
strength.
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wall
therises
wallup,
rises up, dissipating
dissipating
energyenergy
duringduring
earthquake
earthquake
and ground
and ground
movements.
movements.
the height
the height
of the of
stone
the stone
layer decreases
layer decreases
and ultimately
and ultimately
it is only
it is only
76

Kadil (wooden
Kadil (wooden
nail)
nail)
16
cm

CoursesCourses
1,3,5 1,3,5

16
cm
14
14
cm
cm
16
16
cm
cm

103. Wall
103.
courses.
Wall courses.
The corner
The of
corner
the wall
of the
is constructed
wall is constructed
in alternate
in alternate
courses courses
of
of 104. Wall
104.
corner.
Wall corner.
The perpendicular
The perpendicular
woodenwooden
members
members
are pinned
are in
pinned
position
in position
with with
wood-and-stone.
wood-and-stone.
The space
Thebetween
space between
two wooden
two wooden
members
members
is filled with
is filled
rubble
with rubble a kadil (wooden
a kadil (wooden
nail), well
nail),
interlocked
well interlocked
at the corners
at the corners
allowingallowing
flexibilityflexibility
for somefor some
and edge
and
is secured
edge is secured
by kadil by
(wooden
kadil (wooden
nail). nail).
movement
movement
during earthquake.
during earthquake.

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77

77

Construction processes

43(a-c). Gavas. a. Densely forested landscape around Gavas; b. Fragment of the carved facade of a kath-khuni house; c. A small wooden house perches on the rugged landscape.

Gavas

Gudaru Devata Temple

Gavas is one of the villages in the Chauhara Mandal in the

Shimla District. It is a village rich with many wooden structures
and lies in a remote part of the mountains. Due to its relative
isolation, the houses here still reflect, authentic building
traditions, which remain unchanged unlike many other smaller
hamlets where changes due to external contacts and exposure
have seeped in.

This isolated village houses one of the most beautiful and

profusely carved complexes of wood-and-stone temple. The
detail, execution and quality of woodcarving found here are
highly dexterous in expression and execution.

Gavas has a number of magnificent houses built using typical

kath-khuni construction techniques. Some houses are very old
and have arched facades that are profusely carved. Most of the
houses are two storey structures. The lower level is typically
used as gaushala (animal shed) and the upper level is used
mainly for living spaces usually accessible via a separate entry.
The upper level is cantilevered about a meter and a half with
a semi-covered gallery that encircles the living spaces. This
transition space between public and private areas is typically
finished with carved wooden panels and arched openings.

45. The main temple building of Gudaru Devata. The temple is layered with various smaller structures articulated in informal fashion over a period of time They all exhibit
exquisite wood work and carvings.

44. Gudaru Devata Temple. Panoramic view of the temple complex showing
various types of buildings; all employing kath-khuni construction technique.

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43

Detail of the village - Gavas

Construction sequence of a typical kath-khuni tower temple

Wooden lintel

Maanvi (Wooden double end dovetailed piece)

Dry stone masonry

Stone rubble infill

Wooden wall beam
Vertically placed wooden dowel
Wall beams

Wooden floor planks

Stone slab

Joinery detail

Wooden beam
Dry stone masonry

Door panel
Inner frame
Stone slab wall
Thick wooden frame

First Corner stone

Protruding wooden beam

Wooden threshold

Wooden floor beam

Wall and floor construction

Kath-khuni wall junction

Trench and dry stone foundation

A foundation almost 5 to 7 meters in depth is dug in a space (10 by 7 meters) for
a structure almost seven floors high around 20 meters. The structure height and
shape are predefined, site is selected and puja is performed before construction is
commenced.

Plinth level
The temple has a solid stone base (2 meters high) and can be approached through
large stone steps. The total number of steps are odd in number as it is considered
auspicious for a temple. The first wooden member and corner stone are installed.

Typical door detail

Ground floor

The lower floor is generally used for storage. The door is a sacred element and is
highly carved. A ritual is performed during its installation. The kath-khuni wall is
continued rhythmically till the top floor.

Floor beam
Wooden railing
Wooden side boards
Wooden tread and riser
Floor beam
Wooden flooring

Details of stairs

First floor
The floor heights are kept low and retractable staircase connects each floor to the
other. The cut out in the flooring is kept to go to the other floor. Some of the floors
also house other deities.

100

101

Construction sequence of Typical Kath-khuni Tower Temple

43

44

Award

45

Zumtobel Group Award 2012

This research project has been recently recognized
by the international Zumtobel Group Awards 2012 in
Research and Special Initiatives category with a prize
and honourable mention.

Presentation ceremony
The presentation ceremony was held in Berlin/
Dornbirn, Germany on 16th November, 2012. We thank
Rudrapal Solanki who received the award on behalf of
the project team.

Panel display
The award Research and Initiative
was dedicated to emphasize
innovative current research project in
architecture and built environment.

46

Award ceremony and exhibition

Prominent international experts
from a variety of disciplines make
up the jury.

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48

About DICRC
Design Innovation and Craft Resource Centre (DICRC) was
established in 2011 by Faculty of Design, CEPT University, India.
DICRC functions as an interface to understand and develop
regional Space Making Crafts (SMCs) and Space Surface Crafts
(SSCs) of traditional and vernacular buildings of India and
integrate them in the current Interior- Architecture education as
well as practice.
DICRC is a conducive platform where design thinking engages
with a range of SMCs/SSCs and traditional knowledge. The main
aim of DICRC is to identify, understand, research, reposition and
re-engage SMCs/SSCs and Craftspeople within building and
habitat sector. The underlying objective is to combine crafts
related to built environment and spatial design to explore
new paradigms and solutions in current milieu. It seeks to be
a hub for innovative thoughts and craft-design practices to
engage and interact. Its major activities are to conduct research,
documentation, organize programs, workshops, projects related
to SMC s and SSCs.
DICRC is supported by Industrial Extension Cottage (INDEXT-C),
Government of Gujarat, India. INDEXT-C is a State Government
Scheme under Cottage and Rural Industries (Commissioner of
Cottage Industry).

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Design Innovation and Craft Resource Centre (DICRC), CEPT University, Ahmedabad
Contact :+079-26302470 Ext- 317, 319 , email: dicrc@cept.ac.in
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