Chinhat Pottery-Satrikh Village

DISSERTATION REPORT
ON
CHINHAT POTTERY - SATRIKH VILLAGE
Submitted in partial fulfilment of the
Requirement for the award of degree of
Bachelor of Architecture
Submitted by
RISHABH SRIVASTAVA
Guided by
Ar. Iqtedar Alam
Ar. Mansi Bedi
FACULTY OF ARCHITECTURE & EKISTICS

JAMIA MILLIA ISLAMIA
NEW DELHI-110025
2018-19
Faculty of Architecture & Ekistics,
Jamia Millia Islamia, New Delhi
Certificate
In the partial fulfilment of the B.Arch degree program, this is to certify that RISHABH
SRIVASTAVA has worked on the Dissertation Report entitled CHINHAT POTTERY -
SATRIKH VILLAGE under our guidance and supervision.
Ar. Iqtedar Alam Prof. Hina Zia

Dissertation Guide Dean
Ar.Mansi Bedi Prof. S.M. Akhtar

Dissertation Guide Head of Department
External Examiner(s)
Declaration
I, RISHABH SRIVASTAVA, hereby declare that the Dissertation entitled CHINHAT

POTTERY - SATRIKH VILLAGE submitted in the partial fulfilment of the requirement for
the award of the degree of Bachelor of Architecture is my original research work and that
the information taken from secondary sources is given due citations and references.
CHINHAT POTTERY-SATRIKH VILLAGE
Roll. No: 15BAT0062
Date: B.Arch. 4th Year Day
Place: New Delhi 2018-19

Acknowledgement
First of all I would like to thank the Almighty for giving me the strength to able to
complete my work in the best possible ways.
Secondly, I would like to thank my teacher and my dissertation guide Ar. Iqtedar Alam
without whose help it would have been impossible for me to undertake this project
and finish this report on time. I thank him for all his remarks that helped me to improve
my work.
I would like to express my gratitude to all those who gave me possibility to complete
this project. I want to thank the department Architecture and Ekistics (JMI) for giving
me permission to commence to this project in this first instant, to do the necessary
work and to use departmental data and Prachi Sharma, former classmate for support
at each stage of the work.
Lastly, but most importantly, a special gratitude needs to be extended towards the
people of Chinhat, Satrikh, and other neighbouring villages for allowing me to carry
out my research and helping me with personal insights and information, without
which this report would not have reached its mark.
RISHABH SRIVASTAVA
B.ARCH 4th YEAR

CHINHAT POTTERY - SATRIKH VILLAGE B. ARCH 4TH YEAR, 2018-19
LIST OF FIGURES
Figure 1 The potter with his art .................................................................................................................... 6
Figure 2 Display of work on streets .............................................................................................................. 7
Figure 3 Typical display for selling in Lucknow on Faizabad road................................................................. 7
Figure 4 View of the street from one end................................................................................................... 11
Figure 5View of the street from the main node ......................................................................................... 11
Figure 6 Indira dam in between the spine .................................................................................................. 12
Figure 7 various Brick kilns on the spine ..................................................................................................... 13
Figure 8 The potter’s side of the street ...................................................................................................... 15
Figure 9 Members of a single family ........................................................................................................... 15
Figure 11 Section of the house and the shop in front ................................................................................ 16
Figure 16 The kiln outside the house .......................................................................................................... 16
Figure 12 The commercial side of the street .............................................................................................. 16
Figure 13 section of the drain often used for bathing ................................................................................ 17
Figure 14 Section of the other street attached to the potter's street ........................................................ 17
Figure 15 The enclosure formed by the extensions on the street .............................................................. 17
Figure 17 Small water bodies ...................................................................................................................... 18
Figure 18 Potters displaying work for sale on streets................................................................................. 18
Figure 19 Streets used for drying purposes ................................................................................................ 21
Figure 20Burning process carried outside homes ...................................................................................... 21
Figure 21Rise in the level by .45 meters ..................................................................................................... 22
Figure 22 Verandah used for work ............................................................................................................. 22
Figure 23 Veil used for privacy .................................................................................................................... 22
Figure 24 Lobby after the verandah............................................................................................................ 23
Figure 25 Upper Lobby used as sleeping space at night ............................................................................. 23
Figure 26Staircase leading to the first floor................................................................................................ 23
Figure 27 Front balcony for pottery ............................................................................................................ 24
Figure 28 A balcony created at the back for household purposes ............................................................. 24
Figure 29Use of the streets to keep raw material ...................................................................................... 24
Figure 30 Other side used for Drying purposes .......................................................................................... 24
Figure 31 Kilns made outside the houses facing street .............................................................................. 25
Figure 32 Men meet at this point to rest .................................................................................................... 25
Figure 33 Children spending their time outside the houses ....................................................................... 26
Figure 34 Dialogic spaces outside houses ................................................................................................... 26
Figure 35Streets used for occupation ......................................................................................................... 27
Figure 36 Kids also involved in the work..................................................................................................... 27
Figure 37 other occupation practiced by the potters ................................................................................. 32
FACULTY OF ARCHITECTURE AND EKISTICS |JAMIA MILLIA ISLAMIA I

Figure 38 Working space of the houses ...................................................................................................... 32

Figure 39Selling points on the 18 Km spine ................................................................................................ 33
Figure 40The street ..................................................................................................................................... 33
Figure 41 Working spaces outside the houses in Nandpura....................................................................... 33
Figure 42 Resting spaces ............................................................................................................................. 33
Figure 43Main entrance .............................................................................................................................. 33
Figure 44 Plots used for working ................................................................................................................ 33
Figure 45 The working street ...................................................................................................................... 34
Figure 46 Typical layout of the units funded by the government .............................................................. 34
FACULTY OF ARCHITECTURE AND EKISTICS |JAMIA MILLIA ISLAMIA II

CERTIFICATE
DECLARATION
ACKNOWLEDGEMENT
LIST OF FIGURES AND ILLUSTRATIONS
Contents
1. INTRODUCTION ..................................................................................................................................... 6
1.1 HABITAT OVERVIEW...................................................................................................................... 6
1.2 INTRODUCTION TO CHINHAT POTTERY ........................................................................................ 6
1.3. LITERATURE REVIEW ..................................................................................................................... 7
1.3 THE VILLAGE – SATRIKH .............................................................................................................. 11
1.3.1. BASELINE PROFILE OF SATRIKH VILLAGE............................................................................. 12
1.3.2. HISTORY............................................................................................................................... 12
1.3.3. REGIONAL SETTINGS OF SATRIKH VILLAGE AND ITS CONNECTIVITY WITH NEARBY TOWNS
12
1.3.4. VILLAGE AND ITS GROWTH ................................................................................................. 13
1.3.4.1. STREET PROFILE-SATRIKH MARG ................................................................................ 14
1.3.4.2. DEMOGRAPHICS (SATRIKH VILLAGE) .......................................................................... 14
1.3.4.3. GROWTH OF POPULATION.......................................................................................... 14
1.3.4.4. SEX RATIO-FEMALES PER 1000 MALES ....................................................................... 14
1.3.4.5. LITERACY ..................................................................................................................... 14
1.3.4.6. WORKERS PROFILE ...................................................................................................... 14
1.3.4.7. DEMOGRAPHICS OF THE STREET COVERED ................................................................ 15
1.3.4.8. LITERACY ..................................................................................................................... 17
1.3.4.9. SEX RATIO .................................................................................................................... 17
1.3.4.10. PHYSICAL AND GEOGRAPHICAL CHARACTERISTICS .................................................... 18
1.3.4.11. LAND USE .................................................................................................................... 18
2. MORPHOLOGICAL ASSESSMENT ......................................................................................................... 20
2.1. DEFINITION.................................................................................................................................. 20
2.2. FACTORS DETERMINING THE FORM OF THE VILLAGE ................................................................ 20
2.2.1. PHYSICAL PATTERN ............................................................................................................. 20
FACULTY OF ARCHITECTURE AND EKISTICS |JAMIA MILLIA ISLAMIA III

2.2.1.1. MACRO ........................................................................................................................ 20

2.2.1.1.1. STREET LAYOUT........................................................................................................ 21
2.2.1.1.2. WATER BODIES......................................................................................................... 21
2.2.1.2. MICRO ......................................................................................................................... 21
2.2.1.2.1. INTERIOR SPACES OF THE HOUSE ............................................................................ 22
2.2.1.2.2. STRUCTURAL LAYOUT OF THE DWELLING UNITS .................................................... 24
2.2.2. SOCIAL PATTERN ................................................................................................................. 25
2.2.2.1. CONGREGATIONAL SPACES......................................................................................... 25
2.2.2.2. GENDERED SPACES...................................................................................................... 26
2.2.2.3. GENERATIONAL SPACES AND ACTIVITIES ................................................................... 26
2.2.2.4. DIALOGIC SPACES ........................................................................................................ 26
2.2.2.5. OCCUPATIONAL SPACES.............................................................................................. 27
3. INFRASTRUCTURAL ASSESSMENT ....................................................................................................... 28
3.1. PHYSICAL ASPECTS ...................................................................................................................... 28
3.1.1. STATIONARY ELEMENTS ...................................................................................................... 28
3.1.2. MOBILE ELEMENTS.............................................................................................................. 28
3.2. SOCIAL ASPECTS .......................................................................................................................... 29
4. SOCIAL IMPACT ASSESSMENT ............................................................................................................. 30
4.1. HISTORICAL OVERVIEW............................................................................................................... 30
4.2. CURRENT SCENARIO.................................................................................................................... 30
5. ECONOMIC IMPACT ASSESSMENT ...................................................................................................... 31
6. COMPARATIVE ANALYSIS TO OTHER SUCH HABITAT ......................................................................... 32
6.1 NANDPURA ....................................................................................................................................... 32
6.2 SHEIKH SARAI .................................................................................................................................... 33
6.3 SIKANDARPUR ................................................................................................................................... 34
7. CONCLUSION ....................................................................................................................................... 35
8. BIBLIOGRAPHY .................................................................................................................................... 36
FACULTY OF ARCHITECTURE AND EKISTICS |JAMIA MILLIA ISLAMIA IV

FACULTY OF ARCHITECTURE AND EKISTICS |JAMIA MILLIA ISLAMIA V

1. INTRODUCTION
The dissertation on Chinhat pottery deals with the habitat of the people involved in the art and
how the lives of these people are interrelated to each other and their shells, not only socially but
considering various aspects of one’s life from individual level to a complete habitat formed by
each individual.
Figure 1 The potter with his art
1.1 HABITAT OVERVIEW

Habitat means a person’s usual or preferred surroundings. The term, derived from the word “habit”
is self-explanatory, covering each and every part of an individual’s life. But any individual cannot
live in segregation since man, by nature is a social animal. This considers not only the relation of
a person with the other, the society, no matter how small in scale, taking cases of rural or any
such settlement, or any urban settlement in which small sectors combine and contribute in the
functioning of the settlement.
In this segment, the habitat of a small scale is covered which is totally dependent on each and
every person of the circle, their activities, their relation with the activities of the other individual,
their response to the naturally present factors, their input all together to completely form and run
the habitat of the place with major contribution to the occupation that serves them.
1.2 INTRODUCTION TO CHINHAT POTTERY

Chinhat, a well-developed village on the outskirts of the capital of Uttar Pradesh, Lucknow, is
famous for the art of pottery pre-independence era. The potters, involved not only in making but
FACULTY OF ARCHITECTURE AND EKISTICS |JAMIA MILLIA ISLAMIA 6

also exporting to different cities have been into this occupation from generations, creating a hub
of expertise in the art, altogether forming the Chinhat Pottery.
Expansion and development of the capital have led to the encroachment into the lives of the
potters working here, leaving it majorly as the selling point rather than the production of the art.
Though the art is losing its essence from Chinhat, it is still carried out in many villages in the
vicinity of Lucknow. Some of the villages still continuing the practice are Satrikh, Nandpura,
Sheikh Sarai, Kamar Pur and Sikandar Pur.
Figure 3 Typical display for selling in Lucknow on Faizabad Figure 2 Display of work on streets
road
Satrikh, a village, a habitation which serves itself with the art has continued to explore the skills
of pottery from generations and promises to carry it further. The further study is based on the
habitat of a single street in Satrikh village which involves each individual ranging from men,
women as well as children to form a shell complete in itself.
1.3. LITERATURE REVIEW

The review gives an account of the story of the rise and fall of a habitat that is limited not only to
itself but caters to many such habitats of all scales. The art may have come to decline but still
serves many involved in its own way.
DAINIK JAGRAN (Hindi)
“कभी चिनहट पॉटरी के नाम से थी मशहूर, आज गुम हो गई इसकी खनक” - Jitendra Upadhyay
Jitendra Upadhyay has beautifully described in the article about Chinhat Pottery, how Chinhat
craves for what it owned over a long period of time. Chinhat exclaims “Where is thy glory, where
is the reverence now”, and is asking itself and from the people how the art has diminished over
the period. Every time, the government changes, there is a new hope and a wait that the art will
flourish again which was earlier seen in the walls of each and every house. The image of the old
times is fading away, how the utensils were made with hands and processed in kilns making each

and every drop of sweat of the potters worth. Chinhat stood in pride with the praises of people,
not only from India but people all across the world. Chinhat had become a major hub of the art
after Khurja. Then the start of the downfall could be seen from 1970 when only a habitat of 400
potters was left, feeding themselves and their family with their skill in the art. The smoke from the
kilns vanished away and in late 1997, when the government raised the rates of the raw material
and dropped the rates of the finished products, the life of the potters came to a standstill.
The article concludes with a positive note on how actions have been taken by various
organizations to revive the art which has lost its path. Pottery trader, Amitabh Banerjee, has
written a letter describing the whole scenario to our respected prime minister Mr Narendra Modi
and the chief minister of Uttar Pradesh, Mr Adityanath Yogi.1
ALL INDIA (daily hunt)
“Lucknow's famous Chinhat pottery fades into oblivion”
"We still have some pottery left with us and occasionally, some customers come asking for it"
As Raghu Prajapati says this, he nostalgically narrates the whole story. In its golden days, the
production hub used to be buzzing with activity as over 11 units produced glazed terracotta pottery
in a range of bright, attractive colours. The potter’s wheels churned out saucers, bowls, vases,
decorative items and people flocked to buy them. Plates and bowls shaped like fruits and flowers
were among the fastest selling items in Chinhat pottery.
As he points out, the art had always been responsible for its own survival, with no help from the
government. he Chinhat pottery industry survived on its own and the government did not help us
in marketing and sales. The sole government unit was started in 1957 but since it came to be
seen as a loss-making industry, it was shut down in 1997. The government did not make any
efforts to revive it, or to help with the marketing and sales. The village, the art, and the artists were
again on their own. The advent of strong and more self-sufficient competitors like Khurja pottery
further reduced their market. People also starting drifting away from handcrafted pottery to
unbreakable and cheap alternatives like melamine. These words of Raghu, whose four
generations have worked on the art describes the reason for the downfall of Chinhat pottery.
Ram Kumar has a similar story. His family had been involved in the art for many generations, and
kept improvising with time. They took inspiration from what’s selling in the market, and kept
tweaking the shapes and designs according to their customers’ feedbacks. Even the women
would dedicatedly be a part of the process, making new designs and helping with the painting.
The art, changing and evolving through time, never lacked the skill or passion to keep going
through tough times till it started getting more and more difficult to sustain the entire village by
itself. What could have flourished with a little support from the government, is now struggling to
survive. As Ram Kumar remembers, his family, especially the elders, are still attached to the craft
1
https://www.jagran.com/uttar-pradesh/lucknow-city-special-story-on-pottery-technologycentre-at-chinhat-17784692.html

but due to these financial constraints, he and his cousins had to take up regular jobs. He works
as a driver now, and is just one of many similar stories of the village.
Sarvesh Kumar remembers Chinhat, a small village on the Lucknow-Barabanki road, when it was
once used to be thronged by visitors from around the world. The shopkeepers welcomed them
with open arms and endlessly cared for the guests who had travelled so far just to check out their
pottery. He still continues this business, although at a significantly smaller scale.
Thus we see how the habitat of these individuals is changing which earlier was entirely dependent
on a single occupation. The correlation of each house whose people were involved has become
weak which existed as a habitat. Each house forming a cluster and each cluster dependent on
not only the units in it but also on the other cluster once functioned as a whole but is now left only
on individuality.
Lucknow, like any other major city of India, is expanding, sadly enveloping Chinhat in tall buildings,
flyovers, and industries, gradually making it forgettable and almost hidden from sight.
The start-up scheme gave new hopes to the village, as explained by Amitabh Banerjee, one of
the best-known traders of the pottery at one time. He, along with other artists and dealers, sent a
letter to the Prime Minister’s Office proposing to revive the industry as a startup. They are also
hopeful of getting some help from MSME. Apart from this, they have also written to the Uttar
Pradesh Chief Minister, Yogi Adityanath, proposing the inclusion of CHinhat under ‘One District,
One Product’ scheme.2
HINDUSTAN TIMES (Lucknow)
“Once the city’s identity, the famed pottery units have been closed for two decades now and
potters have lost hopes of an upswing.”
“The units that once produced colourful bowls and vases are silent now.”
The article briefs how the erstwhile ceramic pottery hub is just left as an ‘industrial hub’, with
nothing but abandoned ceramic mills, kilns and chimneys. Barring two partially open pottery mills
that have switched to terracotta ware, most of the units closed down almost a decade back.
Not only the potters there but also the people involved in other occupation living in the surrounding
areas have lost their hopes of the revival of the art the way it was and exclaim how the streets
have become ‘silent’. The major reason for the fall of the art is due to the acts of the government
as explained earlier. The identity of the state capital has fallen into the apathy of the government.
“We have lost all our hopes now. I don’t think that I will see Chinhat pottery revival in the remaining
years of my life. But I can proudly say that I witnessed those golden days when English buyers
queued up before us to buy our pottery that was rare in those days,” said Sunil Singh, himself a
potter in Chinhat.
2
https://www.asianage.com/india/all-india/280418/lucknows-famous-chinhat-potteryfades-into-oblivion.html

The entire case has been summed up in the article. The story of the rise and fall of Chinhat pottery
goes back to 1952 when State Planning Research and Action Institute began setting up pottery
units in Chinhat to provide livelihood and stability to thousands of potters who lived there.
Amitabh Banerjee, 72, who owns ‘Banerjee Brothers Clayworks’, the factory that is still partially
operational, said it was the most appreciable attempt to provide livelihood to thousands of
families. Amitabh has taken many steps to help the potters left by conveying his words to the
government.
“Until then, the potters were into terracotta pottery making. But they didn’t take any longer to
switch over to white clay pottery making, as it was more reliable and profitable. And it was so
profitable that the white clay ware used to sell even before going to the kiln,” he recollected.
Banerjee said it was the foolproof industrial model that led to the popularity of Chinhat pottery.
Around 12 ceramic pottery mills were set up here. “The entire industrial set up was done into two
parts. One part comprised a central unit and the other parts comprised the decentralised unit set-
up. The central part used to ensure clay processing and continuous availability of raw material to
the decentralised units. On the other hand, the decentralized units were responsible for churning
out finished ceramic ware,” he added.
The words of Amitabh clearly demonstrate how a healthy habitat was set up with efficient planning
to serve not only the buyers but also satisfy each and every member involved in the skill. The
habitat could not last till date. The decline of the pottery industry began soon after it was handed
over to Uttar Pradesh Small Scale Industries Corporation (UPSIC) in 1970.“That was the very first
year of its decline because soon after UPSIC increased the rate of the raw material that
immediately affect the price of the finished product and resulted in poor sales,” Banerjee added.
Many potters took initiative after the decline to revive what is lost. ‘One District One Product’
scheme proposed by Sukhram Kumar was also not entertained by the government. It had a basic
approach of creating small habitats according to districts and connecting all the districts, with the
necessities, which the other districts would cater considering raw material, transport link, buyers
and all the important aspects required to completely form a habitat.3
Thus, all the articles convey only one thought, how a full-fledged habitat which once was at its
peak has come down, but not forgotten and there are people who still continue this art to fulfil
their basic needs.
3 https://www.pressreader.com/india/hindustan-times-lucknow/20181028/281573766689141

1.3 THE VILLAGE – SATRIKH
The further study includes a brief discussion about the village Satrikh with a detailed analysis of
the habitat of a single street based on the occupation of pottery.
Figure 5View of the street from the main node Figure 4 View of the street from one end

1.3.1. BASELINE PROFILE OF SATRIKH VILLAGE

Satrikh, also known as Sulaimanabad, after the name of Saiyed Salar Sulaiman the nephew of
Ghazi Saiyed Salar Dawood, is a well-developed village with all the amenities within itself. The
village is self-catering and is famous for the art of pottery.
1.3.2. HISTORY
Satrikh has interestingly been a part of two important eras, one of them being the Ramayana and
the other related to the Nawabs during 1030 AD.
Ramayan Era
It is said that in ancient times it was part of the kingdom ruled by Suryavanshi kings, whose capital
was Ayodhya. King Dashrath and his famous son, Ram were of this dynasty. Guru Vashisht was
their Kulguru, and he preached and taught the young royal princes of the dynasty at Satrikh,
initially known as Saptrishi.
Nawabs of Awadh Era
The Muslims had made their first settlement at Satrikh, in 421 AD / 1030 AD during the invasion
of father-son duo Ghazi Saiyed Salar Masood and Ghazi Saiyed Salar Masood in 1031–1033
The battle in which Bhar chief Sohil Deo (or Sohel Dal) of Sahet-Mahet a small northern kingdom
(he was the conqueror of Ghazi Saiyed Salar Masood was subverted by Sri Chandradeo, the
Rathor monarch of Kannauj was fought in Satrikh village.
1.3.3. REGIONAL SETTINGS OF SATRIKH VILLAGE AND ITS CONNECTIVITY

WITH NEARBY TOWNS
The village is located 10 KM towards South from District headquarters Barabanki. 6 KM from
Harakh. 30 KM from State capital Lucknow. It comes under Satrikh Dehat Panchayath and
belongs to Faizabad Division.
Satrikh which comes in between the border of

the Lucknow and Barabanki district is easily
accessible from Chinhat which is the hub of the
selling point of the pottery. The connectivity
between the occupation-based habitat of
Satrikh, dealing with pottery, is well defined.
The main spine, Satrikh road, 18 kilometres
long connects the Vidhayak Chauraha of the
Chinhat to the village Satrikh with other villages
that practice pottery.Nand Pura village located
at 16 Kilometers towards Chinhat from Satrikh
is also known for pottery, along with Sheikh
Sarai and Kamar Pur located on the spine.
Figure 6 Indira dam in between the spine

The spine is a busy road at some points with

various brick kilns under the government covering
a stretch of 10 kilometres in between. These brick
kilns are government funded with small houses for
the labours within the factories. Various
discussions from the locals, living along the villages
attached to the spine, helped in gaining knowledge
about the brick kilns, the habitat they have and how
they manage their household necessities with their
involvement in the brick kilns.
Figure 7 various Brick kilns on the spine
Moving over to the pottery, the location of Satrikh
plays a vital role in the selling perspective of the finished product. The products are not only sold
in Satrikh and Chinhat but throughout the spine at regular intervals. Some major locations even
include Gomti Nagar of Lucknow along with Indira Nagar, Aliganj and Aminabad.
Another important landmark on the spine is the Indira Dam, a major recreational area for the
citizens of Lucknow. The dam serves as an important node from the seller's point of view and a
major junction for the people travelling from Chinhat to Satrik.
The mode of travel for the people from Chinhat to Satrik is mainly auto rickshaw(Vikram in local
language) as well as tractors which even serve the transportation of the pottery based materials
in bulk ranging from raw materials to finished goods. The potters of the Satrik village are well
connected to the potters in the other villages along the spine.
1.3.4. VILLAGE AND ITS GROWTH

The village primarily consists of six ponds about which the village grew. Out of the six ponds four
are located on the outskirts of the village while the other two are within the settlement. The
evolution of the village started around two ponds, one completely surrounded by settlement and
the other large pond consist of settlements only on one side. The street which still continues the
art of pottery is dependent on these two lakes since they contribute in the provision of raw material
like mud. As stated by the potters, the village developed with good pace in recent years. The
evolution of the village took place in phases. Initially, the potters occupied a major area towards
the northeast part of the village from the centre along with the mosque Chaudrane Wali Masjid.
The main focus majorly was on the occupation of pottery.The potters, since Muslim dominated,
had only one mosque about which the development took place gradually.
The settlement later started on the south-west part of the village along with two more mosques
namely, Bazar Waali Masjid and Masjid Rafi and temples, namely. Shri Hanuman Virajman and
Shera Vaali Mata Mandir.
Thus we see that the growth pattern of the village is based on occupation as well as religion. Both
these aspects had an important mark on the growth of the village. The evolution may have
hindered the art of pottery in many ways along with the government policies, but there are few
houses, with which the settlement of the entire village started, still practice the art for livelihood,
continuing what had been handed over to them from their forefathers.

1.3.4.1.STREET PROFILE-SATRIKH MARG

The focal point of the village, as well as the study, is on the small stretch of the Satrikh Marg
where there are 9 houses occupied only by two families still continuing the art, from generations
when the village had not been much developed.
1.3.4.2.DEMOGRAPHICS (SATRIKH VILLAGE)
The village houses 1336 people in 218 households, with an average of 6 people in one family. Of
this total population, 708 (53%) are males and the 628 (47%) are females. Only 2% of the village
population belongs to scheduled case, the others being from general caste. 16% of the total
population are children below the age of six, with 56% boys and 44% girls.
1.3.4.3.GROWTH OF POPULATION
The population of the village has grown by 22.1% in the last decade, from 1094 in the 2001
census. A healthy growth is seen in the sex ratio, with female population growing by 27.4% as
compared to only 17.8% growth in the population of males. Population of children, however, has
decreased by 11.1% since the last census.
1.3.4.4.SEX RATIO-FEMALES PER 1000 MALES

According to 2011 census, the sex ratio of females per male in the village was 887:1000. This
ratio for general caste is 886 and much higher for scheduled class at 933. For children under the
age of six, this ratio is 802. While the overall ratio has increased by 67 in the decade, it has
reduced by 67 girls per 1000 boys under the age of six.
1.3.4.5.LITERACY
According to 2011 statistics of the village, 738 people out of the total population are literate.
Literacy rate for men is 78% and for women is 52%, while for children it is 65%. The literacy rate
for males has decreased by 1% whereas it has increased for females by 18%, with the overall
rate increasing by 7%.
1.3.4.6.WORKERS PROFILE
Satrikh has 468 people (35%) working in main or marginal jobs. 47% of the male population is
working, of which 39% are full-time workers. 21% of female population is working, of which only
2% are full-time workers.

1.3.4.7.DEMOGRAPHICS OF THE STREET COVERED
Figure 8 The potter’s side of the street
The 5-meter wide street is doubly loaded and consists of a combination of 9 houses on one side
and 11 shops on the other. The 9 houses do not go individually, they all together form a habitat
based on activities and the style of living of each individual of the family. These houses are
occupied by 2 families as told by Chand Babu, the head of the pottery work in Satrikh. The houses
are divided in a manner that 4 of them belong to one family and the other 5 belong to the other
family, both involved in the same practice of pottery.
These houses
on an average
have 4
members
including
children with a
total of 36
members on the
street. These
were the initial
houses built by
the potter's
community and
have been
further modified
accordingly.
Both men and
women are
working, some
Figure 9 Members of a single family involved in
selling while the
remaining involved in making. The children play an important role too in the work after school
hours.

The other side of the street is commercial as well as used by potters. The shops are mainly
general stores and hardware.
Figure 12 The commercial side of the street
Figure 10 Section of the house and the shop in front
Figure 11 The kiln outside the house

Figure 15 The enclosure formed by the extensions on the street
Figure 14 Section of the other street attached to the potter's street
Figure 13 section of the drain often used for bathing
1.3.4.8.LITERACY
The literacy rate on the street is low because of the involvement of each member on the art. The
children go to schools but very few have completed their education. Those who have completed
their education are also later involved in the practice, some in making, some selling while the
remaining in transport.
1.3.4.9.SEX RATIO
The sex ratio on the street is approximately 1:1. For every 10 men, there are 9 females. While the
children ratio is of boys to girls is 5:1.

1.3.4.10. PHYSICAL AND GEOGRAPHICAL CHARACTERISTICS

The village is flat land with an average elevation
of 111 meters. The most important initial factors
for all the villages settled along the spine
(Satrikh road from Chinhat to Satrikh) have
been water body. The habitat of each village
has taken around or nearby the water bodies.
So is the case for Satrikh. As mentioned earlier,
there are six water bodies in and around Satrikh
village. These water bodies not only serve
water for daily basic needs but also an
important source of raw material for the potters
on the covered street. The water body help to
fetch mud, the primary raw material for pottery
which is later transformed into beautiful
artwork. Figure 16 Small water bodies
The village is surrounded completely by farmlands covering a radius of 4 kilometres. There are
few settlements in the radius but the major focus has been on the farms.
1.3.4.11. LAND USE

The occupation (pottery)
based street of the village
comprises less than 5% of
land used in the village with
time which was initially the
major part of the settlement.
The habitat associated with
pottery may occupy less
coverage but still has been
an important factor for the
income associated. Satrikh,
which has primarily been a
religion-based village had its
start with various mosque
and later with temples. The
other areas of interest have Figure 17 Potters displaying work for sale on streets
been various lakes and
ponds in the village which have resulted in the zoning of the residential areas near the water
bodies. Since the water bodies are spread evenly all around the village so residential units have
been spread all around. The village does not comprise of any specific commercial or recreational
zones. The shops are spread all along the main spine of the village which includes the residence
on the upper floors.
It can be seen from the plan that according to the current scenario, all the corners of the village
have been left as greens which are related to the farmlands surrounding the village. The growth
pattern of the village represents the spread of the residential block outwards and replacing the

greens with built. The spread is limited to Dargah Hazrat Sayyad Salaar Sahu Ghazi on the east,
Shree Sapteshwar Mahadev Temple on the west and TRC law college on the north.
The educational institutions are mainly schools and madarsa within the village and TRC law
college 300 meters north of the village.

2. MORPHOLOGICAL ASSESSMENT
This segment deals with the manner and the flow that any habitat attained to become what it is
today. In a way, the evolution of any habitat from a unit to become a complete shell in itself.
2.1. DEFINITION
Morphology is the study dealing with the activities of one and the outcome of these that gave rise
to a certain aesthetic, the influences of which are usually cultural or philosophical in origin. It
represents how a habitat came to existence and continued to do so leading to a system which is
more complete than the previous stage.
2.2. FACTORS DETERMINING THE FORM OF THE VILLAGE
“It is interesting sometimes to stop and think and wonder what the place you are currently at used
to be like in times past, who walked there, who worked there and what the walls have seen.”
- PATRICK GEDDES
These words in few lines sum up the case even for Satrikh. The village may not be have been
planned in some orderly fashion, but the way it evolved speaks a lot. The roots of the village, the
potters who have been working on the ground since generations built a suitable environment. The
potter's community started a habitat with limited sources like water. Water bodies in the village
play a vital role for the villagers at even present time. The evolution started with a single street
near the water body to fulfil the basic needs of life and then later became a boon for the potters
settled, providing them with the most important component, mud which is later shaped into the
art. The village has six major ponds. The settlement agglomerated around two lakes and thus
started the layering of the habitat. This is the first principle according to Doxiadis about how a
“man's potential contacts with the elements of nature (such as water and trees) and with other
people”.
The next approach of a man after maximization of his potential is “minimization of the effort
required for the achievement of man's actual and potential contacts”. The villagers who started
using each and every means they had for a livelihood began to explore and exploit the other
resources. The birth of a complete habitat begun and religious steps took place with the
construction of mosque and temples. The area of habitat remained compact but accomplished.
When Satrikh became known for a well-settled habitat, more people flocked into the village and
the settlement started to spread in all directions.
2.2.1. PHYSICAL PATTERN

The morphology of the village can be sub-categorised into micro and macro.
2.2.1.1. MACRO
This portion of the study defines how the occupation-based street functions in a current manner
on a larger scale related to the street layout, the island formed along the spine and its distance
with respect to the water bodies present.

2.2.1.1.1. STREET LAYOUT

The initial road, Satrikh road which acts as the spine of the village later subdivided into tertiary
roads and streets. These subdivisions comprise the residential units while the spine is
commercially active. On the spine lies the island. The spine facing side of the triangle deals with
the occupation.
ANALYSIS OF THE STREET LAYOUT

• The spine acts as an exhibition as well as workspace for the visitors and the potters
respectively. All the 9 houses are exclusive in nature, facing the main road. This is an
important factor for the potters since they have no restriction of space on the sides of the
streets. The potters use these spaces for the drying and burning of the shaped mud.
• The street also serves as selling points to the potters. Once space is utilized for the
making, it automatically becomes a display for the buyers.
2.2.1.1.2. WATER BODIES

There are a total of 6 water bodies, the
largest covering a stretch of 200
meters, while the others covering a
maximum of 75 meters. These water
bodies are minimum 300 meters away
from the street currently practicing
pottery. The initial pottery business
was around the water bodies but due
to a downfall in the art, the potters who
were involved in the art no longer
continue it.
Figure 18 Streets used for drying purposes
ANALYSIS OF THE WATER BODIES

Water bodies still serve as a source of
raw material for the potters. Since they
are at a distance from the current
practicing houses, it has caused some
problems like the transportation of raw
material and the cost involved in it. The
raw material which could be easily
accessible for the potters is now
involving an economic disbalance. It
can no longer be carried in small
quantity and resulting in the waste of
energy of the transporters due to
distance.
Figure 19Burning process carried outside homes
2.2.1.2. MICRO
This segment deals with the intricate details on a smaller scale which has an impact on the art
of pottery with relevance to the interior spaces of houses, their placement with respect to each
other and the manner they function.

2.2.1.2.1. INTERIOR SPACES OF THE HOUSE

The internal spaces of each house are compacted in such a way that any type of intrusion is
avoided among occupants for the “optimization of man's protective space”.
Each unit has been strategically raised at

a height of 0.45 meters leading to a
verandah. The main reason told by the
potters is to maintain enough distance of
the ground floor from the drain that flows
along the entire length. The verandah is a
semi-private space which is used by the
potters. It is used by the family during the
day time for occupational based activities.
It also plays an important role in the
storage of the finished goods. A small
niche on the floor of the verandah is
provided for washing purpose. The
projection in front of the verandah is often Figure 20Rise in the level by .45 meters
used as a dialogic space by the
inhabitants. It also provides a platform for
exhibiting and drying of pottery. Some of
the dwelling units have a small kiln, locally
called Batthi for burning and drying of the
pots.
This is the typical entry for the dwelling unit

with varied size according to the privacy of
each family. Some entries have a proper
main gate and shutters for security
purposes while the others only have a
privacy veil.
Figure 21 Verandah used for work
The houses are divided into two floors,
with the staircase attached to the lobby
next to the verandah the lobby area is
connected to the washroom at the back.
The basic layout of the ground floor is thus
divided into 3 parts, verandah - the
working space, lobby - connecting the
ground floor with the first floor and also
acts as a room at night and the washroom
which is connected to the drain at the back
of the unit.
The first floor consists of a small lobby with

a staircase attached. The lobby is at a
level difference of 0.45 meters from the Figure 22 Veil used for privacy
other parts of the floor and used in the
same fashion as the lobby on the ground floor acts as a room at night. The walls have storage
space for personal belongings like clothing and other daily needs. Above the washroom on the

ground floor is the balcony in some cases

used for cooking and even drying clothes
at the same time, while some of the
houses did not have that area due to
restriction from the other houses. The
front portion, above the verandah, is the
area which has been modified over time in
response to the work. Activities based on
pottery is carried out on the balcony by the
family and the parapet is used as a space
for drying. Vertical segregation has been
made in the dwelling units where the
ground floor is used by one family and the
upper floor is used by the other, maybe Figure 23 Lobby after the verandah
brother’s or sister’s family.
Thus, the interior layout and the spacing

is used to its full potential, the units being
modified completely according to the
occupation of pottery. No space exists
with a single function, hence, each and
every inch of the dwelling unit is utilized.
MATERIALS AND CONSTRUCTION

TECHNIQUES
The material inventory is basic in nature

with hardly any finish on the walls or the
other materials used. Brick is the main Figure 25Staircase leading to the first floor
component used because of the ease of
availability from the brick kilns spread
along the spine connecting Chinhat to
Satrikh. Some dwelling units have
unfinished brick walls while the other
have used just a single coat of plaster or
lime of different colours like blue, pink or
white. The houses with exposed brick
have become blackish over time due to
the kilns attached to the walls giving a
burnt look. The floor of the units are
unpaved and basic finish have been done
with mud and cement. The staircase does
not have any railing. Some of the units
have a grill on the parapet while the other
has the same brick finish which gives Figure 24 Upper Lobby used as sleeping space at night
them enough width to dry pottery
products. There are hardly any doors inside the houses.
The facade of the opposite side of the street having shops is constructed in the same manner
with a coloured finish. Shutters of the same colour as the walls are used to close the shops.

Figure 27 A balcony created at the back for household purposes Figure 26 Front balcony for pottery
2.2.1.2.2. STRUCTURAL LAYOUT OF

THE DWELLING UNITS
The fifth principle of Doxiadis “man

organizes his settlements in an
attempt to achieve an optimum
synthesis of the other four principles,
and this optimization is dependent on
time and space, on actual conditions,
and on man's ability to create a
synthesis. When he has achieved this
by creating a system of floors, walls,
roofs, doors, and windows which
allows him to maximize his potential
contacts (first principle) while
minimizing the energy expended
(second principle) and at the same
time makes possible his separation
Figure 28Use of the streets to keep raw material
from others (third principle) and the
desirable relationship with his
environment (fourth principle), we
speak of "successful human
settlements".
Here it is seen how each individual
has organized themselves to form a
community. The dwelling units are
aligned and share a common wall
between them. The placement of the
units is compact thus making the
street vibrant. One can feel the
liveliness of the place with the potters
working in front of their houses a
healthy maintaining healthy
communication among each family
involved. The streets are manifested Figure 29 Other side used for Drying purposes
by art.

It is a 50-meter long
street and 5 meters
wide with 1.5 meters
on each side giving
enough space for the
potters to work and sell
the pottery. The island
on which the units are
arranged is along the
spine of the village.
This is an advantage to
the potters since it
catches the attention
of the people not only
of the village but also
the outsiders,
generating the
economy.
Figure 30 Kilns made outside the houses facing street
2.2.2. SOCIAL PATTERN
The morphology of a place is not only based on the relation of the built and unbuilt with the
environment, but also on the activities of the man in it. The human behaviour at a different time is
different, which in the long run builds a pattern. A pattern that is complete and which makes a
man satisfied in his shell.
2.2.2.1. CONGREGATIONAL SPACES

These are the spaces where people gather
for some purpose. Congregational spaces
can be divided into various layers ranging
from small scale to a large scale.
The main congregational spaces of large
scale in Satrikh are mainly the mosques and
temples. Majority of the population is
Muslim, so the Friday prayer (Namaz) in the
mosques is the activity to which the people
devote their time. They alter their working
hours for the prayer.
Congregational spaces at a small level are
mainly the water bodies where the ladies
gather to collect water in the morning while Figure 31 Men meet at this point to rest
the men gather to collect mud at any time of
the day. In front of the potter’s hub, there are 11 shops, and a kiosk serving tea and some snacks,
which becomes a refreshment for the male members of the community.

2.2.2.2. GENDERED SPACES

These spaces change with time and the activities associated. Gender-based spaces can be
explained as spaces which are either occupied only by men or only by women at any particular
time frame may be regular or irregular.
One major public space is water bodies. The gender of individual changes their gendered spaces.
The ladies meet in the morning at the pond to collect water for the basic needs as well as for
pottery. While the men meet at the lake for the collection of mud during day time. The mosque
can also be considered as gendered space for the male members. Another activity which
gendered is the transportation of the raw material as well as the finished product which is carried
out by the male members. Tea stalls are mainly occupied by the men in the evening. The sides
of the streets are used by the ladies during day time for placing the pottery products for drying
purposes after the men finish work on the potter’s wheel. The kilns are operated by the men
depending on the time taken by the women for drying.
2.2.2.3. GENERATIONAL
SPACES AND
ACTIVITIES
The spaces which are used by
different generations of the same
family at a different time are the
generational spaces.
The old men and ladies who have
passed the art to their children spend
their day time with the other people of
the same generation outside their
houses talking. While the next working
generation is involved in the work to
generate income of the house. The
work is carried out in the verandah the Figure 32 Children spending their time outside the houses
entire day. The men operate the
potter’s wheel while the ladies knead mud into clay for the further process. After the work ladies
are involved in cooking food for the family which is mainly done on the balcony with men working
beside. The other men who are not involved in the making, use a vehicle like a motorcycle for the
transportation and sales of the art as told by Waqeel Ahmad, younger brother of Chand Babu.
The children spend their morning time
in schools nearby and are later
involved in the work with their
contribution to transferring material
with their mothers. All these activities
are centred at the street making it
vibrant.
2.2.2.4. DIALOGIC
SPACES
The spaces where people chit chat
and pass their time for recreation are
the major dialogic spaces in any Figure 33 Dialogic spaces outside houses

habitat. These spaces are important for any habitat to create a lively environment.
The spaces start from the entry of the dwelling unit, where the ladies and men who have worked
for long hours sit at the projection and spend their time observing other people and discussing
life. The head of the house has lunch in the afternoon in the verandah surrounded by the children
of the street.
Tea stalls in front of the shops also act as an important junction for the men. At a lower level, the
kitchens of any two houses are so arranged that the ladies working can talk and work at the same
time.
2.2.2.5. OCCUPATIONAL SPACES

The street is full of the occupational
spaces in layers ranging from the
smallest unit of the habitat i.e., the
dwelling unit to the large areas i.e.,
the street sides and the empty plots in
front of the houses.
One of the major highlights of the
street are the shops on the opposite
side of the road, which have played
an important role in potter’s
community. The working spaces start
from the verandah and balcony of the
houses where both men and women
work together. The next layer of
space is the projection in front of the
house, where three functions are Figure 34Streets used for occupation
fulfilled, drying of the wet clay,
storage of the clay, burning the pottery
products after drying and the most
important is the selling of the final
products made like surahi, galla,
gamla, matka, etc. The street on a
daily basis is also used by the potters
for the work. The peak time when the
streets are full of the work and
become a complete hub of the whole
process from making to selling is the
Hindu festival season like Diwali and
Navratri.
Thus, it can be observed that the

amalgamation, intersection and Figure 35 Kids also involved in the work
overlapping of layers of the settlement
make it much more complex and interdependent. The absence of any of these layers or
component from the settlement will lead to either a change or cease to exist. All these layers are
beautifully composed to form a balanced habitat.

3. INFRASTRUCTURAL ASSESSMENT
The accomplishment of habitat is not based on the complete society developed but on the layers
associated. These layers can be divided into two aspects, one being intangible and the other
tangible. The tangible elements are the one about which the infrastructural assessment is
dependent.
3.1. PHYSICAL ASPECTS

Physical infrastructure considers the basic physical structures required for an economy to work
and survive, such as transportation, a power grid and sewerage and waste disposal systems. The
two components of the physical aspects are the stationary elements and mobile elements. These
two unite to cover the physical aspects of the infrastructural assessment.
3.1.1. STATIONARY ELEMENTS

These are the elements that remain static and gravitates the social animal towards itself. The
essential element on which the daily activities of the inhabitants depend are the religious
structures like the mosques, temples and the Dargah built in memory of Hazrat Sayyad Salaar.
The first mosque built in the initial phases of the settlement was Masjid Rafi, followed by Bazaar
Wali Masjid. Since the village had a Muslim majority, the major focus was on the mosques which
later was complemented with temples like Shri Hanuman Ji temple and Shera Wali Mata Mandir,
for the remaining Hindu population.
Water bodies have a major contribution to the habitat since the birth of the village. The village
originated from the water bodies and is still dependent on these for the supply of water to the
tanks as well as raw materials for pottery.
The other element is the schools and colleges. The schools are Barabanki government aided.
Around 300 meters from the village is the TRC law college. The college has strength mainly from
the Barabanki District.
Some other elements are the Qazi Poultry Farm, Hussain Poultry Farm, Ram Laxmi petrol pump,
Rasol Jan Seva Kendra etc. There is an absence of a hospital due to which the villagers either
apply native medication or have to travel to Barabanki or Lucknow.
3.1.2. MOBILE ELEMENTS

These elements are the one that is transferred throughout the village and brought at the steps of
the dwellers. The major element of this category is the drainage system. the trains run throughout
the village and are maintained by the dwellers of the units. The scheme of self-cleaning was
launched by the Panchayath which proposed that the part of the drain which flows through the
individuals unit will be maintained by the dwellers itself. The problem of the drain at the entry of
the houses has been resolved by giving a rise of 0.45 meters.
Another important mobile element is electricity. This basic facility was given importance at a very
late stage. Electric poles have been set up on streets at regular intervals but still, some of the
areas lack this basic amenity. The dwelling units of the potters have the facility of light but hardly
used by them to save money. Fans are not available in the houses.
The other important mobile element is the transport facility which is cheap. Mode of transport
within the city are Gramin seva and tractors outside the village for the transportation of the
villagers as well as goods.

Both the elements contribute to the smooth functioning of the village and it can be seen how these
layers coincide with each other to complement each other.
3.2. SOCIAL ASPECTS

These are based on the social behavior of an individual, his relationship with other human and all
together forming a habitat. For instance, the shopkeepers have a particular customer relationship
with a section of Satrikh. Similarly, other shopkeepers have a relation with other section.
Altogether a relation pattern is developed between the people and the behavior and movement is
based on the same, keeping a balance throughout the village. The other social aspects are
religious mosques where the people gather for prayer and worship. There are many mosques in
the village and which are built at some distance with respect to each other, thus, governing the
movement of the man.

4. SOCIAL IMPACT ASSESSMENT
This segment includes the relation of the infrastructure in the village to the inhabitants
and their social difference from the historical view to the current view based on the
occupation of pottery in Satrikh.
4.1. HISTORICAL OVERVIEW

The settlement started with the people flocking near the water bodies in Satrikh village.
These individuals after getting a knowledge about the current practice in pottery in
Chinhat and nearby villages started with the pottery work giving birth to Satrikh. The initial
development took place near the water bodies and the core occupation of the village
became pottery. One could see from a visitor’s point of view a heavy industry being settled
up for pottery. Each and every aspect of the activity carried by the people in the village
was related to the occupation, may it be the sleeping time, the lunch time and so on. The
village was not developed in the manner it is now but still the potters were satisfied with
the economic aspect and social aspect according to the scenario during the past.
4.2. CURRENT SCENARIO

The well-established potters village slowly came to a decline due to various reasons
mainly related to the economy. The potters slowly started drifting from the art as
generations passed by and entered into new occupations making the roots of the art
weak. The current scenario can be easily understood by the percent of village involved in
the art i.e only 5%. The shift in the occupation of the other villagers and new policies by
the government has left only two families still continuing pottery for livelihood and the
habitat which was once for the entire village has compressed to 9 dwelling units with 2
families of 36 members.

5. ECONOMIC IMPACT ASSESSMENT

Economy is the governing point for such type of habitat, same is the case with Satrikh
village which is also an occupational based habitat. From the glorified past to the current
scenario the economic shift has been drastic. The settlement which came into existence
due to growth in the sector has now become the victim of the reason, economy.
The major problems faced by the potters is the availability of raw material. The new
policies formed by the government in 1970 raised the price of raw material and decreased
the price of finished product. The potters when asked told that the raw material now has
to be taken illegally and are in a hope that the government may frame some policies which
will be a boon to them.
The daily income of the potters is not fix, which range from nothing to a maximum amount
of 250 rupees. The major sale is done in bulk order from the sellers in Chinhat and
Lucknow, who buy the products at a rate half than the marked price. Maximum amount
of any product is just 10 rupees and minimum of 5 rupees. The potters do not switch to
other occupation because there is a lack of knowledge in other fields, making them stick
to what has been left by the previous generations. The following generation of the current
is not much involved in education because of the mind-set of the parents that the outcome
of education will not be worth the money they pay for it.
In a nutshell, economic crisis has hit the potter’s community but their hearts are attached
to the art and will continue to be a part of the remaining community left with a hope of
something better than what the situation is.

6. COMPARATIVE ANALYSIS TO OTHER SUCH HABITAT

The dissertation on potter’s community is incomplete without a brief comparative study on the villages
practicing the art. As mentioned earlier the other villages which still consider the art to be a source of
income are Sheikh Sarai, Nand Pura and Sikandarpur spread along the spine from Chinhat to Satrikh.
6.1 NANDPURA
Nandpura is the settlement at a
distance of 2 kilometers from
Chinhat. The major difference is the
evolution of the village. Pottery
started by the villagers was a later
phase in the settlement pattern.
Core occupation of the villagers was
never pottery. After a decline in the
art from Chinhat , Nandpura came
into existence with a small scale
industry which was later closed. Still
there is prevalence in the art by
some potters mainly Muslim. The Figure 36 other occupation practiced by the potters
products here are different than
what produced in Satrikh with a
fancy outlook.
Another difference that came into

notice are the dwelling units. The
dwelling units in Satrikh were mainly
built by the potters over years and
modified according to the needs and
spaces. Nand pura has a totally
different scenario. The potters do
not own a house but work in houses
on rent purpose from the old
residents who have left the village Figure 37 Working space of the houses
and moved to city. The people work
totally inside the houses with a typical courtyard planning. All the members of the family are not
involved in this work. Some of the male members drive electric rickshaw in Chinhat. The street is singly
loaded with houses only on one side and the other side is left with farms and water bodies. The work
culture here is totally different mainly carried during the evening to night time while the noon is left for
resting.

Figure 42Main entrance Figure 41 Resting spaces
Figure 39The street Figure 40 Working spaces outside the houses in Nandpura
6.2 SHEIKH SARAI

The case in this village is totally based on a single family with a
single dwelling unit. The village is about 4 kilometers from
Chinhat. The street is attached directly to the spine. History of the
village is similar to the case in Nandpura. The ladies here are
more active in the profession than the men. The raw clay as well
as the finished products are spread all over the street and the
sale is made on the main spine on small scale.
Figure 38Selling points on the 18 Km spine
The difference found was the working space. In nandpura or
Satrikh, the work was done within the premises of the house and
the maximum reach could be just the road in front of the house.
But in Sheikh Sarai, the ladies did not work inside the houses. One
main reason being that the houses were for rent purpose and not
planned according to the work. The major work was carried on
the empty plots on the street. All the plots were used by single
Figure 43 Plots used for working

family for
the
different
purposes
involved.
The use of
potter’s
wheel
could not
be seen
and
templates
were used
for
carving
out
pottery
from clay. Figure 44 The working street
6.3 SIKANDARPUR
Sikandarpur does not have a
potter’s community. The
main purpose of giving a brief
discussion about a specific
area of the village is to show
a major example of the shift
in interest from pottery. It
lies along the spine and is
10kilometers from Satrikh.
The village is known for the
brick kilns. The potters who
have left pottery are involved
in the brick kilns along the
spine. The motivational
Figure 45 Typical layout of the units funded by the government
factors for the people
working here are the working
time and support from the government. The government has provided a single unit to the labor’s family.
The units are very small in size without washrooms but still there is a satisfaction among the people due
to other facilities. The units are arranged in a planned manner at one corner of the brick kiln factory.
There are around 30 units. The working area on the site is the central part where the clay is burnt. The
men are involved in the central part while the ladies majorly do the small works like carrying the bricks
or raw material from one place to other within the site.

7. CONCLUSION
The soul is forced to escape its home
As concrete rose to hide it and cars screeched to mute it,
But a small whisper can still be heard, of a thousand lives calling out
To keep the wheel moving and the sun shining
On their land
They say life remains as long as there is breath - no matter how weak, how feeble - there I always a chance
for revival. This dissertation attempted to tell a similar story of Chinhat Pottery, a craft which is on the
decline due to lack of financial support. However, the village still has that life-saving breath, with its
faithful souls ranging from artists to shopkeepers fighting the system for the sake of their art. The villages
involved in the making of this craft, in all their ups and downs, have always been sustained and supported
by it. And they too in return have given it their all, making it their passion, fondling it like their own
children. And now the family needs help.
The village, apart from this unique skill, boasts of other cultural achievements. From an increasing amount
of inclusion of women in education and profession, to the overall religious and cultural harmony of the
people, it truly signifies how much potential the village has. Unlike many other crafts that fail to evolve,
owing to their rigid traditions, Chinhat pottery has been surprisingly flexible and embracing to ideas and
inspiration. However, the lack of funds, resources, and publicity is now making it struggle to even survive.
Hopefully, with further attempts to acquire funds, the people of these villages will be able to revive this
lost art. This dissertation is one such attempt to spread the word around keep the art and hence, the
community alive in the minds of people.

8. BIBLIOGRAPHY
- -Dainik Jagran
- Hindustan Times
- All India

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DISSERTATION REPORT

FACULTY OF ARCHITECTURE & EKISTICS

Ar. Iqtedar Alam Prof. Hina Zia

Ar.Mansi Bedi Prof. S.M. Akhtar

I, RISHABH SRIVASTAVA, hereby declare that the Dissertation entitled CHINHAT

CHINHAT POTTERY-SATRIKH VILLAGE

Roll. No: 15BAT0062

Date: B.Arch. 4th Year Day

Place: New Delhi 2018-19

B.ARCH 4th YEAR

FACULTY OF ARCHITECTURE AND EKISTICS |JAMIA MILLIA ISLAMIA I

Figure 38 Working space of the houses ...................................................................................................... 32

FACULTY OF ARCHITECTURE AND EKISTICS |JAMIA MILLIA ISLAMIA II

LIST OF FIGURES AND ILLUSTRATIONS

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2.2.1.1. MACRO ........................................................................................................................ 20

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FACULTY OF ARCHITECTURE AND EKISTICS |JAMIA MILLIA ISLAMIA V

Figure 1 The potter with his art

1.1 HABITAT OVERVIEW

1.2 INTRODUCTION TO CHINHAT POTTERY

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1.3. LITERATURE REVIEW

DAINIK JAGRAN (Hindi)

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ALL INDIA (daily hunt)

“Lucknow's famous Chinhat pottery fades into oblivion”

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HINDUSTAN TIMES (Lucknow)

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1.3 THE VILLAGE – SATRIKH

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1.3.1. BASELINE PROFILE OF SATRIKH VILLAGE

Nawabs of Awadh Era

1.3.3. REGIONAL SETTINGS OF SATRIKH VILLAGE AND ITS CONNECTIVITY

Satrikh which comes in between the border of

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The spine is a busy road at some points with

1.3.4. VILLAGE AND ITS GROWTH

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1.3.4.1.STREET PROFILE-SATRIKH MARG

1.3.4.2.DEMOGRAPHICS (SATRIKH VILLAGE)

1.3.4.4.SEX RATIO-FEMALES PER 1000 MALES

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1.3.4.7.DEMOGRAPHICS OF THE STREET COVERED

Figure 8 The potter’s side of the street

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Figure 12 The commercial side of the street

Figure 10 Section of the house and the shop in front

Figure 11 The kiln outside the house

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Figure 15 The enclosure formed by the extensions on the street

Figure 14 Section of the other street attached to the potter's street

Figure 13 section of the drain often used for bathing

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1.3.4.10. PHYSICAL AND GEOGRAPHICAL CHARACTERISTICS

1.3.4.11. LAND USE

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2.2. FACTORS DETERMINING THE FORM OF THE VILLAGE

2.2.1. PHYSICAL PATTERN

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2.2.1.1.1. STREET LAYOUT