VIEW OF THE MANIPAL HERITAGE VILLAGE

THE HERITAGE VILLAGE project was born out of an intense concern of Hasta Shilpa Trust of Manipal for the restoration and conservation of centuries-old vernacular structures of architectural merit, aesthetic interest and craft importance and also for preservation of traditional objects of art and craft of Karnataka state. The whole concept is based on that art, craft and architectural traditions are integral to our cultural continuity. The whole crisis lies in the fact that when a society loses its sense of identity with its roots, and therefore its pride in itself, it is deprived of a sense of judgement of values.

Over the last decade, the Trust has relocated through the process of restoration 26 structures of immense architectural merit and fine craftsmanship. The whole exercise of relocation of a traditional building involves several processes like documentation of the concerned structure through measured drawings and visuals, coding of each component of the structure prior to its dismantling and restoration of the damaged portions of the structure before its restructuring in the Village.

INTRODUCTION:

SITE LOCATION:

MANIPAL

MANIPAL HERITAGE VILLAGE

Hasta shilpa heritage village is located about one km away from tiger circle in manipal, the university town in udupi district in the coastal region of karnataka state. The site is located stretches 6 acres to the east of Manipal lake and to the south of planetarium.

Project initiator : Vijayanath ShenoyEngineers :Red Earth , ManipalSite area :6 acresTotal built up area :3 acresConstruction time :12 yearsCost of project :1.4crores(estimated)

Funded by :the State Govt of Karnataka, and the Norwegian, Finnish & Netherlands Governments.Expected to open to the public by 2015

The heritage centre today is visited by some of the most eminent critics, contemporary artists, students & the corporate world, thus creating a vibrant ecosystem which furthers the cause of art. presently the hasta shilpa heritage complex is not open to the public .Mr. Shenoy has painstakingly recreated several buildings with enormous research to bring alive the past. It vividly showcases the influence of culture, localization, rulers, socio-economic status and religious practices. Mr. Shenoy has put in a lot of effort to familiarize himself with the families who owned the buildings, spending days with them to understand the regal stories embedded in their creation. Most of the buildings have been recreated “as-is” with precise engineering measurements through a process called “Documentation”.

TOPOGRAPHY:

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MANIPAL LAKE

SECTION OF THE SITE

The ground was red laterite earth with lots of ups and downs and the structures were stuck into the mountainous site forming a beautiful amalgamation of a traditional village . The overall site slopes down towards the eastern direction ,where the Manipal lake is present.

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COCONUT TREE JACK FRUIT TREE

MANGO TREES

VEGETATION

The site remains hidden from the outside due to the varied tree species present in the site ,the of the site is lined with trees which creates vista at every node and junction, thus giving the feel of a village expedition

WHITE JACK TREE OTHER TREES

ACASIA TREES

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SITE PLAN

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1.Hungarcutta bansaale mane2.Jungam mutt3.Central library(british colonial building)4.Vidyamandira of ramachandrapura mutt5.Vaderhobli house

6.Bhatkal navayath muslim house7.Crafts centre8.Basel mission museum9.Yerukone house10.Shrine11.Byndoor-nelyadi house12.Administrative block and guest cottage13.Kunjur chowkimane14.Vishnu mandir15.Folk deity museum-garadi

16.Folk deity museum-nandikeshwara shrine17.Sringeri house18.Hengavalli korra mane19.Harkur olaginamane20.Documentation house(miyar house)21.Mudhol palace durbar hall22.Museum of folk arts

23.Publications divisions(peshwa wada)24.Deccani nawab mahal25.Kamal mahal of kukanoor26.Mangalore christian house27 Museum of Contemparary Arts28 Museum of Traditional Arts29 Harihara Mandir30 Museum Of Arts And CraftsCIRCULATION

PEDESTRIAN CIRCULATION

This pedestrian path resembles the main bullock cart lane of villages with buildings on either side, these lanes is further branched into smaller lanes on either side denoting the pedestrian bye-lane of villages with bazars on either side

MAIN ENTRY

OAT ENTRY

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Either side of the street converted into old village bazaar

View of the bullock cart lane

View of the pedestrian lane

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Entry through the village

Entry from outside

• The brown colour represents the existing pathways in site

• The pathways were irregular in pattern depicting the village pathways and the pathways were not paved

• The pathways near the crafts centre was paved with brick to ensure artisans to work in open environment when necessary

• The newly constructed structures were also done with locally available materials like laterite,stone,wood ,mud etc…

• The blocks were not placed with respect to any of their original site environment due to space restrictions.

• All the entries were facing the street and the rear door also opens into the back street • The building materials used varies on each type of building,vernacular building

materials and techniques were followed since all the structures were old buildings

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• The oat can be approached through the village or directly from the entrance ,the idea is to open the oat for the public in the evening with disturbing the village

• The green colour represents the turf in the site

• There were no water body on site natural or man made because the site itself was sloping down to the nearby lake

• The site itself was highly porous and does not allow any water stagnation

HUNGARACUTTA BANSAALE MANE:• The Hungaracutta Bansaale Mane is a trading house and warehouse with its

residential quarters situated in the coastal port town of Hungaracutta in Udupi taluk. • The structure of the Hungaracutta Bansaale mane was planned in such a way as to

facilitate and merge the dual purpose of its function as a workplace and residence very effectively.

• The front portion facing the harbour, logically became the business block while the trader's residence portion was located at the rear separated by a court left open to the sky It was roofed with steep slopes and deep overhangs to ensure the drainage of the monsoon effectively so that the commodities stored remained dry.

• Robust circular and square columns with heavy brackets carved with geometrical patterns span the whole interior of the business area .

• The corridor around the courtyard is used to store samples of merchandise, and weighing scales to measure the produce.

• The trader's is a simple dwelling located across the court, built on a plinth higher than the preceding corridor, this provides a sense of privacy to the inmates of the house as the lean-to-roof of the residential block merges with the eaves of both the corridors and the business block, thereby eliminating a possible eye contact when standing upright along the jugli of the house block, a steep masonry staircase leads to a hall, which serves as an accommodation for buyers who come from distant shores to trade.

• The main roof slopes down covering a tapered wood-pillared portico on either side of the main entrance.

• This portico served as a resting-place for loaders, porters, etc. waiting to be summoned while the need arose.

This building was aligned facing the lake in hasta shilpa village to denote the real context of the structure

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COURTYARDSHED FOR PARKING

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PLAN OF HUNGARACUTTA BANSAALE MANE:

PLAN OF JUNGAM MUTT OF PUCHCHAMOGARU

• The Jungam Mutt at Puchchamogaru is believed to have been built much earlier in the sixteenth century, with the blessings of two jungamas who travelled down the district from North Karnataka on a spiritual mission.

• They found this isolated village of Puchchamogaru situated in a valley surrounded by hills and lush green vegetation, an idyllic site for both meditation and spiritual discourse.

• The Structure of Jungam Mutt of Puchchamogara that has been transplanted in the Heritage Village is an amalgamation of three different portions, salvaged from their respective places of origin and put together on a plan of one of the oldest surviving mutts, although in its fragmentary state. The functions of these portions have not been altered and they collectively stand testimony to the purpose that they served.

• The spaces could be broadly classified into two areas - the public area and the sacred area.

• The public area comprises a four-tiered jugli or pillared corridor of varying depths, each climbing higher and leading to a much broader and wider platform which functions like a hall.

• The most striking assembly is that of this jugli housing probably the most massive wooden columns of wild-jack species measuring at its base 32" x 32".

• They taper slightly and step down to an eight-sided cylinder capped by an ornate capital and brackets supporting an elaborate and intricately carved coffered ceiling.

BRITISH COLONIAL HOUSE• The British Colonial Bungalow that has

been relocated in the Heritage Village of Hasta Shilpa was earlier situated in Cantonment area of Bangalore.

• It is a three-floor building with each floor having a central hall and two side-halls with a semi-open veranda.

• The use of timber is limited to doors, windows, grilles and part of stair-cases.

• The nature of their occupation provided ample time for cultural pursuits in the field of literature, grammar, ancient texts, arts, performing arts and allied subjects. So a great number of members of this farming community became scholars, litterateurs, grammarians, journalists,  artists, musicians and pundits.

• The main mutt is situated at haniya near hosanagara in sagar taluk of shimoga district. When the structure of vidyamandira started showing signs of decay due to weathering and age, the pontiff decided to pull it down and replace it with a modern

structure. Hastha shilpa intervened and restored the structure in village

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VIDYAMANDIRA OF RAMACHANDRAPURA MUTTThe havyak brahmins of karnataka are basically arecanut growers and, their population is mainly concentrated in arecanut-growing pockets of shimoga, uttara kannada and undivided dakshina kannada districts.• This compact one-storied structure of Vidyamandira of

Ramachandrapura Mutt conforms to a square plan facing east comprising a central core with rooms running around on all three sides.

• The two-levelled entrance jugli opens out to the front, flanked by the protruding side rooms.

• Two fluted columns with suspending fruit-brackets provide solidity to the elevation.

• A wooden ceiling with paintings on the coffered panels provides necessary insulation.

• The mud plastered walls merge harmoniously with the roof while the balcony, windows and fluted columns of the front verandah provide the necessary punctuation.

VADERHOBLI HOUSE: MANOR HOUSE

• The structural plan of Vaderhobli House is a rectangular block with pillared two-tiered verandahs running along its length on both the faces of the house, separated by a wall, highlighted by a projected balcony at the first floor level, and supported by two tall pillars at the ground level.

• Of these two-tiered juglis, the upper one has robust square-shaped pillars with a bell-shaped capital and a bracket assembly that support a planked ceiling resting on a network of thick beams and joists, while the lower jugli has tapering octagonal columns.

BHATKAL NAVAYATH MUSLIM HOUSE

• This house is roofed by a single large gable roof, longitudinally spanning the first floor, with separate lean-to-roof covering the kitchen and dining area at the ground floor level.

• Navayath Muslims live in separately earmarked localities exclusive to the members of their community in the coastal town of Bhatkal.

• This is characterised by an ornate main door, with couplets from the Holy Quran engraved on the lintel, placed centrally to the width of the house, attached to which is the narrow verandah forming a compact fore-part.

• These localities called keris, consist of two or three narrow streets winding and intersecting at various points, marked by a mosque at the junction of such intersection.

• The houses are essentially one-storied, narrow in width and an unusually large depth.

• Most of these houses are built next to each other with narrow spaces between them and in many cases the houses share a common wall

• However, the more affluent houses are independent, elaborately planned, and occupy large areas often enclosed by a high compound wall to ensure privacy.

• The street leading to the Museum of Arts and Crafts has on both sides a series of shops that display enamelware, chinaware, catering vessels and utensils in metalware, terracotta pots, pickle and oil jars.

• Besides, this Bazaar has a couple of artisans’ workshops for stone-crafts like grinding stones, pounding stones, containers of stones as well as stone-sculpting and idol-making.

• The entire area of the Craft Bazaar looks very vibrant with its impressive array of traditional craft objects displayed on the street-front.• This Market Place with its several shops and establishments add to the old-world charm of the Heritage Village.

CRAFTS CENTRE

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And, of course, the radio shop: This became popular in the late 19th century. and along with it came the radio repair shop!

This barber's shop, as in the world over, was an indispensible part of any village. However, sometimes, villagers had to trek to the nearest town for this little pleasure.

Lamps, shades. And their repairs.... before the age of electricity dawned

The iron used to press clothes was fuelled by heat from burning charcoal placed inside its compartment. This shop was strategically placed next to a tailor's shop

• other units each engaged in traditional occupations like oil extraction, jaggery production, beaten-rice processing, handloom weaving, jewellery making, photo framing, umbrella repairing, lamp repairing, knife sharpening, cotton-bed processing, lock repairing, copper utensils repairing, bicycle repairing, clock repairing, radio repairing, gramophone repairing and typewriter repairing units. This Market Place also consists of a metalware shop, a bangle shop, a dhobi shop and an hair-cutting saloon.

• There are also a primary school, a bank office, a printing press and a school-book shop besides an Ayurvedic medical shop.

The german protestant missionaries, who came to south kanara district in karnataka from basel in switzerland in the earlier part of the 19 th century, set up, among other production and processing units, terracotta roofing tiles factories initially in mangalore.

The Hasta Shilpa has collected almost all these structural, domestic as well as decorative terracotta products, designed and produced by these factories and displayed them in its Basel Mission Museum in the Heritage Village at Manipal.

BASEL MISSION MUSEUM

YERUKONE HOUSE:Yerukone is a tiny village in kundapura

taluk dotted with numerous small and medium-size agricultural farms and vegetables gardens. The main occupation of the population of the village is farming. One such family which owned and cultivated a fairly large tract of agriculturalland built the Yerukone House in the middle of the nineteenth century.

• The front block is rectangular in plan, sitting on a high plinth with pillared two-tiered verandahs running along its length on both the faces of the house, separated by a wall.

• Of these tiered juglis, the upper one has square-shaped pillars with a bell-shaped capital and a bracket assembly that support a planked ceiling resting on a network of thick beams and joists, while the lower jugli has octagonal columns.

• The use of cornices running along the edge of the and beams gives the ceiling a rich look.

• The inner verandah faces another rectangular block with an open verandah, attached with two rooms on the sides. The rooms house the kitchen. dining and the utility, while the open verandah serves as a multi-purpose space. A side door opens out to the exterior.

SMALL SIZE SHRINES

Harihara Mandir: The notable among them is Harihara Mandir which was originally situated in Kodagu. It was built in the traditional architectural style of Kerala .This four-century-old shrine was in ruins in its original location, and the Trust acquired it and rehabilitated it in its Heritage Village.

The Heritage Village is dotted with a few small-size shrines of deities mostly belonging to the past ages.

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Khadga Rama Shrine: This is a very simple structure with no walls, but standing on a pedestal that supports four wooden columns and the overhead roof.

Vishnu Mandir: This elegant temple structure has been recreated in the Heritage Village on the model of an old temple situated near Katapadi in Udupi district. It has all the distinctive characteristics of traditional temple architecture of this coastal region.

BYNDOOR-NELYADI HOUSE:

Nelyadi, a small village in byndoor region of kundapura taluk, has vast areas of cultivable land, mostly owned by the bunts of the village.

• Byndoor-nelyadi house has a series of functional areas positioned around a compact open-to-sky court.

• These kinds of structures came up during the nineteenth century and have most of the features of the manor house but built in a smaller scale.

Bhavya Durgi Shrine: This shrine represents the age-old architectural style of Udupi district with double roofs laid one over the other.

KUNJUR CHOWKIMANE:

PLATFORM FOR MUSIC CLASS

COURTYARD

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DELIVERY ROOMKITCHEN

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• The Kunjur Chowkimane was built in the architectural style of Kerala based on the fifteenth century.

• It is a two-storied house, with a hipped roof sloping down into the central courtyard.

• The plan of the structure follows a mandala or a grid aligned to the cardinal directions wherein the center of the mandala is left open or not built up, to coincide with the central courtyard.

• The basic house module is nalukettu • The courtyard lined with dressed granite stone-edging, has

circular wood-turned pillars having a gentle taper that support the most striking assembly, which characterizes the highly evolved wooden joinery

• The corridor around this court provides access to the various wings through door openings, the southern wing being directly open to the court. The eastern wing comprises the kitchen at the northern extremity, with the dining hall in the middle and a small wood-partitioned shrine room used for daily worship, facing west and opening out into the court.

• An intricately carved wooden ceiling running to the entire width of the louver window adds further beauty.

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The exhibits of the Museum are spread over three buildings divided into eight sections, each one displaying (i) ancient building form and character

of a garodi, (ii) traditional structure of a shrine with wooden folk-deities of varying sizes (iii) metal icons of Karnataka and other states of India (iv) bronze masks of folk-deities seated in folk-furniture with traditional ritual objects associated with the worship of folk deities (v) household and occupational articles and artefacts of yesteryears (vi) folk theatre crafts like Yakshagana, puppetry, moodalapalya and nandi kunita (vii) folk musical instruments, and (vii) stone and metal figures and wooden masks from Chattisgarh region. • The entire complex where the three

buildings of this museum are located at diffent levels, with narrow streets forming into a courtyard with a large tree sheltering anagabana and a vertical small shrine of kshetrapala creates the right ambience of folk-rich Tulunadu of a bygone era.

• The Museum of Folk Arts of Hasta Shilpa is considered as one of the largest and most unique museums of its kind in India in respect of volume of space, number and variety of objects, rare character of its exhibits and their imaginative display.

MUSEUM OF FOLK ARTS:

SRINGERI HOUSE

• A small room adjacent to this jugli serves as a shop, run by the inmates of the house who used to sell ritual items of temple offerings required by pilgrims who flocked into this holy town.

• These semi-open spaces overlooking the road were made so that more people could witness the temple festivities.

• A small rectangular room known as padasale serves as the family space linking the entrance, jugli with the kitchen and the puja room.

• A staircase from the padasale accesses a common hall, which has an attached balcony and a smaller room used as a store.

• The elegantly scaled, down- to-earth structure of the Sringeri House exudes warmth and intimacy.

HENGAVALLI-KORRA HOUSE

• Hengavalli Korra House, built about 120 years ago, consists of an outerpillared verandah, attached to an 'L'-shaped jugli of the main house.

• This verandah with its stout wood-turned columns, placed successively along its length creates an impressive colonnade.

• A high ceiling panelled to the lean-to-roof resting on these columns adds volume and richness to this jugli.

• The inner jugli opens out into a central room flanked by a kitchen and dining area on one side and a room used as a bedroom across. • The whole spatial arrangement in the interior is compact and a low wooden ceiling further enhances the coziness of the space.

• The exterior of the Sringeri House has a rich appearance owing to the woodturned balcony railings stretching along the entire width of the first floor and a two-levelled jugli flanked by two pillars on the ground floor.

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HARKUR OLAGINAMANE:

CLOSED COURTYARD

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• The plan of Harkur Olaginamane is a simple rectangle with a central court surrounded by broader rooms on its sides with narrower rooms and a pillared verandah at the rear and front respectively.

• The unique feature is that the columns of the front verandah are modelled to resemble the maddale or the mridangam, a percussion instrument associated with the folk art form

• These similarly shaped and successively placed columns form an impressive colonnade, a rarely seen feature.

• The columns in turn support a robust grid work of beams and joists planked to function as a ceiling.

• The central part of the veranda ascends to form a jugli, highlighted by two stout maddale pillars.

• The walls of the central core are raised to form a rectangular hall at the first floor level, accessed by a steep masonry staircase.

• This is roofed by a simple hip roof.

GROUND FLOOR PLAN

STORAGE

UPPER JUGLI

SQUARE SHAPED COLUMNS

ROOM ROOM

CLOSED COURTYARD

FIRST FLOOR PLAN

• The Durbar Hall functioned as an audience hall when the ruler sat in state. • The whole facade of the front block is an assembly of a series of panel doors with

arched ventilators placed behind a delicate wood-turned balcony railing. • Slender pillars, plain and tapering, support this railing highlighted by very ornate

double brackets. • The panel doors repeat on either side of a beautifully carved main door. • This front block probably functioned as the drum house, where distinguished visitors

were announced. • Earthy colours are employed to highlight the ceiling• The Durbar Hall, an open-fronted hall stood across the court. It has two rows of tapered pillars, set in stone bases. with the wooden arches linking them.

MUDHOL PALACE DURBAR HALL

OPEN TO SKY

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PLATFORM PLATFORM

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KING’S THRONE

ROOM ROOM ROOM ROOM ROOM

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• The decoration reaches its height in a dazzling display of chandeliers, paintings, hunting trophies, weapons and other royal paraphernalia gracing the wall.

• The doors leading out of the Durbar Hall are wood-framed, closed by solid wooden shutters and have a panel carved with decorative motif.

• The royal structure used teakwood entirety.

• A small but elegant structure, which was earlier part of the frontage of a Peshwa Wada, situated in a remote hamlet in Belgaum district of Karnataka.

• The remaining portion of this Wada had long back collapsed, and the frontage of this modest-sized, single-storey structure with its lovely jharoka was the only surviving part of the Wada, which the Hasta Shilpa acquired for its preservation in the Heritage Village.

PESHWA WADA

DECCANI NAWAB MAHAL

• The structure of Deccani Nawab Mahal, as it stood in its original location, was more in depth compared to its width.

• A traditional courtyard disappeared from the design and all that remained was a narrow well bringing in air and light.

• The interior consists of a large hall of a considerable depth in three levels, having a wooden assembly that divides the width of the space into a wider central space and two slightly narrower spaces at the sides.

• It climbs up all the way to the first floor ceiling level creating a balcony framed by arches and covered with draperies to provide privacy to the women's quarters located at this level.

DOUBLE HEIGHT SPACE

DOUBLE HEIGHT SPACE

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KAMAL MAHAL OF KUKANOOR

KAMAL MAHAL'S DECEPTIVE EXTERIOR

GROUND FLOOR PLAN FIRST FLOOR PLAN

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• With the fall of the Vijayanagara Empire in 1565, enemy forces destroyed and plundered palaces and other monuments in the capital Hampi and continued this ravaging process in surrounding provinces such as Kukanoor.

• Most of the mansions in the governor's forst complex fell prey to the enemy. The only structure which escaped their wrath -- more because of its modest appearance and least attractive architectural features on its exterior than for any other valid reason -- was the Kamal Mahal

MANGALORE CHRISTIAN HOUSE

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The usage of space in the Mangalore Christian House is compartmentalized owing to the new life-style imbibed by its inmates and due to the influence of western sources, unlike the traditional Hindu house. This house which is square-shaped with an attached front verandah has a steep hipped roof with its eaves projecting to cover the walls and the verandah, shading them from the sun and deflecting the downpour of rain away from the building.

MUSEUM OF ARTS & CRAFTS

RICHLY CARVED DOORWAY HOLDING ALL THE POSTURES OF BHARATANATYAM

TO TANJORE PAINTING GALLERY

ELEVATION

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• The museum of arts and crafts is housed in a three-floor building. • The ground floor displays exclusively aradhana kala, that is, traditional ritual arts

consisting of wooden idols and panels of gods and deities in classical tradition, stone statues and terracotta figures and also ritual objects and icons in metal ware in the same tradition.

GROUND PLAN

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• The upstairs of the building displays both traditional and contemporary Alankar Kala, that is decorative crafts and also physical objects used by men for their Vilas and recreation and by women for their shringar.

• The basement of the Museum building contains old wooden structural craft primarily devoted to the display of scores of various patterns of pillars earlier used for houses, shrines and monasteries in coastal and Malnad regions of Karnataka.

• Besides, the enormous quantity of old wooden pillars with their capitals collected and displayed in the basement of the Museum reflect the skill and imagination of the artisans of the yesteryears.

RAJA RAVI VARMA ARCHIVAL MUSEUM

GANJIFA ART GALLERY

The Ganjifa Art Gallery that the Hasta Shilpa Trust has set up in its Heritage Village presents a comprehensive spectrum of ganjifa themes and style in practice and are illustrative of both individual and regional stylistic variations that are representative of Sawantwadi, Sonepur, Chikiti, Puri, Raghurajpur, Bishnupur, Nirmal and Mysore.

• The hasta shilpa trust acquired from the ravi varma press the colour reproductions of the works of not only raja ravi varma but also of a large number of other indian artists who were inspired by the paintings of ravi varma.

• These printed materials along with other physical properties like machineries used for printing process, litho stones with the impressions of the works of ravi varma, packets of special colour ink powder made in germany for reproduction – all acquired from this press by the hasta shilpa – constituted an important body of archival materials.

• These materials and physical properties have been judiciously displayed in the gallery of cultural legacy of raja ravi varma in the hasta shilpa heritage village at manipal.

MUSEUM OF THANJAVUR PAINTINGS

• The Hasta Shilpa Museum of Thanjavur Paintings consists of about 150 works of Thanjavur School of Maratha period and about 18 glass paintings of the earlier Nayaka period and an equal number of glass paintings of post-Maratha period.

• All these Thanjavur Paintings have been displayed in the most imaginative way in this Museum.

CRITICAL ANALYSIS:

• Hastha shilpa forms an unique environment to conserve and protect the art and architecture of Karnataka just bringing out the rich culture of their past

• Hastha shilpa gives an idea about the prominent styles of art and architecture prevailed in early parts of karnataka

• Hastha shilpa presently serves as a gateway for many historians, scholars and researches to visit the complex ,learn and analyse the vernacular architecture of Karnataka and history .

• The planning is very cosy and composed • This place serves as a platform for many artisans to practice their arts and keep the arts

alive however the artisans didn’t have any accommodation in the complex.• This complex is not commercially viable as the trust is not interested in converting this

place into a tourist spot and they have not encouraged any lay of powers by corporate sectors

• This heritage complex is very sensitive that more crowd cant be handled in this place due to he intricacy in design.

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