Arts and Craft Village

(THE ARTISAN NEXUS)

(using architecture as a catalyst for development of vanishing arts

and craft values and connecting the actors)

By

FATIMAH AMJAD
FA20-BAR-006

Department of Architecture
Comsats University Islamabad, Lahore
 Contents

Abstract Chapter 4: Site Analysis

Chapter 1: Project Selection • Presentation of Data
• Site criteria
• Introduction • Site selection
• Thesis Statment • Analysis
• Problem Objectives Chapter 5: Concept
• Interpretation of Results
• Scope • Concept Development
• Limitations Chapter 6:
• Zoning
• Research Question
• Master planning

Chapter 2: Project Research

• Background of the Project type
• History of the Project type
• Arts and Craft Village
• Crafts of Southern Punjab
• City Selection
• Multan| the city of Saints
• Types of Crafts
• Detail of Crafts
• Project Case study
Dilli Naat, India
Arts and Craft Village,
Shakar Parian, Islamabad
• Area Calculations
i. Areas of Craft Workshops
Chapter 3: Research Aspect
Theoretical Framework
• Symbolism In Architecture
• Pragmatism In Architecture
• Conclusion | Rationale
 Abstract

Punjab is the land of five rivers and rich heritage. Each part of Punjab holds its
own cultural identity which must be kept alive in true sense purity. Likewise
area of Southern Punjab has richest of the culture about which this thesis aims
to provide a platform to educate the masses about our rich heritage and
traditions so that it can be passed generations over generations.

The other problem this thesis aims to cover; besides educating masses of our
heritage is to improve the social status of artisans and help them deal directly to
the clients without the presence of a middle man which serves as a parasite to
the artisan. The promotion and preservation of local crafts and economic
incentives for the artisans are needed if any change is to be seen in the lives of
the artisans and promotion of the heritage. Arts and Craft Village would not
only provide facilities to the artisans and upgrade their social status like other
Punjab but it will become a tourist attraction as it shows the beauty of a
particular state of Pakistan.

Holding of functions, exhibitions and conferences will help promoting culture,

arts and crafts which help upholding our identity among other nations. Even
giving a good know how of a certain area’s heritage among the country will
help bonding the people of other areas even closer by sharing knowledge and
customs they cherish. Nations vanish when they lose their identity.
Keywords: social integration, economic praxis, cultural spectacle, generative
design, symbolism, pragmatism

CHAPTER 1: INTRODUCTION
“Architecture is the outcome of how we deal with the environments ,and culture
is the result of how architecture responds to the environment.” (shirk & klepper,
1992)

The way we deal with the environment- architecture

Different environments – different architectures

Different architectures - different cultures

Response to Environments architecture culture

Different environments different architectures different cultures

Architects have the power to nurture community and to influence the form of
our social culture through design interventions. Social capital depicts
relationships between social groups in diverse communities through shared
morals, faith and reciprocity. It also refers to increased cooperation among
people, less friction, realization towards common grounds and intertwined fates.
Architecture can help cultivate social capital through multiple design strategies
and can help induce formative ground for social interaction and numerous
unplanned activities because architecture that promotes social interaction is a
topic of excessive interest.
Thesis Statement:
“An arts and craft village that will promote the Southern Punjab Crafts, and provide
multiple facilities for the craftsmen, as well as for tourists. It will act as a nexus for
visitor-craftsman interaction and helps to revive the dying tradition of crafts and
promote the art nationally and globally.”

Objectives
• This village will help craftsmen to get admiration nationally and internationally
through public display and will encourage the other craftsmen to display their work
and achieve a better rank in the society. Their skills will be appreciated, and the new
generation will get an opportunity to learn from these skilled people. It will also help
to control the unemployment in the region.
• To create an opportunity to the local community as well as for the visitor to get
the essence of the context, keeping alive that essence of the local regional context.
• To make the space a centre of public interaction and activities that reflects the
people of the region.
• To develop the socio cultural-economy and the position of craft.
• To identify their problems, limitations and the reason behind their migration and
unwillingness towards their inherent work.
• To provide a universal platform for the communication of art and craft

Scope
• To engage the people by creating a hub in a culturally rich city where they can learn,
educate and understand each other.
• To increase the tourism statistics and also the future urban development.

Limitations
• Only focusing towards the culture of southern Punjab, architecture styles, arts and
crafts and their local materials.

Research Question:
How can the architectural design of arts and crafts villages integrate symbolic elements
to reflect cultural heritage and identity while promoting the values of traditional
craftsmanship and fostering creative communities in the contemporary context?
CHAPTER 2: PROJECT RESEARCH

Background of the Project

Culture:
Culture is a whole complex of distinct spiritual, material, intellectual and emotional features that
characterize a society or a group. Culture defines our identity and lifestyle.

Culture

Tangible Culture Intangible Culture

Tangible culture refers to the physical, Intangible culture refers to the non-
material artifacts and objects that physical, non-material aspects of a
represent the cultural identity and community’s cultural heritage. These
heritage of a group of people. These include practices, expressions,
are items that can be seen, touched, knowledge, and skills that are passed
and preserved. down through generations.

For example For example:

• Arts and Craft • Spiritual Beliefs
• Monuments • Languages
• Documents • Traditions

Culture of Pakistan:
Growing up in a country that has a rich and diverse culture rooted in its historical, religious and
geographical values. It is stated that the cultural values of Pakistan boasts a vibrant mix of regional
cultures, each contributing to its tapestry of traditions, be it Punjabi, Sindi, Balochi, Pashtun or
Kashmiri showcasing their own cuisines, music, arts and craft, events and seasonal festivities. Making
Pakistan a land of cultural richness and variety.

Arts and Crafts:

Craft is a branch of profession that requires some particular kind of skilled work. The skills of the
populace are essential to the nation's economy. Both agricultural fields and the crafts that are being
developed in the nation can be examples of that skill. The nation's culture and way of life are reflected
in the crafts. Global economic trends are shifting toward environmental control, so we can achieve these
environmental control and healthier environment phenomena if we produce things using domestic
resources that have an organic capacity to decompose.
The ability of any nation to function as a self-supporting entity is reflected in its crafts. The time has
come for us to expand our handicraft niche markets. Crafts are becoming essential for luxuries.
Pakistan's raw material production is improving at the moment, but we still need to improve our
resources and how we manage them.
This also gives crafters a chance to assess consumer preferences and tastes as well as
shifts in the market for their products. The original customs of these crafts and
craftspeople will be revived in a arts and craft village.

Importance of Arts and Crafts in a Culture:

Crafts hold immense importance in a culture as they reflect the artistic expressions,
traditions, and identity of a community. They serve as a bridge between the past and
present, helping to preserve cultural heritage while also fostering creativity and
economic sustainability. It holds:
• The cultural Expressions
• Preservation of Heritage
• Symbolism of identity
• Economic and social roles
• Cultural Exchange

Arts and Crafts of Pakistan:

The artistic and craft traditions in Pakistan have a history that is deeply intertwined with
the cultural and historical legacies of the Indian subcontinent, influenced by Persian,
Central Asian, and Mughal artistic styles. The artistic legacy of Pakistan is varied,
showcasing a blend of different cultures and regions.
The early crafts, such as pottery, textiles, and jewelry, were inspired by the ancient
civilizations of Mohenjo-Daro and Harappa. The introduction of Islam led to the
flourishing of Islamic artistic traditions, which included detailed calligraphy, geometric
designs, and tile artistry, particularly prominent during the Mughal period. Following the
partition of India in 1947, which resulted in the formation of Pakistan, traditional crafts
continued to adapt and grow alongside contemporary influences.

Dying of Arts and Crafts in Pakistan:

Over the time their happens to be a drastic change due to the introduction of
Globalization. Indeed achievements of modern science & technology are impressive &
useful, but so is the plunder & waste. The contemporary paradigm of cultural
development is equated with the economic growth & glamour of modern gadgets and
fast moving world. This has shaped a new adapted culture of the society; where modern
man’s perception is rooted in the global view that deterioration, identity, global warming
& energy crises.

Extreme poverty is the cost of this contemporary paradigm and development. This
happened because of the separation of the tangible and intangible. The intangible has a
strong historical foundation that the contemporary paradigm of cultural development
does not have. This intangible phenomenon is a process that creates identity, strengthens
community ties, and encompasses emotions, intellectual exchange, the arts, and
indigenous lifestyle.
 History of arts and craft villages
Arts and craft villages haven’t been popular 10-20 years before but the early time areas with
their craft productions plays the same role in the civilization .The development of arts and
crafts villages throughout the history:
Ancient History :
Time Period Building Name Location Purpose
dedicated districts
where potters,
Ancient
Mesopotamia Craft cities like Ur and metalworkers, and
Workshop Babylon weavers produced
(3500BCE-539BCE)
items for temples and
trade.

Production of pottery,
Indus Valley Craft Harappa, Mohenjo- beads, and other crafts
(3300BCE- 1300BCE)
Workshops Daro in designated
workshops.

Specialized workshops
Egyptian Craft
(3100BCE-30BCE) Thebes, Luxor for jewelry, pottery,
Workshops
and stone carving.

Housing for craftsmen,

Roman Villas and
(753BCE- 467CE) Pompeii, Rome often with decorative
Baths
and functional art.

Modern Era:
The concept of an arts and craft village as a formal, international establishment doesn't have
a singular starting point, as arts communities and cultural centers have existed informally
across civilizations, because traditional artisan communities and marketplaces have existed
worldwide for centuries.However, formalized hubs where craftspeople, artists, and designers
came together to innovate and collaborate gained prominence during the Arts and Crafts
Movement of the late 19th century.

Arts and Crafts Movement (Late 19th century):

The movement that began in Britian in 1860s under the inspirations of William Morris and
John Ruskin as a cultural and artistic response to the industrialization of society, emphasizing
the value of traditional craftsmanship, quality materials and aesthatics harmony.
Time period Building Name Location Purpose

Home and workshop

for William Morris,
Modern The Red House Bexleyheath, London
central to the Arts and
Crafts Movement.
Hub for American Arts
and Crafts artisans,
Roycroft Campus East Aurora, New York
with workshops and
production areas.
Principals Results
Revival of traditional craftsmanship and respect
Emphasis on Handmade Craftsmanship
for manual labor.
Reintroduced natural, sustainable materials in art
Use of Natural Materials
and design.

Promoted better working conditions, ethical

Social and Ethical Ideals
production, and the dignity of labor.

Fostered collaboration among artists, craftsmen,

Integration of Art and Craft
and designers in guilds and workshops.

Inspired designs with organic motifs and patterns,

Connection to Nature
reconnecting art to the natural world.

Encouraged the production of high-quality, long-

Focus on Quality and Durability
lasting goods.
Revitalized fields like, ceramics, stained glass, and
Handcrafted Textiles and Decorative Arts
textiles.
Inspired reform in art and design education,
Education Reform
promoting hands-on learning.
Popularized functional yet visually appealing
Decorative Yet Practical
everyday objects.

Postmodern Era:

Postmodern arts and crafts villages build on the ideals of the original Arts and Crafts
Movement but adapt them to meet the needs and challenges of the 21st century. They
offer a space for both traditional artisanship and modern innovation, while focusing
on community, sustainability, and cultural exchange.

Time period Building Name Location Purpose

Revived arts and

crafts community,
Cotswold Village
Postmodern Cotswolds, England combining
Crafts
traditional and
modern designs.
A museum dedicated
National Craft
New Delhi, India to preserving Indian
Museum
craft traditions.
A modern center for
The Crafts Council contemporary crafts,
London, UK
Building hosting exhibitions
and workshops.
Arts and Craft Village:
An arts and crafts village is a community or space specifically designed to preserve,
produce, promote and celebrate traditional and contemporary craftsmanship, creativity,
and cultural heritage. These villages typically serve as hubs for artisans, designers, and
craftspeople, offering them a platform to create, showcase, and sell their work while
fostering a sense of community and cultural exchange.

“Space which truly acknowledges the production, promotion , preservation and display
of crafts.”

Crafts of South Punjab Area

The craft vibrantly reflect the traditions of a region. These traditional arts include all
sorts of traditional crafts and traditional classical and folk performances which includes
theatre, dance and music. Today in the modern world these arts are just shown as the
products and most of them are machine made (Industrial). The skill of hand is
acknowledged but it is so expensive that it becomes difficult for a common man to
purchase it. The Machine-made item lacks the originality. The tradition is not a mere
product or commodity of the modern world paradigm, in fact a process involving
mastery, skill and social interaction and relationship. Traditional arts are crucial to
encourage social interaction and to eliminate discrimination and segmentation in our
society. And in addition, they promote the employment in the society. And by
appreciating them we can clean our own society. And every person can contribute for
the development of a whole society.
With other crafts , Blue pottery in Multan is a distinctive art form that showcases the
city's rich cultural heritage. This traditional craft is characterized by its vibrant blue
hues and intricate patterns, often featuring floral and geometric designs. Artisans in
Multan have perfected this craft over generations, using local clay and natural dyes
other than any city of southern Punjab.

City Selection in Southern Punjab

The most famous city in southern Punjab, Pakistan, is Multan. Known for its rich
history, vibrant culture, and significant Sufi shrines. It has a strong economic presence,
being a hub for agriculture, trade, and craftsmanship, particularly in blue pottery and
textiles. The city's historical sites, including ancient tombs and the fort, attract tourists
and pilgrims alike, solidifying its status as a key city in the region.
Multan; The City of Saints
Multan is the fifth largest city in the country in terms of population. Located on the
banks of river Chenab in the geographic centre of the country, the city is known as
the Madina-tul-Auliya or the City of Sufis, because of the large number of shrines
and religious places. The city also has the honour of being one of the first cities
which became a source of the advent of Islam in different regions of the Sub-
continent. Poets of Punjabi like “Farid Uddin Ganj Shakar” opened their eyes in this
city.
The city is considered as one of the oldest cities of the World. It had been one of the
major centres of Hinduism during the Vedic Times. Sun Temple & Prahlad Puri
Temple attracted major pilgrims from the region. After the Islamic advent, the city
had major influence of Persia in Architecture. The city holds many monuments and
religious structures which are still intact. Multan’s blend of spirituality, history, and
vibrant culture makes it a unique travel destination in Pakistan.

The red dots indicate the presence of intact shrines &landmark structures in the city.

Types of Crafts in Multan

• Fabric Crafts • Wood Crafts • Stone Craft
• Embroidery Crafts • Lakh Crafts • Shoe making
• Camel Bone/Skin Crafts • Metal Crafts
• Clay Crafts • Basketry Crafts
Craft type Craft items

Wood Craft Bedss, chairs, doors, windows, tables,

spinning wheels, jharokas
Clay Craft Platters, bowls, cups, matkas,
surahis, vases, decorative tiles
Lakh Craft Hand fans, sticks, mirror stands,
tables, pen holders, vases
Also includes lakh jewellery
Fabric Craft Khais, Gumti, Staple Yarn, Woven
Cloth, Multipurpose Rugs
Block printing Bed sheets, table clothes, Duppattas

Basketry Craft Mats, rugs, handbags, hand fans,

chungairs
Metal Craft Swords, plates, vases, pandaans

Embroidery craft Wedding dresses, napkins,

bedsheets, table clothes
Camel Bone/Skin Craft Chess men and boards, penholders,
knives, cigarette holders, keychains,
jewellery
Stone Craft Candle stands, vases, lamps, paper
weights, platters
Shoe making Khussa, chappals

Craft details
Fabric Craft:
• Cotton Fabric
Process:
The thread is made from the spinning wheel and is dyed and bobbins are formed.
This thread is then rolled on the wooden warping mill. These will be bought as
raw materials. Then waving will be carried out for which the designs are already
made and calculated.
Products:
Khais are also classified as majnu, gumti and sada khais/ Salara – staple yarn –
woven cloth – stripes/Lungi – tucked around waist/ Durrie – multipurpose rug –
thick cotton thread.

Space requirements:
Storage for raw materials – threads of various thickness and colors. Weaving loom
10’ by 5’ (hand pit – fly shuttle – 28’ by 5’), stitching area, storage for finished
products.

• Block Printing
Process:
Cloth is stretched on plain flat table. Pacca and kaccha chappa pigments are
applied – on spongy surface. Wooden blocks, soaked in pigments and applied on
the fabric.
Products: On fabrics : Bed sheets, pillow covers, table cloths, dubatta

Space requirements: Storage of plain cloth, Block library, washing area,

Drying area, Storage of printed cloth, printing area (printing table – 4’ by 9’ and
printing pigment stand 2’ by 2’)
• Embroidery:
Types: kaccha tanka, aari tilla, salma sitara, gotta kinari
Process: initially design is drawn on paper or block printed on the fabric, then cloth is
stretched on wooden frame called “adda”. Various needles and threads are used.
Products: Wedding dresses, dubattas, table cloths, napkins, bed sheets.

Space requirements: for final product. Pottery: Storage for plain cloth, Storage for
printing blocks, Adda – 4’ by 9’, Storage
• Camel Bone Items:
Process: Small pieces of bone are given basic desired shape with the lathe machines
and details are carved with the small hand tools.
Products: Chess men and boards, Penholders, Knives, Bangles, Surma Danis,
Cigarette holders, Key-rings, jewelry.

Space requirements: Storage for raw materials, lathe machine (3’ by 1’), storage
for small handy tools, carving workable table, tools and storage for final finished
products.
• Camel Skin Ware:
Three Different crafts: 1. Claywork, 2. Raw camel hide work, 3. Painting and naqashi
Process: Clay moulds are made up of desired shape and size with wheel and hands
and sundried. Camel skin is cleaned with acids, stretched on clay molds and then it is
dried in the sun to attain the desired shape. Naqashi (enamel paints) and kasshi (water
based paints) is done.
Products: Lamps, Globes, Vases, Bowls, Dishes, 3-D animal figures.

Space requirements: Pot making ( kaghazi pottery), skin washing area (acid
storage space, washing area, waste disposal area), skin stretching, sun drying area,
mold separation (waste clay disposal, cast cleaning area), painting section (paint
storage, working space), storage for finished products.
• Wood Carving:
Process: Desired size of wood is obtained in logs cut by saw. Lathe machines are used
to give them special circular forms. Designs are drawn on the wood and then are
carved with sharp metallic tools. The last step is to polish it.
Products: Beds, Chairs, Doors, Windows, Tables, Chawkis, Spinning wheel, Jharokas,
Bukharchas.

Space requirements: Storage of wooden pieces, wood cutting area, saw and small
hand tools, lathe machine, waste disposal, drawing design area, carving and final
finishing area, polish and painting area. Drying area and storage for finished products.
• Lakh Turning:
Process: Desired shape is attained by using lathe machine. Lac is mixed in different
colors and the article is applied with successive coasts of desired colors. The most
prominent color is painted as a last coat. Sharp tools are used to scratch to the desired
depth and the pressure is controlled.
Products: Hand fans, sticks, Milk churners, mirror stands, tables, pen holders,
Vases.

Space requirements: Storage of raw materials (wood pieces), lathe machine,

waste disposal, painting area (lac preparation, stoves, paint storage), drying area,
Design scratching, storage for the finished product.
• Metal Carving:
Process: Shapes of the product are drawn on the boxboard and cut to form a stencil.
Many faces and varying volumes are cut in separate shapes. Each face is placed on a
bed of soft rubber like material made by burning sanded clay or lac. If object has a
hollow body then lac in molten state is poured in it and hardens later. Object face is
carved by applying pressure firmly and only on the spot. Different carved faces are
joined by welding. Finished products rubbed with foam or wool and polished to give
a desired appearance.
Products: Swords, Plates, Vases, Surma dani, Paandaan.

Space requirements: Storage and cutting for boxboard, chipboard and lassani
board. Storage for the lac and sanded clay (stoves, working counter, storage of raw
powders), Storage of finished products, waste disposal area, Polishing area.
• Basketry Craft
Process of Straw Basketry: Straws are obtained from riverside and are cut and
chiseled. Straw mats are made and sewed as a purse or a bag. Mat is pasted on the card
board and cloth is pasted on the card side to hide it and handles are attached.
Process of Date Basketry: Date basketry is made from the dried date leaves. Hard
midrib from base isseparated. Needle like leaves woven are in different patterns.
Decoration is done with painted buttons and beads.
Products: Mats, Rugs, Handbags, Hand fans, Changair

Space requirements: Storage for the straw, straw cutting area, disposal of waste
straw, cardboard pasting, straw mat sewing (cloth cutting and pasting, sewing machine
– 1’8” by 1’), handle sewing, drawing area, storage for finished products.
• Shoe Making:
Process: Designs drawn on the butter paper and the brown paper which are traced on
the surface of leather with the aid of carbon paper. These designs are embroided using
adda. These thin leather sheets are cut and sewed to make a shoe.

Space Requirement: Storage for the raw thin leather sheets. Area for embroidery.
Working counters for tracing, embroidery and sewing. Storage for embroidery and
decorative materials & Storage for finished products.
• Stone Craft – Marble & Onyx:
Process: Pieces of stone are given basic desired shape with Lathe machines and
details are carved with the small hand tools.

Products: Vases, lamps, platters, candle stands, paper weight etc. Space
requirements: Storage for raw material, lathe machine (3’ by 1’), storage for small
handy tools, carving workable table, tools and storage. Storage for final finished
products.

• Pottery:
Types: Unglazed Pottery, glazed pottery, blue white pottery of Multan.
Process: dry clay is cleared of solid impurities and placed in pit, then it is watered
where impurities are settled. Purified clay forms a slurry which is dried to form a semi
solid. Clay is kneaded by hand to remove air bubbles. This dough is used on the potter’s
wheel which is kept in dry and normal room temperature. Hardened at 800 degrees
temperature in the Kiln – this “kaghazi pottery” is painted with Enamel glaze. Glaze is
the grounded powder of “kharand” (stone) and “sajji” (impure carbonate of soda) is
prepared. At 800 degrees temperature glass crystals are grounded and melted mixed
with “maidah”(plain flour), then this mixture is applied on the clay pot. Color is cobalt
oxide and copper oxide. After glazing it is fired at 1200 degrees temperature in the
furnace.
Products: Platters, Bowls, Ghara, Matka, Surahi, Vases, decorative tiles.
Space requirements: Storage of dry clay, clay purifying area (net/ composition
control – additives and measure scale), kneading area, potter’s wheel (placed in a pit –
80-90cm diameter and 80-90cm deep), dump for defected and broken pots, drying area
(racks on which pots are placed), glaze preparation area (ball mill for grinding 3’-6” by
3’-6”, mixing area, storage for pigments and powders), small kiln, painting section
(brushes and paint storage), drying area, storage space for finished products.

Project Case Study

Regional Case Study | DILLI HAAT, JANAKPURI

Location: Janakpuri Road, Delhi India

Year: 2014
Plot Area: 9.8 Acres
Built up area: 16,000sqm/ 172222 sqft / 3.9 acres
Client : DTTDC ( delhi tourism and transport corporation)
Architect: Ar. Sourabh Gupta, Archohm
Conceptual Idea:
The conversation between the past and present, and acknowledgement of the traditional
and adaption of the contemporary

Zones:
Parking Space
Basket Towers

Stalls

Platinum Zone – Food Court, Entrance

Gold Zone – Amphitheatre
Silver Zone – Central Plaza
Bronze Zone – Stalls, Baskets, Towers
Facilities and areas
• 100 craft stalls, 85 Platform stalls
• 3 Exposition Halls
• 820 seats at amphitheatre
• 46 Air conditioned shops
• 28 food stalls
• 800 seats at auditorium Basement+
surface parking (300 cars and 122
bikes)
• 4 basket shaped bamboo towers
• Music towers and circular central
plaza

Construction Techniques Used

Materials Used

Conclusion:
• Site is located in new Delhi on Janakpuri road. It has a metro station in its
proximity to 200m and a bus stop nearly approx.. 150m
• Nearby a market i.e Chandni chowk line , chawri bazar
• Proper use of landscaping throughout the structure
• Spaces that adheres to all types of people adults, teens, children, elderly
and handicapped
• Every food stalls has different style of seating and shades.
Local Case Study | Art & Craft Village Shakarparian

Location: Shakarparian, Kashmir Highway, Islamabad

Date of Initiation: 2004
Date of Completion: February 2012
Client: Capital Development Authority (CDA).
Architect:Naeem Pasha, Architects & Planning Consultant, Islamabad.
Site Area:26 acres
Ground Coverage:10%

Art& Craft village is a landmark project by Capital Development Authority (CDA),

launched in February 2012 and located adjacent to Rose & Jasmine Garden
Shakarparian, Islamabad.
The proposal of a village which would host all the crafts of Pakistan in Islamabad, was
given by Senator Kamran Lashari the administration was managed by Indus Heritage
Trust in 2004. Initially the funding and (I.H.T) but later on the project was taken in
control by an NGO named P.P.A.F (Pakistan Poverty Alleviation Fund). It was designed
by a prominent Pakistani Architect Naeem Pasha.
The Art & Craft Village has been constructed on 26 acres of area with the view to
promote the indigenous arts and handicrafts and to enhance the inter-provincial
harmony. It provides an ambiance of traditional village market for more contemporary
needs. It provides a synthesis of craft, food and cultural activities. According to Capital
Development Authority the exhibitions at this cultural Centre would promote the soft
image of the country as the foreign diplomats and other delegates would be visiting
such exhibitions in the federal capital.
The Arts & Crafts Village is equipped with exhibition hall, clusters of shops and studios
for theartists, tea shops, show rooms, folk theatre and hostel for the visiting artisans.
Master Plan of Arts and Craft Village, Shakarparian, Islamabad

Facilties:
• Craft Shops - Crafts by genuine Artisans from all over Pakistan
• Exhibition Hall Art Gallery - Art and Craft exhibitions
• Design Center - Research and Development Center. Preservation, Promotion of
Crafts
• Artists Retreat / Studios - "Live in" artist accommodation for visiting artists to
work and interact with the local artists/ artisans
• Student Hostel - Accommodation for students working on specific dissertation
work
• Open Air entertainment - Wandering Minstrels/Performers from all over Pakistan
• Regional Food Courts
• Special Events - Regular monthly events for families
• Sarai - Artisans Hostels/ Kitchen for visiting artisans
 Physical Features

• The Architecture is inspired from the villages and is in the typical Vernacular
Style.
• The Texture applied on the walls resembles the typical mud plaster in the
villages. The texture of straw in mud plaster is visible. The Architect’s
intension was that the building should depict the architecture of the villages
of overall Pakistan. Particularly the plainer regions.

• The Architecture should depict that living in the country side, should express
the fundamental experiences, such as proximity to nature, the greater
exposure to light.
• Here the usage of Verandas is such that the intensity of the light is somehow
controlled and pleasant in different blocksbut the connecting alleys are not
surrounded by heavy buildings or plantation, which make them thermally
unstable.
• The architecture is developed but the climatic condition of the Pakistan is neglected
in this project. The cultural content which is evident in a bazaar cannot be seen in the
master planning during the placement of shops. The passage ways are not covered,
during the summers and monsoon period it would become difficult for the visitors to
move from one place to another as there is no shade given.
• The placement of shops gives a scattered or haphazard feeling. The composition is
lacking in the master planning.
• Individually the shops and the other departments are well designed but in terms of
master planning, much of the space is wasted.
• The departments are stacked in an irregular manner but due to contoured regions it
allows the visitor the view the whole space in a glance.
Conclusion:
The village’s activity depends upon the supporting activity, which was not present
near the site. I believe if I would have been at a walking distance from Lok Virsa then
its impact would have been improved.

Programs
• Exhibition Hall/Art Gallery • Artists Retreat / Studios - "Live in"
• Craft Shops artist accommodation for visiting
• Making area of blue pottery artists to work and interact with the
• Amphitheatre - Performing Arts local artists/ artisans
• Open Air entertainment • Regional Food Courts / restaurants
• Sarai – Artisans- tourist Hostel/ • Children - Friendly Play Areas
Kitchen for visiting artisans • Environmentally responsible Park
• Student Hostel - Accommodation for Areas
students working on specific • Chai Khanas/cafes
dissertation work
 Area Calculations
Area calculation of craft workshops on the basis of their production process and tools

Cotton Fabrics Pottery:

Weaving Loom = 10’ x 5’ Storage for Dry clay = 100 sft

Fly Shuttle = 28’ x 5’s 4 Clay purifying area = 150 sft
weaving looms ---- 30 x 4 = 120 sft Kneading Area = 20 sft
Fly Shuttle ---- 140 sft 120 + 140 = Potter’s wheel = 25 sft
260 sft Dump for detached & broken pots = 60
Working & Circulation Area: 30-40 sft
% circulation Drying Area [racks on which pots are
Stitching Area = 120 -150 sft placed] = cupboards
Storage Space = 80 – 100 sft Glaze preparation Area [ Ball mill for
Display Area = 300-400 sft grinding 3’-6” x 3’-6”, ]
[ mixing area, storage for pigments &
Block Printing: powders] = 60-80 sft
Small kiln & Chimney = 30-40 sft
Storage for Plain Cloth = 60-80 sft Painting section [Brushes & Paint
Block Library = (Shelves) Storage] = shelves Drying Area =
Washing Area = 250-300 sft Shelves Storage for finished products =
Drying Area = 250 – 300 sft Shelves Camel Bone items: Storage for
Storage for Printed Cloth = 60-80 sft Raw materials = 40-60 sft
Printing Area = [Printing table = 4’ Lathe Machine = (3’ x 1’)
x 9’] [Printing pigment stand = 2’ x Storage for small handy tools = shelves
2’] = 100-150 sft including Carving workable table
circulation Tools & Storage = Shelves = 120 sft
Display Area = 300-400 sft Storage for final finished products =
120 sft
Embroidery / Zardozi: Metal Carving:

Storage for plain cloth = 60-80 sft Storage & for cutting box board sheets
Storage for printed blocks = Shelves = 400 sft
Working Area = [ Size of ADDA= 4’ Chip board and lasani board = 120 sft
x 9’= 36 sft] [ No. of ADDA’s = 2 , Storage for Lakh and sanded clay = 280
72 sft] sft
Working Area = 200-250 sft Storage for finished products = 300 sft
Storage for Final Product = 250-300 Waste disposal Area = 40 – 60 sft
sft Polishing Area = 80 sft
Camel Skin Items: Straw & Date Basketry:

Pot Making “ Kaghazi Pottery” = 80 - 100 Storage for straw = 60 – 80 sft

sft Straw cutting area = 100 – 120 sft
Skin Washing Area (acid storage space, Disposal of waste straw = 30 – 40 sft
washing area, waste disposal area) = 250- Card board pasting = 60 – 80 sft
300 sft Straw mat sewing = 320 sft
Skin stretching = 150-200 sft Sun drying Handle sewing = 80 – 100 sft
Area = 200-250 sft Drawing area = 80 – 100 sft
Mould Separation Area = (Waste clay Storage for finished products = 200 –
disposal, cast cleaning area) = 120-150 sft 250 sft
Painting section (Paint storage, Working
space) = 80-100 sft Storage for finished
products = 200 sft Shoe Making:

Wood Carving: Storage for raw thin leather sheets =

shelves Area for embroidery = 120 – 150
Storage for wooden pieces (Logs of sft
Wood) = 150 sft Working counters for tracing = 300 sft
Wood cutting area = 580 sft Saw & small Embroidery & Sewing = 300 sft
handy tools = 200 – 250 sft Storage for embroidery & Decorative
Lathe Machine = 72 sft materials = 30 – 40 sft
Waste disposal area = 60 – 80 sft Storage for finished products = 200 –
Drawing Design Area = 380 sft 250 sft
Carving & Final finishing Area = 450 sft
Polish & Painting Area = 500 sft Stone Crafts:
Drying Area = 300 sft Storage for finished
products = 850 – 900 sft Storage for raw materials = 80 sft
(depends on the size of the stones) Lathe
Lakh Turning: Machine 3’ x 1’
Storage for small handy tools = shelves
Storage for Raw materials (wood pieces) = Carving workable table, tools & storage
120 sft = 192 sft
Lathe Machine = 3’ x 1’ Waste Disposal Storage for final finished products = 120
Area = 60 sft sft
Painting Area (lakh preparation, stoves, Cane work: Storage for cane works =
paint storage) = 150 – 200 sft 100 sft
Drying Area = 120 sft Burner = 4’ x 4’ atleast
Design Scratching = 80 – 100 sft Working space to join cane sticks = 200
Storage for finished products = shelves = – 250 sft
60 sft
CHAPTER 3: Literature Review

What is symbolism ?

“The art or practice of using symbols to express or represent ideas or qualities in

literature, art and other forms of expression. It involves using signs and objects to
convey deeper meanings.”

The essential feature of symbolism is that the symbol is a literal representation of one
thing, but it also figuratively represents another. There are many symbols that tend to be
commonly understood. For example, a dove is literally a bird but often symbolizes
peace, hope, or purity. A snake is literally an animal, but it symbolizes temptation and
evil.

Symbolism in architecture:

“Symbolic architecture refers to the use of architectural design and elements to

convey symbolic meaning or representation beyond their functional or aesthetic
purposes”

Architecture transcends the simple process of building; it is the craft of designing spaces
that connect with the human soul. Fundamentally, architecture utilizes symbolism to
develop places that resonate profoundly within our subconscious. By carefully
considering forms, materials, and the relationships between spaces, architects have the
ability to create buildings that are not just functional but also serve as carriers of
significance and stories.

The language of Forms:

Symbolism in architecture communicates through a visual dialect—a meticulously

designed syntax of shape and spatial relationships. This dialect engages us not only on a
rational level but also on a more profound, instinctive level.

Architects often use symbolism to communicate cultural, religious, philosophical, or

historical ideas and create a deeper connection between the built environment and its
inhabitants.

“There is a powerful need for symbolism, and that means that the architecture must have
something that appeals to human heart: -Kenzo Tange
Case Study For Symbolism in Architecture:

The Heydar Aliyev Center

Location; Baku, Azerbaijan

Project Completion; 2013
Typology: Cultural Center
Architect: Zaha Hadid

Background:

The cultural center, become the primary building for the nation's cultural programs,
aspiring instead to express the sensibilities of Azeri culture and the optimism of a
nation that looks to the future.

The Heydar Aliyev Center

The project is located in the center of the city. And it played an extremely important
role in the development of the city. More importantly, it is a symbol of democratic
philosophy thought. Under the influence of the new Azerbaijan party and the Soviet
Socialist Republic of Azerbaijan leader’s political and economic reform, the center was
also designed to show the potential of the country’s future cultural development, to
encourage people to study the history, language, culture, national creed and spiritual
values of their own country.

Cultural Significance Fluid and Organic Design

• Tribute to Heydar Aliyev: The • Breaking Away from Soviet Past:
building design symbolizes respect The fluid, wave-like form contrasts
for legacy and role of Hyder sharply with the rigid, angular
Aliyev in shaping Azerbaijan’s Soviet-style architecture that
identity. previously dominated Baku.
• Cultural Revival: The center is a
hub for cultural events, • Expression of Modernity: The
exhibitions, and public gatherings, design signifies progress,
reflecting Azerbaijan’s innovation, and Azerbaijan’s desire
commitment to fostering art, to position itself as a modern,
culture, and education. globalized nation.
Design Concept:

The design of the Heydar Aliyev Center establishes a continuous, fluid relationship
between its surrounding plaza and the building’s interior. The plaza, as the ground
surface; accessible to all as part of Baku’s urban fabric, rises to envelop an equally
public interior space and define a sequence of event spaces dedicated to the collective
celebration of contemporary and traditional Azeri culture.

Symbol of National Identity Architectural Innovation as a

•Reflecting Azerbaijani Landscape: Statement
The curvilinear forms echo the Cultural Bridge
undulating hills of Azerbaijan, •The center serves as a metaphorical
connecting the structure to the natural bridge between Azerbaijan's rich history
geography of the country. and its aspirations for the future,
•Unity and Inclusivity: The seamless blending tradition and innovation in a
flow of the structure’s design symbolizes harmonious way.
inclusivity and the unification of diverse
cultural elements.

Features:

The continuous architecture

contains three major
programs, including the
museum, exhibition halls
and convention center,
mainly composed by rigid
concrete structure grid free
from external space frame
with a single movement
joint. Also they share some
common places under the
continuous external skin.
Conclusion:

The gigantic structures with large vacant spaces in between the functional spaces is
not always useless, this emptiness and the higher roofs with the large scale of the
Hyder Aliyev Center is a symbolic proof of:

“We shape clay into a pot, but it is the emptiness inside that holds whatever we
want.” -Lao Tzu

In summary, the Heydar Aliyev Cultural Center’s iconic design is not merely
functional but deeply symbolic, representing Azerbaijan’s cultural identity, its
historical transition, and its vision for the future.

Symbolism in an arts and craft village of Multan:

Looking upon the cultural significance of Multan and its crafts, symbolism is used a
bridge to connect the craft and the architecture of an arts and craft village using the
poetry of Shah Shams Tabrez (a famous sufi personality in Multan) as a bridging
tool.

Shah Shams Tabrizi Quoted:

“When everyone is trying to be something, be nothing. Range with emptiness.

Human should be like a pot. As the pot is hold by its emptiness inside, human is
hold by the awareness of his nothingness.”― Shams Tabrizi

The arts and crafts village buildings will be a morphological kind of structures
referring to the form and physical structures, that are derived from the shapes
of the different crafts that will than transform or adjust to meet changing
functional or environmental requirements. Through these structures the
symbolism in the arts and crafts village will showcase the value of the culture
and the craft of the city of Multan while connecting the past, present and
future values of it with using its local materials in a contemporary architectural
style.
Symbolism in arts and craft village is one important aspect but with the that
the functional values of the village is another. To cater the functional values in
the symbolic forms of the structure, the use of pragmatism theory is essential
for the design of arts and craft village.
What is Pragmatism?

Pragmatism is dealing with things sensibly and realistically. Pragmatism is a

philosophical approach that emphasizes practical outcomes, real-world applications,
and the usefulness of ideas, theories, or actions. It prioritizes what "works" in
practice over abstract principles or theoretical ideals. Pragmatism originated in the
late 19th and early 20th centuries, largely in the United States, with key
contributions from philosophers such as Charles Sanders Peirce, William James, and
John Dewey.
Pragmatism is often summed up by phrases like "whatever works" or "the ends
justify the means," as long as the outcomes align with ethical and practical
considerations. It encourages finding solutions that are effective, realistic, and
beneficial in specific contexts rather than striving for unattainable ideals.
Pragmatic Design In Architecture:
The definition of pragmatism in architecture, as Dewey says, is
“to steer away from the necessities and impressions that buildings make
and to look at the facts and consequences they create for their users.”
Pragmatic design in architecture is the process of discovering realities through
interaction with the built environment. It insists on understanding the intentions of
the place and its users and responding to those intentions. What makes pragmatic
architecture is the recontextualization of pre-specified data and guidelines to a
specific project, with the socio-cultural impact of the buildings in mind.
A pragmatic approach prioritizes the experience, comfort, and well-being of the
people who use the building. Designs focus on functionality and ease of use, often
incorporating feedback from stakeholders.

Symbolism And Pragmatism:

Linking pragmatism and symbolism in architecture creates a balance between

functionality and meaning, combining the best of both approaches to deliver spaces
that are both practical and culturally or emotionally resonant. This integration allows
buildings to serve their functional purpose while also conveying deeper messages,
fostering connection, and creating memorable environments.
• Combining pragmatism and symbolism ensures that buildings not only meet
practical needs but also evoke emotions and communicate ideas. Pragmatic
designs focus on usability, while symbolic elements add cultural, historical, or
emotional significance.
• Symbolism helps architecture communicate messages and values, while
pragmatism ensures these messages are accessible and relatable to a broad
audience. This enhances public understanding and appreciation of buildings.
• Pragmatism ensures that symbolic elements are not purely decorative but
contribute to the building’s functionality. Conversely, symbolism prevents purely
utilitarian designs from feeling cold or uninspired.
Case Study For Pragmatism in Architecture:

Centre of pompidou
Location; Place Georges-Pompidou, 75004 Paris, France
Project Completion; 1977
Typology: Cultural Center
Architect: Renzo Piano and Richard Roger
Concept:
The initial intention was to create much more than a museum, rather,
Renzo Piano and Richard Rogers sought to create a cultural icon.
Their competition entry was the only to propose using half of the
available land on site.

Functions:
Located in the building are an industrial Creative center,Public
Library and modern Art museum and center for Music & Acoustic
Research.
Design Festures:
The innovative approach to functionality, flexibility, and emphasis on utility make
the design of the center very pragmatic. The design features such as:

Exposed Structural Systems:

The Centre Pompidou externalizes its structural, mechanical, and circulation
systems, such as pipes, ducts, and escalators, which are usually hidden in
conventional buildings. Each system is color-coded for easy identification (e.g.,
blue for air ducts, green for water, yellow for electricity, and red for circulation).
This approach frees up the interior spaces for flexible use, reflecting a pragmatic
focus on maximizing utility and adaptability.

Cost-Efficiency and Maintenance:

By placing mechanical systems and utilities on the exterior, maintenance becomes
simpler and less disruptive to interior operations.
This pragmatic decision reflects a concern for long-term efficiency and usability.
Democratic and Transparent Design:
The building’s design invites public interaction with its open plaza, glass façades,
and visible circulation systems, symbolizing transparency and accessibility.
Pragmatism aligns with societal and functional goals, prioritizing a design that
serves public needs rather than purely aesthetic ideals.
Functional Flexibility:
The building’s large, open interior spaces are designed to be reconfigured easily,
accommodating various cultural functions like exhibitions, performances, and
research.
Pragmatism in architecture often prioritizes adaptability over aesthetic
considerations, aligning with the building’s purpose as a dynamic cultural center.

High-Tech Aesthetic as a Practical Solution:

While the building is visually striking, its "high-tech" style is a byproduct of
functional decisions—exposing elements that serve practical purposes.
The emphasis on functionality reflects the pragmatic philosophy of solving
architectural problems in innovative ways.

Conclusion:
The Centre Pompidou embodies pragmatism by prioritizing functionality, efficiency,
and adaptability in its design. Its exposed systems, flexible interiors, and public-
centered approach demonstrate a commitment to practical problem-solving while
redefining architectural norms.
Conclusions of Pragmatism and Symbolism
The Arts and Crafts village buildings designed with both pragmatic and
symbolic approaches would reflect the region’s cultural and craft traditions
while being functional and relevant to its purpose, using the process of
generative design techniques, the building forms will be generated accordingly
to the shapes of the crafts.
The key features:

Feature Pragmatic Approach Symbolic Approach

Practical for weather

Rooflines or shapes
conditions (e.g., sloped
Roof Design inspired by regional
for rain, flat for dry
architectural styles.
climates)

Displays or permanent
Interactive spaces like
exhibits showcasing
Cultural Representation craft workshops for
regional art, craft, and
public engagement
traditions.
Handcrafted furnishings
Practical, ergonomic and decor featuring local
Interior Design
furniture and layouts artistry (e.g., tapestries,
ceramics).
Minimalist and Local motifs integrated
Ornamentation functional; avoids excess into elements like tiles,
decoration cornices, or friezes.
Locally sourced, Use of materials that
sustainable materials reflect regional traditions
Materials
(e.g., wood, stone, clay (e.g., specific types of
tiles) timber or stone).

Designed to promote
Functional areas for
cultural gathering and
Community Spaces workshops, exhibitions,
interaction, reflecting
or events
communal traditions.
Garden designs
Native plants for easy
inspired by local
Landscaping maintenance and
traditions or cultural
ecological harmony
symbolism.
 Large windows for Stained glass with
Windows and Lighting natural light and regional motifs or
ventilation folklore-inspired designs.
Functional, open spaces Spaces arranged to reflect
for flexibility and ease of cultural practices, such as
Layout
use (e.g., multi-purpose communal gathering
rooms) areas or courtyards.

Durable, low-
Traditional building
maintenance methods
Construction methods (e.g., dry-stone
suited to local climate
Techniques walling, adobe plastering)
(e.g., thick walls, pitched
to honor heritage.
roofs)

Colors reflecting regional

Natural tones derived
Color Palette culture or artistic
from local materials
heritage.
CHAPTER 4: SITE
Location & Site Selection Criteria:
The location selection criterion was based on the availability of active craftsmen
in the South Punjab Region. The Most Influential Cities of South Punjab w.r.t
crafts are Multan, Bahawalpur, Rahim-Yar Khan, Sadiq-Abad & Muzzafar
Gharh. So, I have selected Multan as my site because Multan is the biggest city
in terms of Population in this region& also has a rich historic background than
the other cities. The city dates back to Indus Valley and Vedic Cultures of India.
The No. of Known craftsmen in Multan are much more than the other
neighboring cities. The City is also known as the City of Saints. If we recall the
history, most of the crafts shops were developed near the vicinity of the shrines
due to the commercial activity around them. The site was supposed to be in
close vicinity of any of those monuments.

SITE 01 02 03

Cultural significance NO YES NO

Historical significance NO NO NO

Accessibility/ YES YES YES

connectivity

Urban morphology Residential DEVELOPING residential

Vegetation NO NO NO

Tourist spots nearby NO YES YES

Availability of YES YES YES

Infrastructure

Basic amenities YES YES YES

Safety YES YES YES

Area:
Area needed for the arts and craft village is approximately 6-8 acres.
Bibliography
• https://www.re-thinkingthefuture.com/art/a2847-what-role-do-crafts-play-in-architecture/
• https://www.re-thinkingthefuture.com/architectural-community/a9119-relationship-
between-craft-and-architecture/#google_vignette
• https://www.terrain.org/2013/currents/craft-and-context/
• https://vocal.media/serve/city-of-saints-multan
• https://iips.com.pk/significance-of-promoting-multans-handicrafts-in-boosting-cultural-
tourism/
• https://www.goodreads.com/quotes/9627250-when-everyone-is-trying-to-be-something-
be-nothing-range
• https://artsandculture.google.com/story/heydar-aliyev-center-heydar-aliyev-
center/qgXRXtAc9hoYIA?hl=en
• https://www.re-thinkingthefuture.com/architectural-community/a6144-misconceptions-of-
pragmatic-design-in-
architecture/#:~:text=The%20definition%20of%20pragmatism%20in,making%20things%
20over%20design%20thinking.
• https://www.re-thinkingthefuture.com/article/coming-back-to-our-senses-what-is-
phenomenology-in-
architecture/#:~:text=Phenomenology%20is%20the%20philosophical%20study,material%
2C%20and%20their%20sensory%20properties.
• https://jpbs.hapres.com/UpLoad/PdfFile/JSR_1475.pdf
• https://www.re-thinkingthefuture.com/architectural-community/a6471-10-examples-of-
symbolic-architecture/#google_vignette
• https://www.re-thinkingthefuture.com/architectural-community/a10641-symbolism-and-
meaning-in-architecture-and-art/#google_vignette
• https://thearchitecturalmythologems.com/symbolism-in-
architecture/#:~:text=Symbolism%20in%20architecture%20operates%20through,a%20de
eper%2C%20more%20instinctual%20plane.
• https://journals.vilniustech.lt/index.php/JAU/article/view/3293/2729
• https://journals.vilniustech.lt/index.php/JAU/article/view/3294/2732
• https://thearchitectsdiary.com/symbolism-in-architecture-its-manifestations-in-15-indian-
marvels/
• https://www.scribd.com/document/486521046/Case-Study-of-Heydar-Aliyev-Center
• https://www.scribd.com/doc/284775283/Symbolism-in-Architecture

Book:

Title
Crafts of the Punjab: Multan, Volume 2

Author Punjab Small Industries Corporation

Publisher Nisar Art Press, 1986