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Design as Culture: Understanding Vernacular Architecture of

Indigenous Tribal Community of India

Conference Paper in Smart Innovation · February 2017

DOI: 10.1007/978-981-10-3521-0_75

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Design as Culture: Understanding
Vernacular Architecture of Indigenous
Tribal Community of India

Harshitha G. Raju

Abstract This paper presents understanding of symbolic meanings in vernacular

architecture of a tribal community in Karnataka, South India known as Jenu
Kurubas. An ethnographic study is conducted to document the lifestyle, beliefs,
narratives and customs of the community. Further, structural semiotics is applied to
analyze the myths and narratives to identify the hidden messages through opposi-
tions and correlations. The study concludes that the oppositions, logical relations
and correlations observed in narratives are also represented in the geographical,
socio-cultural, cosmological and techno-economic schemas as principles and
attributes of vernacular architecture.

Keywords Vernacular architecture
Structural semiotics
Myths ∙ narratives

Ethnography Tribal community

1 Introduction

As human beings, we are unique from rest of the species due to the capability to
design and be part of culture. Culture within a community is reflected through
design and likewise design is used as one of the means to portray culture. The term
‘design’ here refers to spatial design at different scales from that of a whole set-
tlement to interior architecture of a community. Oliver [1] defines culture as the
totality of values, activities and products, including buildings of a society, which
give meaning and direction to the lives of its individual members that are learned
and not transmitted genetically. Likewise, as culture is distinct to a place and its
people, so is vernacular architecture; contextual, culture specific, region specific and
rooted to a locale. Rapoport [2] is of the opinion that vernacular architecture is the

H.G. Raju (&)

Acharya’s NRV School of Architecture, Bangalore, India
e-mail: hraju6@gmail.com

© Springer Nature Singapore Pte Ltd. 2017 879

A. Chakrabarti and D. Chakrabarti (eds.), Research into Design for Communities,
Volume 2, Smart Innovation, Systems and Technologies 66,
DOI 10.1007/978-981-10-3521-0_75
880 H.G. Raju

result of direct and unconscious translation of culture into physical form. He also
states that the design decisions in dwellings and settlement plans may be severely
limited due to culture of the society [3]. Glassie claims that the study of vernacular
produces knowledge that all architecture is cultural, and that all cultures differ in
structuring their hierarchy of values [4].
But the aspects of culture may not be directly depicted; they are ingrained to a
greater extent than what they appear to be. Vernacular buildings are elusive with
symbolic meanings which may be spiritual, cosmic and anthropomorphic or of
other significance, reflecting the customs and beliefs to satisfy the psycho-social, as
well as the physical needs of the inhabitants [5]. Culture is described as a semiotic
system, an ensemble of “structures of signification” that act as an external control
system for human action [6]. Dubos regarding human behavior writes that man
symbolizes everything that happens to him and then reacts to the symbols as if they
are actual environmental stimuli [7]. Mumford claims that man attained special-
ization in the realm of culture through myths and rituals even before material and
technological aspects of nature [8].
However, the symbolic and connotative meanings in vernacular architecture are
impossible to be deciphered without the knowledge of the cultural past of the land
and people. Thus, an insight into the customs and rituals, social and economic
status, and especially ‘myths and narratives’ that are passed on from generation to
generations are a means to realize the hidden meanings. As myths not only give
understanding of history of culture, but also provide a basis for law and morality to
people and answer very basic questions of life [9]. Glassie argues that narratives are
embedded universally among all humans and that they are used as a means of
architectural diffusion [10]. Hence, the different aspects of culture, both tangible
and intangible are interlinked in such a manner that study of one provides under-
standing into others.
Accordingly, the aim of this paper is to realize the symbolic thought behind
design decisions in vernacular architecture through analysis of myths and narratives
and understanding of lifestyle, beliefs and customs of people in a community. The
objectives are to explore the underlying ‘deep structural system’ that is obscure due
to ‘surface phenomena’ in narratives; to refine precise knowledge about cultural
influences on vernacular architecture and to understand the interaction of people
with spaces and house forms.
Even though human brain is developed among all the Homo sapiens to the same
extent they are influenced by cultural training for those living in technologically
advanced society [11]. Thus the people under study chosen are Jenu Kurubas who
are an indigenous tribal community of Dravidian origin residing in Kakanakote,
Mysore district of Karnataka in South India. They live in thick forested area,
technologically unsophisticated, have kept oral transmission of narratives still alive
and have the same thought process as their ancestors. And also, the climatic zone in
which they are located is moderate, which negotiates the possibility of climate as a
determining factor for their resultant built forms and supports the study of cultural
influence on their vernacular architecture.
Design as Culture: Understanding Vernacular Architecture … 881

2 Methodology

The study conducted can be categorized under two sections. Firstly, Ethnography as
a qualitative approach to data collection and secondly, Structural semiotics as a
method of analysis. The ethnographic study was conducted for a period of two
weeks, by author physically being present with the villagers from morning till
evening. During which, the information collected was through measure drawing,
participant observation, interviews, photographic documentation, maintaining reg-
ular field work notes and personal documents. The people interviewed were around
20 numbers including the tribal head, subordinates, their family members, priest,
mahouts (which is also a common occupation among them), elderly, residents and
youngsters of the village.
Structural semiotics, which is an established method used in Linguistics was
applied for analysis as Levi-Strauss too ascertains that as language and culture are
both built of oppositions and logical relations; language can be used a conceptual
model in analyzing other aspects of culture [12]. The phases of analysis included:
1. A detailed study of object category, i.e. vernacular architecture of Jenu Kurubas
by creating a catalog of characteristic traits of their architecture.
2. Analysis of the relationships between ‘basic traits of architecture’ and ‘cultural
traits of the society’ to identify the genre.
3. A concept of system by elucidating through analogy and developing cognitive
patterns through deductive reasoning.
The resultant matrix obtained is one of the possibilities of several permutations
as a result of objective interpretation that helped in identifying the motifs and
hidden meanings through logical correlations. Simultaneously, the results obtained
were validated through triangulation by verifying with their belief system, customs,
rituals and their lifestyle.

3 An Ethnographic Study of Jenu Kurubas

3.1 Settlement Pattern and Design of Dwellings

The settlement of Jenu Kurubas known as ‘Balle haadi’ within Kakanakote reserve
forest is protected by natural boundaries with Western Ghats on to South and
Kabini River to the North and North-West. The development of the settlement is
scattered with few houses clustered or independent with fenced boundaries. As they
do not have sub-castes, all are treated equally and have access to whole village.
The site selection for construction of house is done by placing three medium
sized stones or by nailing a peg on site for three days and later checking if they have
remained in same positions as a good omen for construction. The dwellings are
single-storeyed, with hipped roof and are kutcha houses. The plan is rectangular
with dimensions ranging between 3.0  4.5 and 4.5  7.5 m. They have a single
882 H.G. Raju

Fig. 1 Typologies of houses among Jenu Kurubas at Balle Haadi, Kakanakote

entrance, without any opening other than space left between meeting of walls and
roof members. The extended plinth serves as an outdoor seating and cooking and
sleeping area. The interiors basically have two spaces i.e. the living and kitchen.
The basic materials of construction used are wood, bamboo, mud and hay. The
columns and beams are made of wood, while bamboo is used for walls, partitions
and roofing. A thick layer of mud, both internal and external is plastered on the wall
of about 0.3 m thickness and is plastered with cow-dung (Fig. 1).

3.2 Family Structure, Life-Style and Customs

The Jenu Kurubas follow a nuclear family structure, but their dwellings are closely
located to other family members and relatives. They follow a patriarchal system.
Both men and women are equally audacious, as even women go to forest almost
every day to collect firewood and Non-Timber Forest Products and also work as
laborers in coffee plantations. Annually all men involve in honey gathering which is
a social occupation collectively done among them. The social conduct and
co-operation among the villagers, family members and with their surrounding
environment is affected by their beliefs and customs. They do not do idol worship
or have shrines to pray as they consider nature itself sacred. They respect their
Design as Culture: Understanding Vernacular Architecture … 883

ancestors as protectors of their lives thus worship their birth annually. According to
their belief, there exists three worlds one above the other; the earthly, spiritual and
the heavenly world.

3.3 Birth, Marriage and Death

The concept of pollution related to maturity, pregnancy and birth is prevalent and
strongly followed among Jenu Kurubas. Every newly married couple constructs
their own new house by themselves with some help from relatives within a time
span of about three days. While the groom gets the necessary materials and does the
framework, woman takes up the responsibility of plastering mud and finishing it
with cow dung. Likewise, when a person expires in a family the complete house is
brought down and relocated, or in some cases they symbolically evacuate a portion.

4 Structural Semiotic Analysis of Narratives

The oral narratives presented here are translated from a book on Jenu Kurubas
written by Prof. Kikkeri Narayan who has been researching on them for more than
thirty years [13]. They are analyzed and positioned under different motifs based on
the oppositions and correlations present in the narrative which help in deciphering
messages and signs.

4.1 The Myth of Origin

This myth is composed of dichotomy such as Land-Water, Single- Couple, Man-

Woman, Drown- Float etc., which when logically related acquires meaning. The
significance given to land, water and earth by the people can be realized through
this myth. It also overcomes the belief in autochthonous birth and administers birth
by two people of opposite gender and thereby existence of life (Fig. 2).

4.2 The ‘Aalukoogo’ Bird

The narrative speaks of events that happen both in their village as well as the forest
which refers to their reverence to culture and nature. The feelings of love and hatred
are also expressed among marital and kinship relationships (Fig. 3).
884 H.G. Raju

Fig. 2 Analysis of the myth of origin

4.3 Jenu Kurubas Epic Poem: Tangi

This narrative initially expresses love, sacred feelings and concern among kinship
relations, thus the feature of the first column is Sacred. In this column a strong bond
is observed between the brother and sister relationship. The second column has its
feature as Chaste, as the young sister who attains puberty is pure both mentally and
physically. The third column is about the unchaste act that the brother-in-law
conducts with the young woman. The fourth feature is Profane, as the brothers kill
their only sister in turn the sister curses the death of all her brothers (Fig. 4).
Design as Culture: Understanding Vernacular Architecture … 885

Fig. 3 Analysis of the narrative the ‘Aalukoogo’ bird

4.4 The Two Brothers Story

This narrative proceed with mention of oppositional pairs in the consecutive

‘mythemes’. The story starts with one village and ends in other, with a disastrous
beginning and a prosperous conclusion. It can be realized from the story that the
chief motifs that affect the society’s equilibrium as nature, kinship relations, love,
death and survival and spirits in the wind (Fig. 5).

4.5 The Mouse Story

This story is a metaphor of life style of Jenu Kurubas and Coorg estate owners. The
Jenu Kurubas who are like white mouse signify innocence, simplicity and down to
earth behavior; whereas the description of bandicoot’s luxury resembles the Coorg
estate owners for whom Jenu Kurubas work as laborers in their plantations (Fig. 6).
886 H.G. Raju

Fig. 4 Analysis of poem ‘Tangi’

Fig. 5 Analysis of ‘The two brothers’ story’

Design as Culture: Understanding Vernacular Architecture … 887

Fig. 6 Analysis of the mouse story

5 Discussion

The symbolic nature of vernacular architecture is the tangible and physical

expression that represents the cultural influence of community. These influences
that are transferred can be further studied under geographic, cosmological and
socio-cultural schemas as presented here.

5.1 Geographic Schema

As in the epic poem ‘Tangi’ which gives a description of the threshold, the aspect of
‘territoriality’ is strong among Jenu Kurubas and can be identified at several levels. This
concept is reflected through use of spaces, the notion of security and privacy. The village
has benchmarks around to mark the territory through a ritual conducted by the village
888 H.G. Raju

Fig. 7 Graphical representation showing the boundaries of access permitted to the family
members in a house

priest to prevent the evil spirits from entering the settlement. At the cluster level, the
houses are fenced, that act as physical barriers from strangers and wild animals.
Within the houses the family members follow certain restrictions, the spaces are
defined that can be accessed by the male and female members. While the kitchen
area is accessed only by women, the living area is territory of the male head of the
family. Likewise, a married son can enter only a part of the living area, whereas a
married daughter has no access at all and can use only the outdoor spaces (Fig. 7).
Also, in the narratives, there are several instances while strong bonding is
observed between blood related brothers, while that with married sisters is of
hatred. This is translated in their settlement patterns by having rules of positioning
houses of brothers in a family within the same plot, whereas that of sisters inde-
pendent and individual.

5.2 Cosmological Schema

The cosmological schema observes the notion of universe and its elements that are
present in the minds of the people at different scales of space usage and activities.
As in the ‘two brothers story’ the supernatural powers both good and evil traverse
through wind. Likewise, Jenu Kurubas believe in three worlds that exist; the earthly
in which they live, the spiritual which is just above their heads and consists of evil
Design as Culture: Understanding Vernacular Architecture … 889

Fig. 8 Graphical representation showing an exploded view and section of a dwelling in relation to
the belief of three worlds that exists among Jenu Kurubas

unsatisfied spirit and above which the heavenly world where godly ancestors reside.
These thoughts in relation to their dwellings can be observed in design of their
dwellings. The super-structure has only a small entrance without any other open-
ings which possibly represents symbolically the fear they have towards evil spirits.
Accordingly, the plan of their houses are rectangular, and only rituals related godly
spirits are done by drawing a circle to which only the priest has access. This aspect
reflects their belief that shelters for humans can have corners for cosmic orientation.
The dilemma of water which is observed as an element of creator as well as
destroyer in the myth of origin has implications on the orientation of their houses.
They orient their houses towards to show reverence they have for water and it is
also observed that due to flooding of the river Kabini or heavy rains damages their
dwellings. Likewise, the water that is brought by women of the house during
daytime should be utilized by evening hours and the remaining spilt away and filled
again for usage till the next day morning. The belief in their minds according to one
of the informants is: “Water gets polluted when kept for long hours; spirits in the
wind might contaminate the water; we ought to change it twice a day.” Thus,
storage of water in their houses has a limitation (Fig. 8).

5.3 Socio-Cultural Schema

The Socio-Cultural schema includes the aspects of family structure and bonding
between members, hierarchy among them, kinship and marital relations, and
position of women in the society. It is also seen that marriage and death are seen as
oppositions, as in the ‘two brothers’ story’, in which the narrative begins with the
890 H.G. Raju

Fig. 9 Socio-cultural schema

death of villagers and ends with marriage of the two brothers. Similarly, according
to their customs, newlywed couples construct a house, and demolish it upon death
of family member.
The ‘mouse story’ gives an understanding of their lifestyle, simplicity, and
accepting life the way it comes. The use of naturally available local materials in
their purest forms without any processing or transforming them also adds to that
their built forms are product of culture as much as they belong to nature (Fig. 9).

6 Conclusion

In this paper, the design principles of vernacular architecture have been observed
and analyzed through cultural perspective. The correlation and logical relations as
observed in narratives can be deciphered as few of the design principles influencing
the architecture of a locale (Fig. 10). The study concludes that the principles and
attributes of vernacular architecture are ‘structural’ which are observed in terms of
oppositions, logical relations and correlations present in the geographical,
socio-cultural, cosmological and techno-economic schemas and the system within
each society works towards regaining the equilibrium to contain itself and create a
balance between nature and culture. It also ascertains the fact that the human
thinking is structured and is composed of logical oppositions and correlations as
observed in the narratives. The study also supports that the tangible object category
is not devoid of cultural influences but ingrained with deep meanings that can be
 Design as Culture: Understanding Vernacular Architecture … 891

Fig. 10 Chart showing relationship of narratives and schemas

realized through understanding of other cultural aspects. Likewise, it also proves

that the design decisions are not only dispersed horizontally in a period of time, but
are also chronological; influenced from ancestral thoughts within a community.
Similar study could be conducted to understand the other objects of material culture
as in the field of product, furniture design etc. among communities.

References

1. Oliver, P.: Built to Meet Needs-Cultural Issues in Vernacular Architecture, p. 60. Elsevier,
Burlington, United States (2006)
2. Rapoport, A.: House, Form and Culture, vol. 1, pp. 2. Prentice Hall, New Jersey (1969)
3. ibid 3, pp. 47
4. Glassie, H.: Architects, Vernacular traditions, and Society. Material Culture, pp. 12. International
Association for the Study of Traditional Environments. Berkley, United States (1990)
5. Oliver, P.: Built to Meet Needs-Cultural Issues in Vernacular Architecture, pp. xxv–xxviii.
Elsevier. Burlington, United States (2006)
6. Geertz, C.: Thick Description: Toward an Interpretive Theory of Culture, vol. 1, pp. 1–30.
Basic Books, Inc., New York (1973)
7. Dubos, R.: Man Adapting, vol. 1, pp. 7. Yale University Press, New Haven, United States
(1965)
8. Mumford, L.: Art and Technics, vol. 1, Pp. 17–19. Columbia University Press, New York
(1952)
9. Morris, D., Marsh, P.: Tribes. Octopus Publishing Group, London (1988)
10. Glassie, H.: Meaningful things and appropriate myths: the Artifact’s place in American
studies. Prospects 3, 1–49 (1977)
11. Leach, E.: Levi-Strauss, vol. 4, pp. 57. Fontana Paperbacks, London (1970)
12. Levi-Strauss, C.: Structural Anthropology., vol. 4, p. 69. The Penguin Press, Britain (1963)
13. Narayan, K.: Jenu Kuruba Budakattu Jannangada Avyakta Saamskrutika Parampare
(Kannada). National folklore Support Centre, Chennai, India (2011)

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