This paper is an attempt to reflect upon a relationship between Interior Architecture (stone crafts) and traditional systems of space making.The story of stone is the story of civilization. It is a material, which has witnessed all the...
moreThis paper is an attempt to reflect upon a relationship between Interior Architecture (stone crafts) and traditional systems of space making.The story of stone is the story of civilization.
It is a material, which has witnessed all the eras and narrates a timeline. It is available in abundance, and its use could be found all across the places in various products of daily use,
objects of arts and crafts, and architecture, all of which tell a story of their respective epoch. Stone has the potential of telling such a vast history because it is long lasting and could
easily stand the test of times.Earlier, stone crafts and architecture were considered two sides of the same coin.Large number of built forms can be traced in the areas which had easy access to the raw material. It was the wisdom in the ‘shilpi’ tradition that allowed the craftspersons to understand the composition of stones, their material properties, have expertise in quarrying techniques and exploit the potential to the
best. The most intriguing aspect is this vast repertory of information and knowledge was not just by experiences passed on from generations, but a completely scientific approach. With
the passage of time, this relationship has changed. Contrary to the previous picture, where stone found extensive use right from village constructions to urban dwellings, palaces to temples, today, the focus is shifted mainly to temples, folk products and masonry for urban areas. By allowing interventions on various levels, these traditional knowledge systems can be revived in contemporary times in efficient ways.
The Radhasoami Samadh at Agra, India is chosen as a thorough case study. It is a shrine constructed in the memory of Param Purush Puran Dhani Huzur Soamiji Maharaj, the
revered founder of the Radhasoami faith, who was born at Agra in 1818 AD. Conceived in the form of an architectural model by Soamiji himself, with the help of a British architect,
Frizoni, the building has been under construction for more than 100 years now. Although the building is still incomplete, it continues to spread the Radhasoami philosophy, with its ever
going construction. The building stands apart as a case study because of exquisite use of building crafts (stone carving, inlay, and several other space making elements), and the
process of its construction that gives an understanding of how crafts become integral to space making. Till date, most of the work in this building is done with hands, except the
cutting of stones and some electric hammer work. The idea of construction using hands, laborious detailing, intricate motifs and the pure craftsmanship has made the Samadh a perfect example of how traditional knowledge systems are innate with craft skills.