Thesis Report (Summary): Centre for Celebration of Cultural Heritage

Ali Zain Khuwaja -147700

ABSTRACT
Culture is defined as a “complex whole which includes knowledge, belief, art, morals, law,
custom and any other capabilities and habits acquired by man as a member of society.” (E.B.
Taylor)
Culture is understood to be the key element of identity of a place. When a civilization flourishes
in a particular context, heritage, in form of arts and crafts, originates and influences the
architectural typology of that region. Hyderabad is one of those cities within Pakistan which
have been home to Indus Valley Civilization. Their cultural practises within the area are now
a part of Hyderabad’s own cultural identity.
The arrival of new technology and an introduction of industries within Hyderabad has brought
about a drastic change within its society. The process through which the crafts were created
has drastically changed. With that process, their meaning has diminished and the true value
and essence of that product has been lost. Two of such products within the area that are
undergoing such an extinction are Ajrak (Block-Printed Textile) and Manghu (Wind-catcher).
There is a dearth of design and architecture within the city that can demonstrate the use of these
techniques as a symbol of city’s identity.
This thesis, therefore, focuses on the notion of first understanding the methodologies of
exploration of the relationships between crafts and architecture in the context of Hyderabad.
Secondly, the understanding of the language and meaning of the wind-catchers, and lastly, the
revival and execution of this concept into a Cultural Heritage Centre. This typology will not
only provide a platform to the local craftsmen for the exploration of the crafting techniques but
also act as the city’s icon, making use of the city’s traditional block printing techniques to the
extent of creating architectural facades and wind-catchers as a response to the city’s dry humid
climate. The long term goal is to recreate the city as a socio-cultural hub.
KEYWORDS: Wind-catchers, Context Specific, Heritage, Craftsmanship

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 Thesis Report (Summary): Centre for Celebration of Cultural Heritage
Ali Zain Khuwaja -147700

INTRODUCTION
“If you listen close enough, you can hear your surroundings speaking to you.” (Yick)
Hyderabad has a rich history which dates back
to 8th century. Talpur Narrates in his journal
that the town of Hyderabad, then known as
Neron Kot, was conquered by Muhammad bin
Qasim in 711 A.D (Talpur). When the Mughal
Empire became weak, Kalhora dynasty took
over the charge of Hyderabad and kept it the
chief city. The great ruler Ghulam Shah
Kalhora admired the city of NerunKot so
much that he ordered a fort to be built spread
over thirty six acres, strongly made of baked
clay bricks. After the demise of Ghulam Shah, Figure 1 the facades of the buildings are slowly transforming
Talpurs came to the throne. In their reign, the due to busy electrical wires
city was then named after Prophet
Muhammad’s cousin Ali, “Hyder”, hence, the
name Hyderabad came about. Artists,
craftsman, intellectuals and traders started
migrating to this city owing to the safe and
mighty garrison fort. With the advent of
British rule, the system changed dramatically
and the architecture flourished immensely in
the form of schools and universities,
University of Sindh Old Campus being a
landmark in contemporary time. A remarkable
feature of Hyderabad was its “wind-catcher”
design, known as Manghu, devised to catch Figure 2 A preserved facade in Hyderabad
south-western wind of the city during summer
times. This design kept the rooms cool and ventilated. With the advent of electricity, this culture
started demolishing, however, a few buildings,
namely Aga Khan Maternal & Child Care Centre
and the Civic Centre have made attempts to
preserve this in design. The city has now fallen
prey to people, who are demolishing the beautiful
architectural heritage and its practises, and are
replacing it with new yet generic plazas.
“…but I think one on which there is greatest
consensus, is the fact that we are trustees of God's
creation, and we are instructed to seek to leave
the world a better place than it was when we came
Figure 3 High louvered windows used for natural
ventilation in a shrine
into it. Therefore, the question is: What is a 'better
place', in physical terms? And that 'better place',
in physical terms, clearly means trying to bring values into environments, buildings and
contexts, which make the quality of life better for future generations than it is today.” (Aga
Khan IV)

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 Thesis Report (Summary): Centre for Celebration of Cultural Heritage
Ali Zain Khuwaja -147700
Now, in this time, the arrival of industries
have brought a drastic change in the
society, the actual value and process
through which these crafts were created
have been lost and while there are lesser
number of built structures that can
demonstrate these techniques, there is a
dire need to revamp the city’s
architectural scape, taking inspiration
from its cultural roots. With the city’s rich
history, Hyderabad possesses the legacy
and capacity to transform and revive the
Figure 1 An old mosque lost heritage. The Cultural Heritage
Centre in Hyderabad is the first step
towards a great change.
THESIS STATEMENT
This thesis is an attempt to study the relationship of Architecture and Crafts in the context of
Hyderabad by addressing the two basic cultural icons of the city: the Ajrak (Block-printed
textiles) and the Manghu (Wind-catcher).
OBJECTIVES
 Building an icon as a representation of city’s Crafting Culture which can either be
achieved by means of technology generated form that contradicts the local context, or
a very simplistic contextual based form which incorporates the principles of
environmental design favoring city’s climatic conditions.
 Building as a Cultural platform to exercise the locally performed events like Urs,
Milaad, Eid Celebrations, Navroz etc. to encourage Pluralism within the diversified
cultural backgrounds.
 To explore the relationship of crafts and architecture in the context of Hyderabad.
 To revive the language and meaning of the wind-catchers.
 Provide the local artisans and craftsmen with an opportunity to train and display their
art works to generate revenues.
RATIONALE
The intent is to make the Hyderabad city as a socio-cultural hub as it was before, in times of
Mohammad Bin Qasim and Kalhora Dynasty. People of the city have adapted the modern
lifestyles and building typologies but have neglected their crafts, their value and beauty. The
native locals’ response to the hot and dry climatic conditions of the city was in the form of
Wind-catcher. Therefore, it is believed that the cultural scape of the city which has begun to
lose itself to the techno-modern era can be revived through this Cultural Heritage Centre. The
Centre would at one end be a contemporary approach to provide the locals with an Icon, yet on
the other, sticking to the local traditions and customs would encourage the locals to explore
their past.
SITE SELECTION
For Cultural Heritage Centre, the site should be at the prime location which is defined by certain
popular landmarks of the city and route networks which defines Centre as the icon for the city.
Following could be other factors which influence your site selection criteria:
 Vehicular access to site

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 Thesis Report (Summary): Centre for Celebration of Cultural Heritage
Ali Zain Khuwaja -147700
 Macro and micro connections from the site to important landmarks
 Climatic conditions of the site
 Existing building typologies within the macro and micro context of the site
 Presence of site features like green areas, water bodies, topography, etc.
 Typology of the vicinity, is it either residential, commercial, or hybrid.
 Typology of the Land (Soil Characteristics, Water levels, slope stability)
SITE LOCATION & ANALYSIS

Figure 5 Site Map (Micro Context)

The site chosen for the Cultural Heritage Centre is located along Hyderabad’s famous road,
Thandi Sarak. Listed below are some of the important aspects taken care of while selecting the
site:
 Node for the commercial center
 Presence of the important landmarks of the city
 Presence of different cultural and ethnic groups
 Views present to the city’s skyline.

Figure 6 Site Longitudinal-Section

Figure 7 Site Cross-Section

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 Thesis Report (Summary): Centre for Celebration of Cultural Heritage
Ali Zain Khuwaja -147700
FEATURES OF VERNACULAR ARCHITECTURE OF HYDERABAD
WIND CATCHERS
Wind catchers also known as Manghu in Sindhi, was one of the key element of architectural
language in Hyderabad. This device was used for the ventilation purposes in the houses.
(Rudofsky) narrates in his book, from April to June the temperature in Hyderabad can exceed
50° C, but the wind always blows from the same direction, so the position of the wind scoops
is fixed. In multi-storeyed houses they reach all the way down, doubling as intramural
telephones. Although the origin of this contraption is unknown, it has been in use for at least
five hundred years. I suppose modern air-conditioners, punched into the buildings’ walls, have
replaced them – but soon afterwards satellite dishes will have taken their place on the roof.

Figure 8 Air Conditioners of Hyderabad, Sindh

COURTYARDS
Another vernacular feature of Hyderabad is the use of courtyards. These courtyards can act as
buffer space between the exterior and interior spaces of the buildings, while on the other side
allow family members of the house to gather in for discussions or in winters to enjoy sunlight
beside a neem tree.
THE STORY OF AJRAK (BLOCK-PRINTED TEXTILE)
Ajrak is derived from an Arabic word “Azrak” meaning “Blue”. It is a cloth of 2.5-3 meters
usually decorated in the tone of indigo and crimson colour and with hints of black and white
dots and borders to emphasis upon the actual flowery geometric motif of the Ajrak. Usually
these Ajrak is commonly used in Sindh as men use it for turban and curled it around the
shoulders while women use as shawls or to create makeshift swings for the children. Beside
this all Sindhis have a very unique association of feelings with Ajrak as in from Cradle to
Grave. Sindhis also wear it regardless of any status barriers on festive occasions like birth,
death, marriage etc.
ORIGIN
Pashtuns have their own identity, Punjab stands at its own specialty, just like that Ajrak is an
essential part of the Sindhi attire but the origin of the Ajrak can be marked out from the ancient
times around 2500 BC – 1500 BC when a statue of King- Priest was quarried from Mohenjo-
Daro which had draped a shawl over his shoulder – adorned with a trefoil pattern (like a three
leafed clover) sprinkled with small circles filled with a red color.
The trefoil signifies three sun-disks glued together to characterize the unity of the gods of the
Sun, water and earth. Since the Ajrak has been used in Sindh for centuries and the block
printing techniques and dyes are all ages-old methods of dying cloth but this symbol is still
used on the Ajrak these days. (LOGIX)

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 Thesis Report (Summary): Centre for Celebration of Cultural Heritage
Ali Zain Khuwaja -147700
COMMON PATTERNS

Figure 9 Patterns of the Ajrak Evolved Geometry

SYNTHESIS & KEY FINDINGS

Cultural heritage centres are institutions which are dictated by almost all spheres of life
whether, it is social, economic or political. Their main aim is to facilitate aspects that can be
associated with the community life.
The Cultural Heritage Centre will act as an inspiration for the local community craftsmen
especially considering the desires of new generation to adopt new design concepts. It will
challenge the existing notion of copying designs from other irrelevant contexts and will provide
the local community an opportunity to ponder over the possibility of innovation within
indigenous architecture. The Centre will support activities related to arts, dance, music,
festivals and social events and community involvement and interaction.
Cultural Heritage Centre will act as Icon for the city and a cross cultural forum to conduct
research and debate over the steps of Harmony. It will not only be the hub of the socio-religious
activities but a mansion of art and crafts representing the Islamic culture and society. The
centre will challenge the pre-conceived notion of the neglecting the site and creating an
alienated structure but rather will incorporate site features like topography and green areas into
landscape and building form complimenting the context. The building will revolve around the
functions associated with Cultural Arts and Crafts, Research facilities and a cross cultural
forum to generate a dialogue with the other communities. Other aspects might include:
 Use of Natural light in spaces as a defining element of space. The controlled use of
fenestrations carved out from the form itself.
 The outside inside relationship of the programs merging site and building form
through intricately morphed landscapes.
 Provision of performance spaces indoor and outdoor so that users interact with the
building spaces as well as outdoor landscape elements.
 The use of local traditional materials with the use of modern technology to improve
their performance and making it durable.
Till now, the conclusions reveal that the city Hyderabad, which was once known for its Wind-
catchers now have vanished its glory under the influence of the modern lifestyle and
globalization. Similarly, the younger generations and ahead needs to cognize the historical
background of the city with reference to the Islamic empires which ruled there.
DESIGN CONCEPT TRANSLATION
The aim of the thesis is to create a relationship between the crafts and architecture in context
of Hyderabad by addressing the two cultural identities of the city; Ajrak (A Block-Printed
Textile) and Manghu (Wind-catcher). Therefore, this thesis focuses on the making of the crafts,
the spaces associated with it and the needs of the craftsmen to create such marvels.

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 Thesis Report (Summary): Centre for Celebration of Cultural Heritage
Ali Zain Khuwaja -147700

Figure 10 Diagram showing the Study of some Ventilation Techniques studied in Context of the City.

The building program have been zoned according to the prevailing wind conditions of the city
and are designed to maximize the ventilation and light within the spaces. The idea is to deal
each program and space as modular unit repeated in a certain manner to create a building
envelope as similar to the block-printed textile where each motif is repeated in a certain way
to generate pattern. The programs are placed with sensitivity catering to the nature of the space
they require and within the proximity of the interlinked programs over the site. The
administration is the core of the building typology therefore placed at the top of the site
alongside with the parking so that users can easily access them. The exhibition spaces or the
gallery spaces are distributed on the side in close proximity to the workshops and performance
spaces so that either of the programs can be knitted together. Indoor and outdoor performance
spaces are the key programs of the site therefore placed near the waterfront for the views. The
craftsmen residences are placed away from the public programs so that they can enjoy their
privacy. In between the spaces are the open spaces and courtyards with are the stimulus for the
social activities and public gatherings. These courtyards are also provided to cater the wind
flow within the interior spaces. The users can use the courtyards to display their works, to sit
in the shade and for the social activity or event gatherings.

Figure 11 The Diagram above describes the inter-relationship of Block printing and Architecture

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 Thesis Report (Summary): Centre for Celebration of Cultural Heritage
Ali Zain Khuwaja -147700

Figure 12 Translation of Above Mentioned Relation of Block-Printing and the Architectural Spaces.

The wind flow in the building typology is made effective by using the site topography and
surrounding context. The building masses are somewhere sunken in the ground to keep the
internal space comfortable for the users while somewhere they are dealt as wind towers.
Minimal site interventions are done so that the building does not look alienated in the context
and to ensure the ownership of the local users. Site topography and vegetation are important as
well therefore, building programs are morphed to cater the vegetation within them. The thermal
mass of the building is increased to deal with the hot and dry climate of the city as it is used in
the interior rural areas of Sindh.

Figure 13 A Conceptual Elevation showing the Use of Wind-catchers as Icon and Ventilation Technique

CONCLUSIONS
In designing spaces within a strong historical context, it is important to investigate the culture
within which the architecture is being proposed. It is important to understand the needs of the
people whom the design is to cater for and to provide a compatible and an appropriate
architectural solution.
It is crucial here to define what kind of architecture is going to become a part of this culture. If
it is an architectural language that is adopted from another context then it might generate an
alienated structure for the locals within that context. On the contrary, if traditional architecture
of the area is strictly followed, it would allow the upcoming generations to continue to replicate
the same design rather than innovating over time. If the aspirations and needs of the local
community and users are fulfilled and a balance is created between the local cultural aspect
and the site itself, then it is an architecture that evolves over time with the changing needs of
the craftsmen and provide an opportunity to the city to celebrate this Cultural Centre as an Icon.
Further on, adding to the sensitivity of this cultural context particularly when the intervention is
closely linked with the local community, such as a cultural centre is, it becomes a prime
consideration to address the unique potentials of this region in the design and to bring together

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 Thesis Report (Summary): Centre for Celebration of Cultural Heritage
Ali Zain Khuwaja -147700
every class of the community and along with them the outsiders to strengthen the sense of
ownership and to develop the explicit character of the building.
The craftsmanship here is more dependent on the open informal atmospheres and the
intermixing of the space. Therefore the use of negative and positive space becomes a
meaningful nodal point which would aim to provide a platform to the artisans’ expression and
encourage the formation of new ties, in the hope of reformation of a strong community spirit.
The character of the building (Cultural Centre) cannot afford to be alienated from its context
since the identification of its character is dependent on how it fits in its neighbourhood and
how it relates to important landmarks in its surroundings. The users of the community must
accept and embrace this character through their participation. And this is only possible when
the design strikes a balance between who it is to cater for and what they aspire to be.

References
Aga Khan IV, His Highness. Interview with His Highness the Aga Khan Robert Ivy. 31 August 2001.
LOGIX, MAVEN. House of Pakistan - A JOURNEY TOWARDS A POSITIVE HOMELAND…. 30
September 2013. <http://www.houseofpakistan.com/the-story-of-ajrak-history-and-making/>.
Rudofsky, Bernard. Architecture without Architects. New York: DoubleDay & Comapany Inc., n.d.
Talpur, Mir Atta Muhammad. “The Vanishing Glory of Hyderabad (Sindh, Pakistan).” (2007): 19.
www.webjournal.unior.it/dati/19/72/web%20journal%203,%20hyderabad.pdf.

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