Unknown Crafts Person
Unknown Crafts Person
Unknown Crafts Person
DRAFTREV
ISED (R1DRR) DRAFT FOR REVIEW & COMMENT ONLY
1.The Intent
Ensuring the Cultural Heritage of India is the responsibility of every Indian. In its holistic
definition, India’s built heritage assumes a significant & dominant position, and
necessitates a deeper and more wholesome understanding from all involved in the field of
architecture.
The exposure to the built heritage is a part of the curriculum of most of the architecture
institutions in the country, through related studies / field visits. However, whilst these
programs increase the familiarity with the ‘End-Products’ represented by buildings,
building complexes & settlements, it offers minimal exposure to the ‘Processes’ and
‘Human Skills’ and the knowledge/wisdom embodied in them, which made the End-
Products worthy of being called India’s built heritage.
Thousands of ‘Unknown Crafts Persons’, who have been the carriers of our Traditional
Knowledge & Wisdom for centuries, have contributed to the magnificent architecture of
India. The primary strength of the architecture of India lies in the anonymity of its
designers. This is evident from the fact that many of the students of architecture, and
architects are unaware of the identities of the principal designers of our monuments such
as the Taj Mahal, or the Agra Fort, or the complexes of Fatehpur Sikri / Hampi, or the
Palaces of Padmanabhapuram / Jaipur / Indore / Mysore / Srinagar / Bhubaneshwar, or the
temples of Dilwara / Konarak / Khajuraho / Varanasi / Madurai, and hundreds of
thousands of residences which have stood the test of time running into centuries.
This is because the making of a building was a collective process and responsibility,
which offered opportunities for creative input at all levels of implementation, and was not
restricted to the design studios of its Sthapatis / Architects, as it appears to be presently.
The body of this Traditional Knowledge & Wisdom, embodied in the ‘Processes’ & the
‘Human skills’, has neither been fully documented, nor is fully documentable. It has
survived because it has been passed on from one generation to another, and from the
teacher to a worthy student.
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The only hope for its survival and subsequent revival lies in the increased employment
generation of the Traditional Crafts Persons, who have been invested with this wealth of
knowledge. A lack of familiarity of the generations of architects trained in the post-
independence era, owing largely to its exclusions from the curriculum in the present
education systems, results in their inability to generate this much needed employment.
This familiarity MUST begin and get nurtured at the academic institutions, if architects of
India are expected to play an essential role in the conservation of its heritage of
Traditional Knowledge & Wisdom.
At the students’ level, the exposure to the ‘Processes’ and the ‘Human Skills’ of the
‘Crafts Persons’, requires substantially increased familiarity. The intent of this
competition is to expose the students to the vast range of crafts which exists all around us
and yet we are not too familiar with them. It is only with familiarity that students will feel
comfortable to apply them in their designs to increase the aspects of context as well as the
crafts persons’ skills. This competition is to help the students to understand, analyze and
investigate such crafts. This process will help them to discover the wealth of crafts and
crafts persons’ unknown to them who, with / without credit, fame and / or
acknowledgment have been tirelessly working and contributing for generations to make
India so rich in its diversity, variety & creativity.
In the path of studying the crafts and crafts persons’, you study the existing details and its
innovative uses for the modern era. This year, in congruence with the NASA theme, we
go deeper with our vision by looking at the existing, detailing the innovation that has
occurred in time and building / developing a vision for the future carrying the skills /
techniques of the fellow crafts persons. Let us not limit ourselves to just studying the
exiting solutions but evolve ourselves to think beyond and ask questions no one else has
thought of.
This year's theme ‘Embark' expresses that the foundational step is to embark on an
enduring solution to continuity. The ideas will be case studies or resources and that will
be an open door for the new beginning in the near future. It also can be interpreted in case
of heritage to find a future of emerging needs and technologies as well as visiting the
unknown avenues, directions and knowledge of our own past, that has alluded us in our
process of education so far.
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We find this to be an instigation of the inner mind, the 62nd NASA’s theme aligns with
the primary intent of the UCP Trophy.
As we "Embark" on new journeys, how do we carry the strengths of the past? How do we
not forget the lessons which have been foundations of our identity, an essential element of
the profession of architecture and design. A teacher has been credited to be the friend,
guide and task master who helps you take your first step in this journey of discovering
yourself. In India, this timeless tradition of the "guru-shishya parampara" where one
generation passes on its knowledge of the arts and crafts, sciences and trade to the next to
mark the continuity of learnings over time marking our progress towards a better future.
Every generation adapts and aligns the lessons to the changing dynamics of the current
scene worldview to ensure its survival…its continuity…its sustainability!
Nimish Patel called the craftsperson the architect's guru in shaping masterpieces and also
the vessel that carried forward the traditional know-how over generations of land,
resources, optimization and low imprint. The 2019-20 Trophy spotlights the relationship
that is the design bridge ensuring the future of our evolutionary lessons. It takes the
legacy of the knowledge & wisdom of the past along with us to our future practices. This
will help all of us in finding a delicate balance between continuity & desirable growth.
If we lose the wealth of our past knowledge & wisdom, by ignoring it and allowing it
to disappear, we will lose the soul of our architectural heritage. This is not an option
for us, but is a responsibility.
The initiative of introducing the ‘Unknown Crafts Persons’ Trophy, (UCP Trophy) by
Virasat Foundation, Ahmedabad, as a part of NASA’s activities, is a step in that direction.
It will be given to deserving students at the annual NASA Conventions.
2. The Objectives
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To provide them with a motivation for pursuing this direction of knowledge during
their academic careers, and further into the profession.
To encourage them to develop a deeper & more holistic understanding of the
‘Processes’ & ‘Human Skills’, connected with traditional construction which lie in
every region of the country, and help them develop greater familiarity with the
traditional materials, technologies & decision making processes.
To open up avenues to explore more directions in the practice of our profession, when
they embark in their own careers.
1. Any student / student groups, registered with any recognized architectural college /
departments of architecture in India and recognized by NASA India, will be eligible for
participation in the competition for UCP Trophy.
2. A maximum of 3 (three) students in a group can participate per entry for the UCP
trophy.
3. Same students cannot participate in or send multiple entries.
4. Same students/ colleges/ departments of architecture CANNOT submit the same craft
which was previously submitted, by them, in any of the previous editions of UCP
Trophy.
5. Same students/ colleges/ departments of architecture CAN submit the same craft as
previously submitted, if it has different composition of ingredients, process/ technique
of manufacture &/ or execution and use within making of the built environment & its
finishes. For example -
a) The Gandla Art of Anupur district in Bastar region employs Jute fibres which
are woven over a column increasing its aesthetic value. It's use is restricted to
the beautification of columns. Whereas, the Sohmarih Ksai Craft of Tynrong,
Megahalaya employs fibers derived from Pineapple leaves, they are used
with Bamboo frame as a fibre mesh due to their high torsion rigidity. Both
are region specific weaving crafts which employ different materials, tools,
manufacturing processes and applications.
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b) The composition, use, process & technique for Lime within the built
environment would vary from State to State with respect to the prevalent
climatic conditions.
6. The Craft selected by students must be located within the geographical limits of
immediate neighboring states that share their borders with the state as their respective
college/ department of architecture is located. For example -
a) If a college/ department of architecture are located in Kerala, the students of
that college CAN select a Craft from within the geographical limits of Kerala
and the immediate neighboring states of Karnataka and Tamil Nadu only with
which Kerala shares its geographical borders.
b) Students of a college/ department of architecture located in Kerala CANNOT
undertake a Craft located in the state of Gujarat as it does not share its
geographical border with Kerala.
7. A maximum of 3 (three) entries per recognized College/Institution will be accepted.
4. Submission Requirements
The students are required to document one ‘Guru-Shishya relationship that has
ensured the continuity or future resonance of a endangered Human Skills based Craft’
within the geographical limits of immediate neighboring states that share their
borders with their respective state in India, where their college/ department of
architecture is located, as clarified above in Points 4, 5 and 6, using one or more
traditional materials / technologies and used in the making of the built environment
and its finishes. The selected craft should be the ones which are still practiced (with
or without the traditional techniques) and which have not fully disappeared or become
extinct, but may have been just transformed with the passage of time.
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6. The potentials & the constraints of the use of the chosen craft in construction
& finishes.
B. About the Sources, the Lesson learnt and the Future use.
1. The name/s of the crafts person/s, their location and contact addresses for
verification. (For the Assessors to call him / them for the authentication of the
submitted documentation)
2. The sources of Information gathered from, such as references of books,
internet sites, magazines etc, and any other sources used to compile.
3. Compilation of the lessons learnt and inferences made by the student/group
of students, which may be useful in the future academic / professional design
assignments.
4. Identification of its potential uses in contemporary designs / construction
projects.
5. Submission Specifications:
1. Detailed documentation of the chosen craft will only be hand drafted and hand
sketched in simple legible hand written text.
2. Photographs can be included but not in the form of collages. (Photographs / video
clips of the field work and the process must be included in the DVD as soft copy).
3. The submissions in the given format will be made in Hardcopy as well as Soft copy,
and may include a maximum of five film clips, each one not exceeding 60-90
seconds.
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4. Title + UCP trophy Logo + College code + page number should appear on each sheet.
(can be a part of the border / page format designed according to the context of the
entry)
5. NASA logo, following NASA Logo guidelines, should also appear on each sheet.
6. All the sheets of each entry should be packed in a A3 File / A3 corrugated box file,
which should bear only the College code.
B. In Soft copy
1. The submitted sheets must be scanned / digitized in high resolution (minimum
300dpi) images of the plates. The film clips and photographs of the field work should
be compiled in two sets of DVD, as a part of the submission.
2. One set of DVD must bear the students names and the College name and College
code, and the Second set must bear only the college code.
3. A document bearing each student’s personal email address, postal address and
personal phone number.
8. The Assessors
1. The Jury members for this year's UCP Trophy are as follows:
a) Ar. Parul Zaveri , Trustee, Virasat Foundation, Ahmedabad
b) Ar. Bimal Mistry, Principal Architect, Bimal Mistry Architect & Associates,
Ahmedabad
c) Ar. Ravi Sarangan, Co founder & Executive Director, Edifice, Mumbai
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d) Ar. Ajay Nayak, CEO, Educated Environments (EdEn) and former Managing
Editor, Indian Architect & Builder, Jasubhai Media, Mumbai
e) Additional Jurors’ may be appointed at the discretion of the Trustees at the
time of the Jury.
2. The process of assessment of the UCP Trophy will take place at Ahmedabad.
9. Disclaimer:
2. The decision of the Assessors, with regards to the selection of Citations & Special
mention, shall be final, and binding to all participants. No correspondence will be
entertained in this regards.
3. All materials submitted by the Students for the competition shall become the property
of Virasat Foundation, and be deemed to have requisite publication rights. Virasat
Foundation reserves the Right to use the material for publication / documentation /
publicity purpose without any further notification to or clearance from the concerned
student / student group / college.
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10.The Submissions
For all queries related to the submission shall be raised and addressed through NASA
council.
Syed Khwaja Abid
NATIONAL SECRETARY
NASA India
[email protected]
Latest by December 25, 2019 in print as well as electronic media. (As per the
regulations mentioned above)
The submission should not have any identification of the participants in any form,
other than the information sought in above criteria, on either the front or the back
face of the submitted sheets.
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11. UCP Trophy Winners
The UCP Trophy will have one entry selected as a ‘1st Citation’, one entry for ‘2nd
Citation’ and three entries for ‘Special Mentions’. Each member of the first five
winning entries will be given a certificate with a citation. Additionally, each member
of the team qualifying for the ‘Citation’ position will be given a Wood craft tool kit box
along with the certificate with citation.
The intended outcome of the UCP Trophy is the publication of a Monograph of the
winning and other worthy entries, for circulation in appropriate to all the architectural
institutions which are a part of NASA India in appropriate format. This format will
either be in the form of electronic or print media, as deemed fit by the Trustees of
Virasat Foundation.
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