Title : Vernacular architecture

The main objective of this study is to understand the various vernacular forms
in various region of India.
The traditional residence in Maharashtra was called as the Wada. A Wada was
typically a large building of two or more storey with groups of rooms arranged around
open courtyards. It’s style was an amalgamation where features from Mughal,
Rajasthan, and Gujarat architecture were combined with local construction
techniques. And there are two types of Wada’s: One which houses many families, like
an apartment building of recent times or chawl of Mumbai. (Mostly for the middle-class
families) One in which only one family resided. (Mostly owned by the richer class like
relatives of the peshwas and traders)
This Wada was built in 1875 by Shri Karandikar who was a moneylender by
profession and was related to the Peshwas. It was influenced more by the social and
cultural factors.

Figure 2. Ground Floor Plan Figure 1. First Floor Plan

https://www.archinomy.com/wp-content/uploads/case-studies/2009/wada-ground-floor-plan.jpg https://www.archinomy.com/wp-content/uploads/case-studies/2009/wada-first-floor-plan.jpg

Distinct zoning can be seen in the Kharadkar Wada. There are separate
entrances for guests, people was visiting to the Durbar and separate entries was given
for the people performing in the Durbar and a separate entry into the cattle shed. There
are 4 entrances to the house. Privacy for the women given a priority. Three main
courtyards or chowks. The Wada has its entrance in the southern side. The rooms
were ventilated from the courtyards. The most significant features of the Wada was
the way it’s zoning of public, private and semi-private spaces was done. This can be
seen very distinctly in the plan.
 Figure 3. Outside view of Wada
https://www.archinomy.com/wp-content/uploads/case-
studies/2009/wada-view.jpg

Figure 4. Zoning of Wada Figure 5. Interior view of the wada

https://www.archinomy.com/wp-content/uploads/case-studies/2009/wada-zoning.jpg https://www.researchgate.net/profile/Gaurav_Gangwar2/publicati
on/304579145/figure/fig2/AS:378328444882951@1467211938789
/Inner-courtyard-of-Rajasthan-Haveli-23-Wada-of-Maharashtra.png

The present case has illustrated that it’s normal to imply traditions nowadays
irrespective of material. Use of traditions and traditional methods has manifested in
contemporary architecture by several ways such as using elements, characteristics,
style, and expression. Continuity of traditional architecture nowadays, has been
considered by the style as well as borrowing elements. An element includes spatial
elements such as courtyard, verandas, threshold at entrance and visual elements
consists door, windows, ceilings, columns, roofs etc. Stylistically integration made
visual image of Peshawa Architecture through expressions of facade design and
elements.

Another example of Vernacular Architecture is ‘The Hamlet’ in which the

building form or its aesthetics was given an importance along with the local materials
and techniques. This is Laurie Baker’s home in Trivandrum. This is remarkable and
unique house built on a plot of land along the slope of a rocky hill, with limited access
to water. Here the steps directly cut in rock and they are planned in the curvilinear
form. The wall is decorated from broken pottery, pens, glass. Arches led into a
beautiful open room. Pitched roof made of Mangalore tiles. Simple yet beautiful
windows and the grills were made of bits and pieces. Conical structure used. Stained
glass effect was done there.
 Use of Jalis helped in aesthetics, ventilation, natural light, and required less
material. Upturned horned roofs - Traditional Keralian style - concept that hot air rises
and moves out from openings in high ridge. Along with ventilation effect these roofs
were blending into the surrounding landscape. Use of bricks, wooden planks of boats,
old bottles.

Figure 8. Arched openings Figure 7. Designed roof Figure 6. Designed windows

https://nayeemasif.files.wordpress.com/2013/02/the- https://lauriebaker.net/images/stories/photos/Hi- https://nayeemasif.files.wordpress.com/2013/02/the-hamlet-
hamlet-12.jpg?w=1500&h= res/Hamlet/Doghouse//doghouse8.jpg 13.jpg?w=1500&h=

Some buildings are designed by local people whom are not trained in design.
Such buildings are developed under some circumstances like funding, availability of
materials, availability of labors, etc. In such structures, aesthetic is the secondary
considered factor. The main importance is given to the functionality of the building.

Rishi Valley Rural Education Centre in Madanpalle village, Andhra Pradesh is

also developed in the same way. It is
located in a sheltered valley in the
interior of rural Andhra Pradesh. Here,
aesthetic was given second priority and
functionality was on the top priority. The
site contains number of different blocks,
and these blocks are differing by their
functions. These blocks differ by their
shape, form, materials and construction
techniques, as these are built in different
year by the different people. The admin Figure 9. Site plan
Source - author
block has thatch roof which is
constructed due to availability of thatch material. The academic block’s columns and
pathways are made up of Splitstone which is a locally available.

Figure 10. Thatch ceiling Figure 11. Sloping roof Figure 12. Split stone columns
Source - author Source - author Source - author

Academic block has a sloping roof covered with the Mangalore tiles. The whole
structure is of exposed clay bricks due to it’s climate over there. Anganwadi block is
developed later as per the conventional method of construction of that time.
All the above points explain that the availability of local materials, labor,
construction technique, culture and the economy develop the architecture of that
particular region. And this architecture is developed accordingly without any proper
designer.

In contrast to planned architecture by architects, the building knowledge in

vernacular architecture is often transported by local traditions and thus is more but not
only based on knowledge achieved by trial and error and often handed down to

Figure 13. development in the houses by changes in the genrations

Source - author

through the generations rather than calculated on knowledge geometry and physics.
The relevant example to this previous statement is changed pattern of living. Earlier
the family used to stay together and used to gather together for the events. But as the
time passed, the lifestyle of the families changed with the changes in the society. Now
people like to stay in an isolated family, therefore the apartments came into existence.
Designing with climate, and not against it, is nothing new. It is the way in which
buildings were constructed for thousands of years. However, in the recent past,
architects have been led to ignore the climatic context of buildings, relying on abundant
fuel and sophisticated technology when designing for human comfort. Now that the
demands on architects are changing the most pressing challenge is to create and
adopt an architecture which shelters people in sustainable manner. Central to
sustainable architecture is a climatic strategy.

For examples of hot and arid climate, as desert city has its specific architecture
due to climatic conditions. Traditional building in this city regarding identity and cultural
and religious issues are specific and is in
accordance with nature. Jodhpur University,
1987, This hostel is built in 1987, using a
favorable orientation, massive structure,
and air gap in the roof for insulation,
reflective external finishes, deep
sunshades, and a wind tower making use of
the cool winds. The prevailing direction for
cool winds in Jodhpur is southwest, Figure 14. Section of wind tower in Jodhpur hostel
https://www.yumpu.com/en/document/view/11574886/solar-passive-hostel-university-of-
jodhpur-space-design-
providing windows in this direction are
difficult. Thus, a wind tower concept was used. The tower catches only the cool wind
from the south - west, avoiding warmer air from other directions. Walls are built to local
light - colored stone have been used for roofing, staircase, partitions and for lintels
over windows. Roof insulation is provided by using small inverted terracotta pots over
the stone slabs. Since very few manufactured materials have been used, this is a low-
embodied energy building.

Although the construction principles which are used here cannot be imitated as
an exact model for present day, knowing these principles help us a lot for designing.
It seems that advantages taken from past architecture improve the quality of
architecture and would pave the way to achieve permanent design.

The purest definition of vernacular architecture is simple that is architecture

without architects. It is the pure response to a particular person’s or for society’s
building needs. Vernacular architecture possess a deep respect and perfect
communication with natural environment. And the result is a complex balance between
material, shape and natural context along with best model of inspiration to modern
buildings.
 If anything is to be taken from vernacular architecture, it provides a vital
connection between humans and the environment. It re-establishes us in our particular
part of the world and forces us to think in terms of pure survival – architecture before
the architect. These structures present a climate-responsive approach to dwelling and
are natural and resource conscious solutions to a regional housing need. The benefits
of vernacular architecture have been realized throughout the large part of history,
diminished during the modern era, and are now making a return among green
architecture and architects. In order to progress in the future of architecture and
sustainable building, we must first gain knowledge of the past and employ these
strategies as a well-balanced, methodical whole to achieve optimum energy efficiency.

Use vernacular architecture in today’s time as effective usage of space, forms,

materials etc.

The Jawahar Kala Kendra is a multi-arts centre located in Jaipur and designed
by award-winning Indian architect Charles
Correa in 1986. The building was
completed in 1991 and commissioned by
the Rajasthan government with the
purpose of preserving Rajasthani arts and
crafts. The centre is made up of eight
blocks housing museums, an
Figure 15. Jawahar Kala Kendra, Jaipur
amphitheatre, an auditorium, library, arts https://www.middleeastarchitect.com/portfolio/10-contemporary-structures-across-india-that-
celebrate-the-countrys-various-identities

rooms, a cafeteria, a small hostel and an art-

studio. It also includes two permanent art galleries.

The architectural plan is inspired by the original city plan of Jaipur, consisting
of nine squares with an open central square. It applies concepts from ancient
architectural principles called the Vastu Vidya.

Climate & Geology, Local Material Used and Technology Adopted all these
factors are adopted in the Manav Sadhana School, Ahmedabad. Ahmedabad has
the hot and dry climate. All the spaces are oriented towards the windward side facing
the open courtyard for the ease in cross ventilation. Spaces Semi Open spaces acts
 Figure 16. Design response to the climate
Source - author

as a good transition from Open Spaces to closed space. The closed spaces to be
directly placed with open spaces for natural light and ventilation.

Material used here are Glass Bottle, Flyash, Cement Mortar, cement bonded
flyash brick, flyash and waste residue of a wall, stabilized soil bricks, vegetable crate
wood panelling. Flyash mosaic tiles, shreaded packaging wrapper, tin tile roof, etc.

Figure 18. Filler plastic bottle wall Figure 17. Filler glass bottle wall
Source - author Source - author

Predominantly the houses in the Karnataka are designed and built by people
for their own use. The forms are not stagnant, they grow continuously, albeit slowly, in
response to literary and technological changes. In view of the progressive nature of
this method, it is often possible to claim that the vernacular architecture of Karnataka
achieves total rapport between lifestyle and built-form.

The first example of Karnataka house is Guthu house. The Guthu Houses of
the land owning community of south Karnataka are large, inward looking Hindu
Mansions. The typical Guthu house has a steeply pitched roof, combining single &

Figure 21. Details of the Guthu house Figure 20. Exterior view of the Guthu Figure 19. Courtyard of the Guthu
house House
Source - author Source - author Source - author
double storeyed blocks around a courtyard. It is the isolated home of a well – to - do
family designed to deter attacks. A rather square complex with ample space for
storage all around. The pillars are made of wood. There are usually 4 doors, one on
each side of the square complex. The roof is of Mangalore tiles. The inner square is
an open area — a place often utilized to dry stuff.

Another example is Kondava / Coorg house. Kodagu is a district in

Karnataka known for its martial people. Every Kodava belongs to a clan or Vokka.
Every clan lived in a Ain-Mane an Ancestral house. The Patriarch and Matriarch of the
clan lived in the Ain house with their sons and their families. Joint family system was
the hallmark in the “Ain Mane culture. However, as families grew bigger there was a
need to build more living space. Usually the younger sons moved away and built their
own houses. The approaches of the Ain - manes strongly mark the design of
fortification and traditional points back to a time of general feuds, when chief fought
with clan. Deep Kadanga’s or trenches with high embankments still testily to the
memorials of the warlike state affairs in former times.

Figure 22. Plan of Kondava House Figure 23. View of Kondava House
Source - author Source - author

The example of cultural difference is Fatehpur Sikri. Here, both Indian and
Islamic architecture could be seen. It is an abandoned city in northern India founded

Figure 24. Placement of the complexes

Source - author

by the Mughal emperor in 1571. This Fatehpur Sikri Complex is situated on the ridge
of a hill about 40 meters in height by the side of an artificial lake. Complex is designed
in accordance with climatic condition (air and light).

Figure 26. View of Fatehpur Sikri Figure 25. Carving details Figure 27. View of Jodha palace
Source - author Source - author Source - author

It is spread over 3 plateaus on receding levels with respect to the topography

of the ridge. Structures are constructed from locally quarried sandstone. Mughal fusion
of Hindu and Muslim architectural style was embodied in spacious courtyards, wide
palaces, and open pavilions and cooled by numerous water channels, ponds, ad tank.
The Dalans are et on a raised plinth and are composed of square stone columns with
plain bases and slightly moulded capitals. These are surmounted by simple brackets
supporting stone lintels and a continuous eave (chhajja). Portico is shaded by a stone-
tile roof (Khaprel) resting upon carved brackets, above which runs the same craved
parapet as the one over the Dalans. Exquisitely craved trapezium screens are used.

Figure 30. View Figure 29. View Figure 28. View

Example of vada architecture:

Hutheesing ni Haveli – 500 years old & one of the oldest Original Haveli of Ahmedabad
located in Gheekanta. The Hutheesing Haveli in the historic city center of Ahmedabad
was built in late 1800’s in the iconic Jesinghbhai ni vadi compound. This Heritage
property has played an important role in the Artistic, Cultural and Political landscape
of India. The haveli incorporates the architectural heritage of the 19th century – a blend
of Indian and European styles, including the famous Gujarati stone and wood carvings.
The interiors are equally impressive in their profusion of Gold work, Brocades, rich
tapestries, Sculptures and Metalwork. It has hosted many Monarchs’ including the
Queen of Bhutan and the King of Nepal, Political leaders such as Mahatma Gandhi,
Jawaharlal Nehru and current Prime Minister of India- Narendra Modi as well as
Corporate Tsars and Social Celebrities from across the World. It has served as a
venue for high cultural events and is an experience of refined elegance for all your
senses. The mansion stood within a large compound, which contained walled gardens,
an orchard, mews and small houses for servants and dependents.

Figure 31 Hutheesing ni Haveli Figure 32 courtyard

https://www.gujarattourism.com/destination/details/9/406

Mangaldas ni Haveli-1:
This structure is a part of the densely built urban heritage fabric of the Ahmedabadi
‘Pols’. It was an abandoned house (about 200 yrs. old) which was refurbished and
transformed into an interactive and informative exposition. Currently, it functions as a
boutique heritage hotel and restaurant.[CITATION INS09\l 16393 ]
The exterior surface of the house is composed of two levels – primary and secondary.
The former is comprised of the projected above floors and the wooden posts on
the ground floor. The latter is comprised of the recessed wall on the ground floor along
the inner edge of the ‘Otla’. Along the‘Otla’ one finds the access point – the double-
shuttered wooden panelled door to the house. This element has an elaborate
doorframe with a ‘Ganesh’ motif in the centre of the wooden door lintel to demarcate
the entry. The resultant exterior surface gives the house an identity within conformity.
The surface profile of the house is reciprocated by similar other houses
alongside and on the opposite side of the street. The surface of the above
floor is composed by the repetition of a traditional double shutter panelled
wooden window, each separated by a wooden post and bracket supporting the
projected overhang. Each window on the first-floor surface is a kin to ‘Jharokha’;
together they define the scale of the surface and form ornamental proxies for the
occupants.
The surface forms an urban
threshold which is analogous to a
well-dressed person. It gives a
decorum to the house while it
stands as a part of the whole, a
dignified member of a larger group.
Figure 34 Ground Floor Plan and Exterior surface
This threshold is further softened
https://www.researchgate.net/publication/330346830_Mangaldas_ni_Haveli-1_Pol_House_Ahmedabad

by the ‘Otla’ on the ground floor,

which becomes a shared territory
for the people on the street. It
becomes an extension of the house
onto the street, which provides
platform for social interaction and
engagement. It becomes Figure 33 Entrance door and view of the courtyards

inclusive. The ornamentation of https://www.researchgate.net/publication/330346830_Mangaldas_ni_Haveli-1_Pol_House_Ahmedabad

the surface and its elements is

influenced by the traditional Gujarati embroidery motifs and patterns done on fabric.
It animates the whole surface and engages the perceiver passing by the street.
Invalidates what is stated by Chatterjee, “If there is nothing beyond the functional value
or use of the exteriors of buildings, then the resultant city would fail to engage the
inhabitants. “The front wall thus becomes an event for maximum reciprocal
actions such as looking through and being looked back at the windows; a sharing
ground for establishing mutual relations through the ‘Otla’. A peculiarity of these
house forms is the similar theatricality and drama created along the inner surface of
the above floors overlooking the courtyard of the house, which in fact, brings the
outside inside. It is consciously organized in the design layout to acquire
light and ventilation for all the rooms and activities inside the house, surrounding
the courtyard. But it also establishes mutual visual connections with the floors above.
The flooring tiles of the courtyard and other selective portions of the house
are apparently analogous to the textile embroidery patterns of traditional
Gujarati style. Traditional Gujarati embroidered wall-piece called 'Chaaklo'
The appropriateness of the surface ornamentation, or not is one perspective. But for
sure, one can decipher that Architecture never exists in isolation; that it is always
urban; that it always creates thresholds between two realms. These thresholds are
concretized or softened through the play of ‘Surfaces’ and ‘Elements’ of Architecture.
In an urban context, each building is a part of a cluster, which further, is a part of a
larger urban block. These urban blocks eventually constitute the city. Thus, since
each built structure is a part of a larger whole, architecture should always attempt to
be inclusive and engaging. Nowhere is this more evident than in the
ornamentation and articulation of surfaces in the traditional Pol-houses of
Ahmedabad such as Mangaldas ni Haveli