Ajrakh studio was initiated by Ismail Khatri an acclaimed Ajrakh master craftsman belonging to the Muslim Khatri community of block-printers of Kutch, practicing a 4500- year old craft.
The brief embodied his concern, to disseminate knowledge, while imagining a model for other artisans to emulate their pioneering use of natural dyeing techniques. It highlights the creative use of vegetable dyes and minerals such as natural indigo, madder, alum, and lime. The local pastoralists continue to use Ajrakh fabric, which is also prized in the international textile design market.
Set within an amorphous plotted development built by the community, the site locates itself across a courtyard adjacent to their family home.
The plan draws from the dwelling typology of the desert settlements with layered spaces from the public to the inner private courtyards. The design comprises two volumes, oriented NS with inclined roofs defining an open court used to congregate and for drying fabric. The first volume holds the entry plinth, a small personal office, retail shop, storage, and a hall for public orientation to view films on the craft. The second is the printing workshop, flanked by a storage area, the wood-fired stove and a wash area for dyed yardage.
An apparent opacity reveals a porous interiority along the east-west axis, achieved by the large doors with operable wooden louvers affording a play of light and ventilation. Deep shade and patterns on pigmented lime-plastered walls provide ornament, depth, and refuge. The built response incorporates frugal strategies to counter heat gain, allowing nighttime cool air to dissipate heat, draining heat from the roof using stored rainwater, confined masonry construction using local lime- fly ash bricks, lime mortars, and plasters to improve resilience and counter seismic forces.