UNIT I

INTRODUCTION
Definition and classification of Vernacular architecture Vernacular architecture as a
process Survey and study of vernacular architecture: methodology- Cultural and
contextual responsiveness of vernacular architecture: an overview
UNIT II
APPROACHES AND CONCEPTS
Different approaches and concepts to the study of vernacular architecture: an over
view Aesthetic, Architectural and anthropological studies in detail
UNIT III VERNACULAR ARCHITECTURE OF THE WESTERN AND

NORTHERN

REGIONS OF INDIA

Forms spatial planning, cultural aspects, symbolism, colour, art, materials of

construction and construction technique of the vernacular architecture of the
following: - Deserts of Kutch and Rajasthan; Havelis of Rajasthan. - Rural and
urban Gujarat; wooden mansions (havelis); Havelis of the Bohra

Muslims. -

Geographical regions of Kashmir; house boats

UNIT IV VERNACULAR ARCHITECTURE OF SOUTH INDIA
Forms, spatial planning, cultural aspects, symbolism, art, colour, materials of
construction and construction technique, proportioning systems, religious beliefs and
practices in the vernacular architecture of the following: - Kerala: Houses of the Nair
& Namboothri community; Koothambalam, Padmanabhapuram palace. - Tamil Nadu:
Houses and palaces of the Chettinad region; Agraharams.
UNIT V WESTERN INFLUENCES ON VERNACULAR ARCHITECTURE OF INDIA
Colonial influences on the Tradition Goan house - Evolution of the Bungalow from the
traditional bangla, Victoria Villas Planning principles and materials and methods of

UNIT III

VERNACULAR ARCHITECTURE OF

THE WESTERN
AND NORTHERN REGIONS OF INDIA
Forms spatial planning, cultural aspects, symbolism,
colour, art, materials of construction and construction
technique of the vernacular architecture of the following:
- Deserts of Kutch and Rajasthan; Havelis of Rajasthan
- Rural and urban Gujarat; wooden mansions (havelis);
Havelis of the Bohra Muslims
- Geographical regions of Kashmir; house boats

VERNACULAR ARCHITECTURE is the architecture

based on Local Needs, Construction Materials And
Reflecting Local Traditions. Vernacular architecture did
not use Architects, but relied on the Design Skills And
Tradition Of Local Builders.

However, since the late

19th century many professional architects have worked in

versions of the style.
It tends to Evolve over time to Reflect The
Environmental, Cultural, Technological, Economic, And
Historical Context in which it exists.

THE VERNACULAR ARCHITECTURE OF RAJASTHAN

INTRODUCTION:
In Indian architecture there are features like
Pavilions, Courtyards, Terraces, as well as Threshold
and Realm Accentuating Transition.
All these come together to Articulate The Space.
To these new room are also added. These structure
can also be a Part Of Temple, Palaces, Ghat and
Institutional Buildings.
These features show the simultaneous existence
versatility and anonymity.
In essence, the meaning emerges from the context
and the manner of its application.

Indian architecture, conjures up images of huge Temple

Spires

and

Gateways,

Large

Fortified

Palace

Complexes,

Mosques and Tombs.

There is the mundane Domestic Architecture with its
occasional flair for refinement. Yet there are features that retain
Continuity And Scale, playing an instrumental role in the
characterization of Indian architecture.
An effort to understand space in Indian architecture can
draw on the simple and direct Physical Conditions of the
Environment Prevailing at any Place, thus giving meaning to
the creation of spaces within specific Physical Parameters.
Amongst

these

parameters,

Climate

has

very

deterministic role in Shaping Activity Areas by Creating

Indoor, Outdoor and

In-between Spaces. Consequently,

for Indian communities, 'Outdoor Activity' spaces acquire

PAVILIONS:
They came into being by Multiplying Very Simple
Spatial Units In Modules. Consisting of Four Columns
and a Roof. Irrespective of the style and construction
method, their essence is the same.
Mandapas And Baradaris are some outstanding
examples of spaces created to provide well-articulated
shelters for gatherings or for pleasure. Pleasure Pavilions
known as Baradaris have an extremely sophisticated form in
Rajput and Mughal complexes.
The most important aspect of this kind of space is
that it offers a Simultaneous Experience of the Inside
and the Outside.

The Essence Of This Spatial Unit lies in its Modular

Character

and

therefore

in

its

potential

for

Multiplication - in contiguity or as independent units

organized in a certain proximity.
It is a Built Space, Yet Open. It Defines And Yet
Extends Boundaries and can Exist By Itself Or Be Part
Of A Group.
Despite regional and temporal variations, the power
of its manifestation has remained unaffected.
It conveys the idea of Shelter, but Does not
Enclose; it is built and has a presence, yet it is transparent
and ethereal.
CLIMATIC RESPONSE: It is clear that Such Open
Shelters Served Best During Summer Evenings in

BARADARIS AND CHATTRIS:

In North-Western Parts of India, it is an
example of how the Basic Form has responded to
the various Construction Methods and Styles
of Building.
Every Royal Complex has to have a
Baradaris often More Than One.
The use of the Baradaris as Pleasure
Pavilions

is

understandable

since

they

are

invariably Located in Gardens, or on High

Points or Along Water Tanks and Lakes.
These structures are so Articulated with
the Landscape and the spatial order of a building
complex as to provide the most strategic location

Another version of pavilion is the large Cupola-like

Structure called a Chattri in the north-western parts of India.
The structure is Polygonal or Circular in Plan and has
a Domical Roof.
This extremely adaptable Element is space, but equally
it is a Complete Form.
Chattris are often grouped in clusters.
Chattris have only peripheral supports allowing a
columnless space. This naturally brings about dimensional
limitations.

COURTYARDS:
INTERNAL OPEN SPACES, become another
thematic element in all scales of Domestic Architecture.
From Small Urban Houses to Large Mansions and
Palaces, Courtyards became the key Organisational
Elements Responding to Climatic Conditions as well as
the Cultural Needs Of Communities.
This Private Internal Open Space also acquired
special significance while Serving Various Levels Of
Privacy.
A wide range of household activities could
extend into courtyards.
These spaces became the living areas of all
domestic architecture.

Courtyard spaces, drawing people out into the

open, were further supported by terraces serving
similar functional and climatic needs.
In the warmer and more and zones, one can see
the extra effort made to build terraces, as if one was
gilding a courtyard at a higher level.
It would not only be articulated in its construction
system, but also get connected to the spaces at that level.
Courtyard contributes to its spatial quality
beautifully by bringing in a subdued light, creating
a peaceful environment.

This room without a roof is often Bounded by

VERANDAHS along its periphery.
Other Rooms Open into these Verandahs creating
a spatial organisation based on a hierarchical sequence
of spaces ranging from open to enclosed.
The rooms get their light and ventilation from
this courtyard and have very few openings onto the
exterior.
This spatial sequence encourages the intermittent
flow of activities responding to various private needs.
The tropical climate of India demands air movement
as well as shaded spaces for comfort.
The open, yet protected spaces, become the heart
of Indian living.

Variations in the generic form of the Courtyard

come from changes in materials, articulation of the
enclosing elements, scale, proportion and complexity
of plan.
The articulation of the sides of a courtyard is
dependent on the kind of building and the users.
They receive a treatment similar to the external
facade; they are in fact Facades Inside the House.
In large houses, havelis, palaces or public
buildings, the nature of the architecture is FORMAL.
Hence,

all

sides

tend

to

be

of

symmetrical,

orthogonal and ordered.

In vernacular conditions where the houses are
smaller, it is quite different.

In most cases courtyard is scaled to human

proportion making it comfortable space to use.
At houses it becomes larger, it is the number of
courtyards and terraces that multiply, not the size.
A sequence of courts is generated based on a
hierarchy ranging from public to private.
It is the courtyard that gives porosity to an
otherwise extremely dense fabric of the city. It is the
breathing space the lungs of an Indian city.

ENTRANCES:
The most important Transitional Relationship
Between Two Distinct Realms Is Expressed Through
Entrances.
Whether it is the entrance to a city through a
fort wall with defence as the major consideration, or a
hierarchical sequence of spatial layers with a series of inbetween

realms,

incorporating

symbolic

as

well

as

functional values, transition remains the most significant

aspect.
The

complexity

of

transition

as

an

architectural element varies from community to

community.

In many cultures, entrances are intentionally

indirect in order to achieve greater privacy.
On the other hand, examples are there all over the
world, where a single door can be the total and only link
between the inside and the outside.
In yet another form, an entrance may be the
prelude through which one is introduced to the interior
right from the first step. vet is not shown the inside
completely.

PLANNING ISSUE AND CLIMATE:

A typical town of Rajasthan presents a very
compact

picture

of

houses

and

other

buildings

huddled together so that they not only shade each

other but also considerably reduce the exposed open
spaces around them.

The height of the building compared to the

width of the streets is large to create shaded cool
environment for the pedestrians and other social
activities on the streets.

In cases where normal low level dust swirls

within the settlement the interiors of buildings are

protected by almost blank walls with very small
openings.
All major streets are oriented almost in the
East-West direction at right angles to the direction of
dust storms.
The

famous

have,

lies

with

jharokhas

and

decorative facades are located on these streets. The

CONTROL OF HEATING BY TEXTURE OF SURFACES:

The heat inside of the building is controlled by
the use of textures in Jaisalmer. This is organized at
three levels.
At the town scale the buildings are of unequal
height with parapets and high walls, creating uneven
sky lines and desired shading of each other.
The building facades have large number of
projections like jharokhas and chajjas which provide
shade to the facades.
The front part of the facade which remains
exposed are controlled by creating deeply carved
patterns.

Use of such devices minimizes the heat gain by

providing shading due to texture. Such devices also
result in increased convective transfer of heat because of
increased surface area.
In summer in day time when the major heat
source is Sun the exposed textured surfaces will be
cooler than plain surfaces.
In evening when ambient conditions are cool the
increase surface area helps in cooling it faster. However,
an extended surface will warm up faster than a plain
surface under winter conditions due to low solar altitude,
therefore the location in context of these surfaces is very
important.

ORIENTATION:
The building is always oriented by the cardinal
directions: North, South, East, West, Northeast,
Northwest, Southeast and Southwest. Each of these
directions is considered as energy by itself.
Hence the spaces in different orientation are
considered differently for design purposes which is a very
climate sensitive approach.
For example the East or the North walls are made
more open to light and air as the West is the heat
gaining side in the warm humid climates of India.

The placement of the building within the site is

the first step toward forming the grid for internal
planning. The centre of the plot is generally not where
the centre of the building is placed, only exception
being temples. The climatic logic behind this is that in the
house the outdoor and indoor is designed as one.

THE GRID AND THE COURTYARD:

The Grid System of planning was always followed
regardless of the site or building type. The grid was made
flexible enough to accommodate any site condition and
topography.
Grid system is more sustainable in terms of economy
and speed of construction. It is also easier to recycle materials if
it was built on a grid. Prefabrication also favours the grid.
The grid was not always symmetric or simple. Complex
geometry and curvilinear grids were also adopted. The central
courtyard is the lung space 'of either the house or the housing
block.
Just to ensure there is a courtyard in every house, the
centre of the house is never built up and is called the
Brahmastana, the genius loci of the house

THE FOUR GOLDEN PRINCIPLES:

The four golden rules in architecture which were
outlined in the great epic Ramayana, the story of Lord
Rama, summarise Indian architecture as a whole. They are
function or bhogadayam, aesthetics or sukha darsham,
harmony and poornam. The perfect example which explains
all the four principles is a temple structure which is
designed and built by the most skilled architects .
Function or bhogadam which was given the first
priority keeps climate among the first considerations in
architectural design. Bioclimatic approaches to new forms
and materials were explored. The architects never
considered climate as a force to fight or win but to enhance
and enjoy. Even extremities in climate were handled with
master skill and remarkable comfort levels were achieved.
There was no question of thinking about climate in the last
stage of design and trying to come up with quick fix
solutions. Most of the forms were aimed at long term
benefit and well thought about before the designed building
is built

The aesthetics or sukha darsham were not added

on to the building but were an integral part of it. It is
sometimes difficult to tell apart where the functional aspect
stops and the aesthetic one starts.
Harmony or ramyam was achieved by geometry
and play of shapes, Solids and voids. The architectural
language

was

of

simple

spaces

with

complex

ornamentation, which in most cases had a use along with its

aesthetic appeal. For example a rain water gutter was so
well sculpted in the temples that one just thinks it is for the
delight of the eye.
Lastly, the all encompassing factor or poornam of
Indian Architecture was a result of the perfect blend of the
above-mentioned three factors which makes it feel eternal.

There is more to the spatial order that runs right

across this enormous range of building types in Indian
architecture. A large part of this order emanates from its
own meaning as built space rather than from the specific
function it caters to. There is a range of spaces, irrespective
of the material and the construction methods, that are built,
as if for their own sake.

This is essentially to create a

'spatial opportunity' for things to happen and they do. The

meaning is in the space itself and the range of activities it
can accommodate and not in the specificity of a function.
One can see meaning in its ambiguity and yet very essential
nature. It is important that the style and manner of creating
a space are seen independently of factors that generate
them.

Space in Indian architecture can draw on the simple

and direct physical conditions of the environment
prevailing at the place, thus giving meaning to the creation
of space within specific physical parameters. Architectural
expressions in post-Independence India have oscillated
between
European modernism and archaic Indianism.
At times some combinations of the two have also been
observed. There are examples where some efforts have
also been made to relate the spatial organisation and
formal structure of some historic buildings and complexes
with modern buildings. In any case the basic forms and
principles seem to have meant very little. It is the visual
imagery and stylistic expressions that seem to have been
the most influential. Indian architectural space in the
manner in which it is enclosed is vet different form the
Western notion of space.
The definition of boundaries
are often changing with physical or other contextual
changes. Quite often one does not know when one is inside
and when outside.

HAVELIS OF RAJASTHAN

PATWON JI KI HAVELI

The Patwon Ji ki Haveli is an interesting piece of Architecture and is the most important
among the havelis in Jaisalmer.
This is precisely because of two things, first that it was the first haveli erected in
Jaisalmer and second, that it is not a single haveli but a cluster of 5 small havelis.
The first among these havelis was commissioned and constructed in the year 1805 by
Guman Chand Patwa and is the biggest and the most ostentatious. It is believed that
Patwa was a rich man and was a renowned trader of his time. He could afford and thus
ordered the construction of separate stories for each of his 5 sons. These were
completed in the span of 50 years. All five houses were constructed in the first 60 years
of the 19th century.
The havelis are also known as the 'mansion of brocade merchants'. This name has
been given probably because the family dealt in threads of gold and silver used in
embroidering dresses. However, there are theories, which claim that these traders
made considerable amount of money in Opium smuggling and Money-lending.
This is the largest Haveli in Jaisalmer and stands in a narrow lane. This haveli is
presently occupied by the government, which uses it for various purposes. The office of
the Archeological Survey of India and State art and craft department is situated in the
haveli itself.

PATWON JI KI HAVELI

Nevertheless, even after these encroachments

and abuse you can find a good amount of
paintings and mirror-works on the wall. The other
important aspects are its gateways and arches.
Although the whole building is made yellow
sandstone, the main gateway of the Patwon Ji ki
Haveli is in brown color.

PATWON JI KI HAVELI

PATWON JI KI
HAVELI

SALIM SINGH KI HAVELI

Salim Singh ki haveli has been built on the remains of an older haveli built
in the late 17th century. The new building was built in the year 1815 and was
occupied by the Mehta family of Jaisalmer.
They were the most influential family of their time. This haveli was
commissioned by Salim Singh, the then Prime Minister of the kingdom when
Jaisalmer was the capital.
The haveli has a distinct architecture. The roof has been constructed in the
form of Peacock. The haveli is situated beside the hills near the Jaisalmer
Fort.
People claim that Salim Singh made two additional floors in order to make it
as high as the fort but the Maharaja did not take this attempt in good spirit.
He ordered the extra floors to be torn down. Nevertheless we do not find
enough evidence to corroborate the story.
Like other havelis in Jaisalmer, this too has tuskers guarding the gateways.
These are made of sand stones and look very close to the original in
appearance. The haveli consists of as many as 38 balconies and they all
have distinct designs for themselves. The front facet of the haveli resembles
ship stern and thus this haveli is also sometimes referred as Jahazmahal.

SALIM SINGH KI HAVELI

NATHMAL JI KI HAVELI

Nathmal Ji ki haveli was commissioned to serve as the residence of Diwan

Mohata Nathmal, the then Prime Minister of Jaisalmer. Maharawal Beri Sal
commissioned the construction of this Haveli. The architects of this haveli
were Hathi and Lulu who happened to be brothers. It is said that the two
brothers started building different facets of haveli finally it had irregular
shape.
Barring that, this haveli is still considered the best in Jaisalmer in terms of
grandeur. There are other minute details worth appreciation. For example
there are two Elephants made of yellow stone. Other than these, there are
pictures engraved on pillars and walls. These consist of Horses, Cattle, and
depiction of Flora among other things. But the most interesting aspect of this
haveli is the drawing of modern amenities such as cars, fans etc.
Two architect brothers built this haveli namely Nathmal Ji Ki Haveli in the
19th century. Interestingly, while one concentrated on the right, the other
concentrated on the left and the result is a symphony epitomising the side by
side symmetry during construction. Paintings in miniature style monopolise
the walls in the interior. Mighty tuskers carved out of yellow sandstone stand
guard to the haveli

NATHMAL JI KI HAVELI

BANGORE KI HAVELI

Bagore-ki-Haveli is a haveli in Udaipur in Rajasthan state in

India. It is right on the waterfront of Lake Pichola at Gangori
Ghat. Amir Chand Badwa, the Prime Minister of Mewar, built
it in the eighteenth century.
The palace has over a hundred rooms, with displays of
costumes and modern art. The glass and mirror in the
interiors are Haveli work.
It also preserves an example of Mewar painting on the walls
of the Queen's Chamber. The two peacocks made from small
pieces of colored glasses are examples of glasswork.
Now it is converted as museum by government of rajasthan.

BANGORE KI HAVELI