SITE ANALYSIS

AD- SEMESTER-3
MADE BY- 01 – MAYUR M. BAGAITKAR
10 – SHRAVANI P. GURAV
22 – RUCHITA M. MAHAJAN
27 - KARTIKI R. NARKHEDE
31 – NIMISHKA S. PARDESHI
41 - SONALI S. SHELKE 2STYEAR

C
 CONTENT
• LOCATION …………...……………………………………………………. 1
• KARNATAKA (STATE)……………………………………………………. 3
• SHIVAMOGGA (DISTRICT)………………………………………...…..... 5
• SULAGODU (VILLAGE)……………………………….………………..... 6
• MODE OF TRANSPORTATION………………………………………….. 7
• SITE ANALYSIS……………………………………………………………..8
• VEGETATION………………………………………………………………..18
• NEAR BY PLACES………………………………………………………… 19
• SUNPATH AND SIOGRAPHY…………………………………………….. 20
• CLIMATE ( SULAGODA VILLAGE)……………………………………… 22
• DESIGN CONCEPT IN TROPICAL REGION…………………………… 24
• VERNACULAR ARCHITECTURE………………………………………... 30
• ARCHITECTURE OF KARNATAKA……………………………………... 32
• SWOT ANALYSIS…………………………………………………………… 38
 MUSIC : KOLU KUNIDAVE (KARNATAKA FOLK MUSIC )

SITE ANALYSIS
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S.Y.C 01 KARNATAK
LOCATION :-

SITE ANALYSIS
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S.Y.C 02 KARNATAK
KARNATAKA

Pattadakal, Karnataka
HERITAGE OF KARNATAKA LANGUAGES OF KARNATAKA
DANCES IN KARNATAKA CULTURE
KANNADA
AS A CLASSICAL LANGUAGE BY THE RECOMMENDATIONS
OF LINGUISTICS EXPERTS AND THE GOVERNMENT OF
INDIA.
TULU
KONKANI
KODAVA
URDU
HAMPI PATTAKADAL BEARY OR BYARI

MUSIC OF KARNATAKA

THE ONLY STATE THAT FLOURISHES WITH BOTH

HINDUSTHANI MUSIC FROM NORTH AND CARNATIC MUSIC
FROM THE SOUTH IS KARNATAKA.

BADAMI – THE ANICENT TEMPLES
MYSORE – THE CITY OF PALACES
 THE VIJAYANAGARA EMPIRE AND FOUR DIFFERENT
DYNASTIES THAT LASTED FOR 300 YEARS, HAMPI NOW
IS A UNESCO WORLD HERITAGE SITE.
 THE RUINS OF THE EMPIRE CAN BE FOUND IN THE
FORM OF TEMPLES, ARCHITECTURAL MARVELS, THE
FAMOUS MUSICAL PILLARS, ROYAL ENCLOSURES AND
SCATTERED MONUMENTS.
 HAMPI, HOUSING THESE ANCIENT RUINS DOESN'T FAIL
TO ATTRACT ABUNDANT TOURISTS EVERY YEAR. THE
HAZARA RAM TEMPLE IS A MAJOR ATTRACTION AS IT IS
BELIEVED TO BE THERE SINCE RAM AND KRISHNA'S
ERA.
 THE RICH HISTORY OF HAMPI IS ALSO DISPLAYED IN
THE ARCHAEOLOGICAL MUSEUM LOCATED IN THE
TOWN.
 ANOTHER POPULAR ATTRACTION IS THE
MYSORE PALACE. THE ARCHITECTURAL MARVEL IS A
COMBINATION OF INDO-SARACENIC STYLE.
HINDUSTHANI
THE HINDUSTANI MUSICIANS OF KARNATAKA HAVE WON  CONSIDERED A DIFFICULT ART FORM, YAKSHAGANA
SEVERAL AWARDS LIKE THE KALIDAS SANMAN, PADMA LACKS A WRITTEN SCRIPT AND DEPENDS ENTIRELY
VIBHUSAN AND PADMA BHUSAN. HENCE, KARNATAKA ON THE ARTIST'S ABILITY TO BE SPONTANEOUS, TO
HAS ACHIEVED A PROMINENT PLACE IN HINDUSTHANI IMPROVISE, TO BE A GOOD ORATOR AND HAVE A
SOUND KNOWLEDGE OF THE PLOT AND CHARACTER.
MUSIC.
 THE UNIQUE ART FORM OF YAKSHAGANA HAS
VARIOUS ELEMENTS LIKE DANCE (NRITHYA),
CARNATIC
MAKEUP (BANNAGARIKE OR
PURANDARA DASA IS ONE OF THE PROMINENT
MUKHAVARNIKE), BACKGROUND SINGING AND
COMPOSERS IN KARNATAKA WHO COMPOSED CLOSE TO
DIRECTION (BHAGVATHIKE), TWO FORMS OF DRUMS
75,000- 745,000 SONGS IN KANNADA AND SANSKRIT.
(CHANDE MADDALE) AND CONVERSATION
(ARTHAGARIKE).
ART FORMS OF KARNATAKA
 THE ART FORM IS 500 YEARS OLD, AND THE ENTIRE
PORTRAYAL TAKES PLACE IN REFINED KANNADA,
WITHOUT EVEN A WORD OF ANY OTHER LANGUAGE.
• YAKSHAGANA
 IT IS AN IMPORTANT TRADITION AND ALSO A
• TOGALUBAMBEAATA
PREVALENT ARTKARNATAKA
FORM.
• BHOOTHARADHANE WHY ?
• NAGAMANDALA
• KRISHNA PARIJATHA
• DOLLUKUNITHA
• GORAVARA KUNITA
• VEERAGAASE
• SUGGIKUNITA

SITE ANALYSIS
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S.Y.C 03 KARNATAK
KARNATAKA CULTURE - ALL ABOUT TRADITIONAL ART FORMS AND CULTURE
CULTURE
 ITS EXUBERANT ART AND CULTURE OF MULTILINGUAL ETHNICITY, ASTOUNDING DANCE
FORMS, MESMERISING MUSIC, SOPHISTICATED HERITAGE, ZEALOUS FESTIVITIES,
ELEGANT CLOTHING AND DELECTABLE CUISINE
 KARNATAKA HAS A PLETHORA OF HISTORICAL SECRETS, INTERWOVEN WITHIN A RICH
AND VARIED CULTURE.
 IT IS A MAJOR TOURIST ATTRACTION WITH CITIES LIKE BANGALORE, THE SCENIC COORG,
THE LESSER KNOWN HILL TOWN OF CHIKMAGALUR, AND HERITAGE SITES LIKE HAMPI,
WHICH ATTRACT COUNTLESS PEOPLE EVERY YEAR.
 KARNATAKA OFFERS A LITTLE SOMETHING FOR EVERYONE, BE IT A HISTORY ENTHUSIAST,
A NATURE LOVER, OR SOMEONE LOOKING TO IMMERSE ONESELF IN ITS CULTURAL
HERITAGE.
 IT IS HOME TO VARIOUS TRIBES, THE UNIQUE SIDDI COMMUNITY, MANY TIBETAN
REFUGEES, THE ANTHROPOLOGICAL ENIGMA THAT IS THE KODAVA COMMUNITY AND
OTHERS, WHO CONTRIBUTE TO ITS OWN UNIQUE CULTURE.

KARNATAKA IS HOME TO 50 DIFFERENT TRIBES, EACH HAVING THEIR

TRADITIONS AND CUSTOMS. TRIBAL ART IS ANOTHER INDIGENOUS ART FORM.
HASE CHITRA MUD PAINTING IS AN ART FORM EMERGING FROM THE SHIMOGA
AND KARWAR DISTRICTS AND IS CURRENTLY BEING REVIVED.

ART
 EARLIER, PAINTING INVOLVED NOT ONLY THE ACT ITSELF BUT THE ENTIRE PROCESS, FROM
MAKING ONE'S COLOURS TO WATCHING AS THEY COME TO LIFE. PAPER, WOOD, CLOTH, ETC.
 WERE SOME OF THE MATERIALS ARTISTS USED AS A BASE FOR THEIR PAINTINGS. BRUSHES
WEREN'T MADE FROM SYNTHETIC MATERIALS BUT WERE MADE FROM THE ORIGINAL HAIR
OF ANIMALS LIKE CAMELS, GOAT, AND SQUIRREL.
 THE MYSOR STYLE OF PAINTINGS USUALLY ARE REPRESENTATIONS OF LEGENDS, MYTHICAL  NEARLY HALF OF THE WORKFORCE IN KARNATAKA IS ENGAGED IN
SCENES, AND THE ROYAL FAMILY. THIS STYLE OF PAINTING FROM KARNATAKA IS KNOWN TRADITIONAL AGRICULTURE AND RELATED ACTIVITIES. THE REMAINING
FOR ITS SIMPLICITY AND INTRICATE DETAILING ACROSS THE COUNTRY. THE ARTISTS USED A PEOPLE OF THE COMMUNITY, HOWEVER, INDULGE IN VARIOUS PUBLIC,
PARTICULAR GESSO PASTE, CONSISTING OF ZINC OXIDE AND GUM, WHICH FORMED A PRIVATE SECTORS AND PERFORMANCE ARTS. THE HEART OF THE STATE,
PROTECTIVE LAYER ON THE PAINTING, WHICH HAS KEPT THEM UNDAMAGED EVEN AFTER BANGALORE IS NICKNAMED AS THE 'SILICON CITY' FOR THE BOOMING IT
150 YEARS. INDUSTRY.

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SITE ANALYSIS
S.Y.C 04
SHIVAMOGGA
SHIVAMOGGA :-
•
SHIVMOGGA IS ALSO REFERRED TO AS “THE SWITZERLAND OF KARNATAKA”

• THE CITY IS 569 M ABOVE SEA LEVEL AND IS SURROUNDED BY LUSH GREEN PADDY FIELDS, ARECANUT AND COCONUT GROVES.
• IT IS LOCATED 267 KM FROM THE STATE CAPITAL BANGALORE AND 195 KM FROM THE PORT CITY MANGALORE

 HISTORY OF SHIMOGA

SHIMOGA WAS PREVIOUSLY KNOWN AS MANDLI.

THE NAME SHIMOGA IS RELATED TO LORD SHIVA WHO IS SAID TO BE THE GOD OF MEDITATION.

THERE ARE LEGENDS ABOUT HOW THE NAME SHIMOGA HAS EVOVLED

ACCORDING TO THE FIRST LEGEND:

SHIVA-MUKHA (FACE OF SHIVA )

SHIVANA-MOOGU ( NOSE OF SHIVA )

SHIVANA-MOGGE ( FLOWER TO BE OFFERED TO SHIVA ),

CAN BE THE ORIGINS OF NAME SHIVAMOGA.

ALSO ANOTHER LEGEND SPEAKS OF THAT SHIMOGA IS DERIVED FROM THE WORD SIHI-MOGE WHICH MEANS SWEET POT.

ACCORDING THE MYTH OF MAHABHARAT, THIS PLACE ONCE HAD THE ASHRAM OF SAGE DURVASA AND HE USED TO BOIL SWEET HERBS IN AN EARTHEN POT,SOME COWHERDS FOUND THAT POT AND AFTER TASTING THE SWEET BEVERAGE NAMED THE PLACE “SHIVMOGGA”

SITE ANALYSIS
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S.Y.C 05 KARNATAK
SULAGODU
SULAGODU :-
• SULAGODU VILLAGE COMES UNDER HOSANAGARA TALUK IN SHIMOGA DISTRICT OF
KARNATAKA. PINCODE OF THE VILLAGE IS 577448.
• THE TOTAL LAND AREA OF SULAGODU IS AROUND 1552.47 HECTARES (3836.23 ACRES). WHICH
CONSISTS OF A TOTAL HOUSEHOLD OF AROUND 331. THE NEAREST VILLAGE TO SULAGODU IS
TIRTHAHALLI (29 KM)
• THE TOTAL POPULATION OF SULAGODU IS AROUND 1378 ACCORDING TO THE DATA FROM
CENSUS 2011.IN THIS, MALE POPULATION IS AROUND 688 AND FEMALE POPULATION
COMPRISES OF 690.

 PANCHAYAT :SULAGODU
 TALUK :HOSANAGARA
 DISTRICT :SHIMOGA
 STATE :KARNATAKA
 LAND AREA :1552.47 HECTARES (3836.23 ACRES)
 HOUSEHOLDS :331
 NEAREST VILLAGE :TIRTHAHALLI (29 KM)
 POPULATION :
 MALE POPULATION - 688
 FEMALE POPULATION - 690
 TOTAL POPULATION -1378

SITE ANALYSIS
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S.Y.C 06 KARNATAK
MODE OF TRANSPORT
MODE OF TRANSPORTATION :-
HOW TO REACH SHIMOGA :
BY TRAIN OR BUS:
• SHIMOGA HAS ITS OWN RAILWAY STATION BY THE NAME SHIMOGA
NAGAR RAILWAY STATION. THE RAILWAY HEAD IS WELL CONNECTED TO
ALL THE MAJOR CITIES .
BY AIR:
• SHIMOGA IS EASILY ACCESSIBLE BY AIRWAYS. IF YOU WISH TO BOARD
A FLIGHT TO REACH THERE, THE NEAREST INTERNATIONAL AIRPORT IS
THE MANGALORE AIRPORT AT A DISTANCE OF AROUND 190
KILOMETERS
BY ROAD:
• THIS REGION CAN BE EASILY APPROACHED BY BUS OR PRIVATE
CAR.THERE ARE NUMEROUS BUS SERVICES FROM BANGALORE,
MANGALORE, MAHARASHTRA AND OTHER NEARBY CITIES TO REACH
SHIMOGA.
FROM SHIMOGA TO SULAGODU, WHERE THE SITE IS LOCATED :
• ALUR RAILOWAY STATION IS AT THE DISTANCE OF 27 KM.
• THE NEAREST VILLAGE TO ACCESS IS HOSAHALLI WHICH IS 7 KM AWAY.
• THERE ARE MANY OTHER RAILWAY AND BUS FACITIES AT 10 TO 15 KM
DISTANCE FROM THE SITE,
HUSKURU,HASSAN,ETC

SITE ANALYSIS
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S.Y.C 07 KARNATAK
SITE ANALYSIS
 SITE VIEW

SITE ANALYSIS
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S.Y.C 08 KARNATAK
SITE ANALYSIS
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S.Y.C 09 KARNATAK
 D
8. 34 M WIDE ROA

SITE ANALYSIS
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S.Y.C 10 KARNATAK
 CIRCULATION

SITE ANALYSIS
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SITE ANALYSIS
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VERTICAL SECTION

SITE ANALYSIS
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HORIZONTAL SECTION

SITE ANALYSIS
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SITE ANALYSIS
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VIEWS :-

SUNRISE VIEW SUNSET VIEW STREET VIEW BIRD VIEW

SITE VIEW RIVER VIEW SIDE VIEW

SITE ANALYSIS
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S.Y.C 16 KARNATAK
 WHY THE SITE ?
 THE SITE IS AWAY FROM THE CITY AND POLLUTION
FREE WHICH IS THE MAIN ADVANTAGE FOR
MEDITATION CENTRE.

 IT IS LOCATED RIGHT BESIDES THE HEMAVATI

RIVER IN SHIVMOGGA CITY, SURROUNDED BY AN
ABUNDANCE OF NATURAL BEAUTY

 AVAILABILITY OF WATER BODY IS WHAT WE HAVE

FOCUSED ON AS WATER CAN ENHANCE THE POWER
OF MEDITATION BY REVERBERATING A MANTRA
SOUND CALMING THE MIND AND ENCOURAGING A
FEELING OF NON ATTACHMENT AND
WEIGHTLESSNESS.

 NOT TO FAR FROM THE MAIN ACCESS ROAD, THE

PLACE IS PEACEFUL,AND MAKES UP FOR AN
AMAZING PLACE TO PRACTICE MEDITATION AND VEGETATION NEAR SITE
YOGA

 THE SITE IS AWAY FROM THE CITY IN A POLLUTION

FREE SPACE WITH LOT OF VEGETATION IN THE
SURROUNDING WHICH IS THE MAIN ADVANTAGE
FOR THE MEDITATION CENTRE

SITE ANALYSIS
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S.Y.C 17 KARNATAKA
VEGETATION
VEGETATION :-
• Karnataka has a rich diversity of plant species.
• The plant species play an important role in
preserving the ecological balance.
• The trees provide timber, firewood, raw material
for industries, medicinal herbs, honey, bamboo,
cane etc.
• Sandalwood is a special tree grown in forests of
Karnataka.

MEDICINAL PLANTS

• The state of Karnataka boasts an unparallel diversity of medicinal

plants in the country.
• It is estimated that, Karnataka is the home to about 4800 species
of flowering plants out of which about 2000 species are medicinal.

• Measuring medicinal plant knowledge can give an insight into

the cultural importance of plant resources, i.e., which species
are recognized as effective, appreciated and reported with
major frequency.

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KARNATAKA
SITE ANALYSIS
NEAR BY PLACES
NEAR BY PLACES :-

SITE ANALYSIS
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S.Y.C 19 KARNATAK
SUN PATH AND
SCIOGRAPHY
SITE ANALYSIS
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SUNPATH AND SIOGRAPHY :-

SUNRISE – EAST
SUNSET - WEST

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KARNATAKA
SITE ANALYSIS
CLIMATE
 CLIMATE :-
 KARNATAKA WITNESSES THREE TYPES OF CLIMATE.
 THE STATE HAS A DYNAMIC AND ERRATIC WEATHER THAT CHANGES FROM PLACE TO PLACE WITHIN
ITS TERRITORY.
 DUE TO ITS VARYING GEOGRAPHIC AND PHYSIO-GRAPHIC CONDITIONS, KARNATAKA EXPERIENCES
CLIMATIC VARIATIONS THAT RANGE FROM ARID TO SEMI-ARID IN THE PLATEAU REGION, SUB-HUMID
TO HUMID TROPICAL IN THE WESTERN GHATS AND HUMID TROPICAL MONSOON IN THE COASTAL
PLAINS.
 MORE THAN 75 PERCENT OF THE ENTIRE GEOGRAPHICAL AREA OF KARNATAKA, INCLUDING INTERIOR
KARNATAKA, WITNESSES ARID OR SEMI-ARID CLIMATE.
 KARNATAKA HAS ABOUT 15 PERCENT OF THE TOTAL SEMI-ARID OR 3 PERCENT OF THE TOTAL ARID
AREAS MARKED IN INDIA.

SULAGODA LIVE WEATHER

• SULUGODU LIVE WEATHER
TEMPERATURE: 26.8 °C
FEW CLOUDS
HUMIDITY: 75%
WIND : 1.54 MT/SEC TOWARDS NE
STATIONNAME : "HOSANAGARA"
OBSERVED ON 14 MINS BACK
• SULUGODU WEATHER FORECAST FOR NEXT 5 DAYS

• 08-10-2021
21.7°C TO 29.9°C
SCATTERED CLOUDS, LIGHT RAIN

• 09-10-2021
21.2°C TO 27.0°C
OVERCAST CLOUDS, BROKEN CLOUDS, LIGHT RAIN, MODERATE RAIN

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KARNATAKA
SITE ANALYSIS
 BVCOA
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KARNATAKA
SITE ANALYSIS
DESIGN CONCEPLT IN
TROPICAL REGION
DESIGN CONCEPT IN TROPICAL REGION :-
1. SUN STUDY 2. FORM

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KARNATAKA
SITE ANALYSIS
DESIGN CONCEPT IN TROPICAL REGION :-
3. ORIENTATION 4. OPENINGS
 BEING THE DETERMINANT OF BREATHABILITY OF A BUILDING PRIMARILY THROUGH
THE EXCHANGE OF AIR, OPENINGS ARE CRITICAL IN A BUILDING BUT THE
LOCATION AND SIZE OF WHICH VARY WITH THE GEOGRAPHICAL TARGETS.
 IRRESPECTIVE OF THE SAME, HOWEVER, IT IS TO BE MADE SURE OF THAT THE WIND
ENTERING THE HOUSE IS NOT PASSING OVER HOT SURFACES AND THAT THE
OPENINGS ARE LARGE AND

OPERABLE YET MANAGEABLE WHEN IT COMES TO RAIN, INSECTS AND OTHER

GEARS OF NATURE; ALL CONSIDERED DURING THE METICULOUS PLACEMENT OF
THE OPENINGS ALONG WIND CHANNELS AND BEHIND TREE BUFFERS FOR
ALIGNMENT WITH THE WIND ORIENTATIONS AND EVEN SUN ORIENTATIONS TO
LIMIT THE DAYLIGHT ENTERING THE STRUCTURE.

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KARNATAKA
SITE ANALYSIS
DESIGN CONCEPT IN TROPICAL REGION :-

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KARNATAKA
SITE ANALYSIS
 DESIGN CONCEPT IN TROPICAL REGION :-
6. GLAZING
 TO LIMIT THE HEAT GAIN, ACCESS TO DAYLIGHT AND ITS ENTRY THROUGH THE
OPENINGS, SHADING DEVICES ARE ESSENTIAL ENVIRONMENTAL CONTROLS  TO FURTHER LIMIT THE ENTRAPMENT OF HEAT AND ENTRY OF SOLAR
THAT GREATLY REDUCE THE NEED FOR MECHANICAL HEATING AND COOLING RADIATIONS INTO THE BUILDING THROUGH THE OPENINGS, PROPER WINDOW
SYSTEMS. PERFORMANCE IS OF UTMOST IMPORTANCE SINCE WINDOWS INCUR 20 TO 30
TIMES MORE TRANSACTIONS OF HEAT IN A STRUCTURE THAN THE WALLS.
 THE ARCHITECT HAS TO CHOOSE BETWEEN EXTERNAL AND INTERNAL SHADING
DEVICES FOCUSING ON KEEPING THE MEAN RADIANT TEMPERATURE OF THE
BUILDING LOW, ALSO ACHIEVABLE THROUGH THE COHERENT FORMATION OF SOLAR
ENVELOPES FOR SELF-SHADING AND NATURAL FLORA AND ITS BUFFERS.

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KARNATAKA
SITE ANALYSIS
 SUNPATH AND SIOGRAPHY :-
7. PLANNING
 PLANNING OR ZONING OF A BUILDING INVOLVES PRUDENT THOUGHT APPLIED IN TERMS OF
ROOM-BY-ROOM LAYOUTS, CONSIDERATION OF DIFFERENT SEASONS AND TIMES OF THE DAY THE  WHILE BUILDING STRUCTURES WITH HIGH THERMAL CAPACITY FOR OPTIMAL
SPACES ARE USED THE MOST EXTENSIVELY AND BETTER DEFINING THE SPACES AS PRIMARY OR HEAT GAIN AND RETENTION WOULD BE IDEAL, SUCH A SETTING FAILS IN A
AUXILIARY IN RELATION WITH THE FORMER TWO. TROPICAL CLIMATE.
 THE ARCHITECT MUST EXPLOIT THE CLIMATIC ADVANTAGES OF THE SPACES ACCESSIBLE IN THE  IN FACT, BUILDINGS BUILT IN LOW THERMAL CAPACITY AND LIGHTWEIGHT
OVERALL PLAN AND EVEN IDEATION OF TRANSFORMABILITY OF SPACES THROUGH THE DAY AND CONSTRUCTION ARE IDEAL.
NIGHT FOR SEGREGATION OF AREAS THAT HAVE HIGHER INTERNAL RADIANT LOADS AND AREAS WITH
ACTIVE REQUIREMENTS FOR CONVENTIONAL COOLING

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KARNATAKA
SITE ANALYSIS
VERNACULAR
ARCHITECTURE
GUTTHU HOUSES :-
VERNACULAR ARCHITECTURE OF KARNATAKA
FEATURES, FORMS AND TEXTURES OF VERNACULAR HOUSES
● DEPENDING UPON THE CLIMATIC CONDITIONS, THE TILED VILLAGES ARE PROBABLY MORE COMMON IN THE
ENTIRE AREA,THE GABLES BEING OF DIFFERENT PROPORTIONS AND ELEVATIONS THEY JUT OUT OF THE EARTH
IN A VERY HARMONIOUS FASHION
● THE CLUSTER OF VILLAGE HOUSES IS ALWAYS LOW PROFILE, WITH THE SUCCESSION OF GABLES NESTLING IN
THE SURROUNDING GREENERY
● THE RURAL SCENE REPRESENTS AN IMAGE OF HARMONY BETWEEN MAN AND NATURE WITH A SIGNIFICANT
EXPRESSION OF MAN AS THE CHILD OF NATURE AND NOT AS ITS MASTER
● THE TEXTURE OF THE WALLS AND ROOFS IN THE RURAL HOUSES EXPRESS THE EARTHINESS AND SIMPLICITY
OF THE RURAL LIFESTYLE

LOCAL CRAFTSMANSHIP:
● WALL TEXTURES HAVE A KIND OF PERENNIAL BEAUTY IN SPITE OF THE COARSE FINISH
● MUD MORTAR AND WHITEWASH ARE USED FOR WALLS, WHERE ONE FINDS A REPOSEFUL SMOOTHNESS AND
WHITENESS WHICH CONTRAST WITH THE NATURAL STRONG COLOURS OF THE ROOFING
● VERY THIN BAMBOO WALLS WITH ELEGANT CLAY PLASTERING IMMEDIATELY SHOW THE QUALITY OF THE
LOCAL CRAFTSMEN
● THE DOWN TO EARTH COLOURS OF THE WALLS AGAIN SUGGEST A STRONG AFFINITY TO NATURE, THIS
APPROACH TO NATURAL COLOURING MAY BE CONTRASTED WITH THE MODERN URBAN TASTE FOR MASS
PRODUCED PAINTS AND COLOURS OF EVERY SHADE

CERTAIN DESIGN ADOPTIONS

● LAYING OUT OF INDIVIDUAL STRUCTURES OVER A LARGE AREA WITH TREE SPACE AROUND THAN
PERMITTING AIR FLOW AND ORIENTING THE BUILDING AT AN ANGLE OF 45 TO THE DOMINANT WIND
DIRECTION
● CENTRAL COURTYARD FOR LOWERING INTERNAL TEMPERATURE IN THE HOT SEASON AND FOR LIGHT AND
VENTILATION
● VERANDAHS STRETCHING AROUND THE EXTERIOR AND INTERIORS WITH LOW EAVES TO KEEP OUT SUN AND
RAIN
● WALLS AND ROOF MADE OF STONE AND WOOD HAVING LOW THERMAL CAPACITY, HELPED THE BUILDING TO
KEEP COOL IN SUMMER AND HOT IN WINTER

SITE ANALYSIS
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S.Y.C 30
KARNATAKA
 GUTTHU HOUSES :-
THE GUTTHU HOUSES
● THE GUTTHU HOUSES ARE LARGE, INWARD LOOKING HINDU MANSIONS HAVING STEEPLY
PITCHED ROOF, COMBINING SINGLE AND DOUBLE STOREYED BLOCKS AROUND A COURTYARD
● THE FACADE IS USUALLY SYMMETRICAL AROUND A CENTRAL PROJECTION, THE TALLEST AND
THE MOST IMPRESSIVE FEATURE OF THE HOUSE
● THE PRINCIPLE BUILDING MATERIAL IS WOOD

❖ TRADITIONAL BUNT HOUSES (GUTTHU MANE)-ARE HOMES OF BUNT COMMUNITY OF

COASTAL KARNATAKA
CHARACTERISTICS:
● SQUARE COMPLEX WITH AMPLE SPACE FOR STORAGE ALL AROUND
● THERE ARE USUALLY 4 DOORS, ONE ON EACH SIDE OF THE SQUARE COMPLEX
● THE ROOF IS OF MANGALORE TILES AND PILLARS ARE MADE OF WOOD

❖ AIN MANE- ANCHESTRAL HOUSE CHARACTERISTICS:

● AIN MANE HOUSES HAVE 2 MASSIVE COLUMNS AT THE ENTRANCE AND HAS A CENTRAL OPEN
COURTYARD
● ALSO IT IS MARKED BY THE DEEPLY CUT PASSAGE CALLED “ ONI” LEADING TO THE FRONT
● ONI - IS PAVED WITH ROUGH STONES AND HAS SLOPED WALLS ON EITHER SIDE IT RESEMBLES A
FORT

❖ KODIAL GITTHU: STANDS AT THE CENTRE OF MANGALORE CITY

❖ ARAMANE: ROYAL HOUSES OF BUNTS

PADASALE- THE RECTANGULAR HALL AROUND WHICH THE ROOMS ARE ARRANGED
MANDU- THE INEVITABLE OPEN COURTYARD IN THE CENTRE
KANNI KOMBARA- PRAYER PLACE,WHERE A DEITY IS INSTALLED

SITE ANALYSIS
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KARNATAKA
ARCHITECTURE OF
KARNATAKA
KARNATAKA ARCHITECTURE :-
• The antiquity of architecture of Karnataka (Kannada: ಕರ್ನಾಟಕ ವಾಸ್ತುಶಿಲ್ಪ) can be traced to its southern
Neolithic and early Iron Age, Having witnessed the architectural ideological and utilitarian transformation
from shelter- ritual- religion.
• Here the nomenclature 'Architecture' is as old as c.2000 B.C.E. The upper or late Neolithic people in
order to make their shelters, they constructed huts made of wattle and doab, that were buttressed by
stone boulders, presumably having conical roof resting on the bamboo or wooden posts into red murram
or paved granite chips as revealed in archaeological excavations in sites like Brhamagiri (Chitradurga
district), Sanganakallu, Tekkalakota (Bellary district), Piklihal (Raichur district).
• Megaliths are the dominant archaeological evidence of the early Iron Age (c. 1500 B.C.E- 100 C.E
unsettled date).
• There are more than 2000 early Iron Age burial sites on record, who laid the foundation for a high non-
perishable architecture in the form of various distinct architectural styles of stone built burials, which are
ritualistic in its character.
• The active religious architecture is evident 345 with that of the Kadamba Dynasty. Karnataka is a state in
the southern part of India originally known as the State of Mysore. Over the centuries, architectural
monuments within the region displayed a diversity of influences, often relaying much about the artistic
trends of the rulers of twelve different dynasties.
• Its architecture ranges dramatically from majestic monolith, such as the Gomateshwara, to Hindu and
Jain places of worship, ruins of ancient cities, mausoleums and palaces of different architectural hue.
Mysore Kingdom (Wodeyar) rule has also given an architectural master structure in the
St. Philomena's Church at Mysore (extolled by the King as a structure of divine compassion and the
eager gratitude of men)
• which was completed in 1956, in addition to many Dravidian style architectural temples. Two of the
monuments (Pattadakal and Hampi) are listed under the UNESCO World Heritage List of 22 cultural
monuments in India.
• Styles of Indo-Saracenic, Renaissance, Corinthian, Hindu, Indo-Greek and Indo-British style palaces were
built in Mysore, the city of palaces. Sikh architecture at Bidar (1512) and also in Bangalore in 1956 can
also be cited as having an impact on the architectural composition of the state.
• Apart from the ancient traditional Buddhist Viharas which existed in India since ancient times, since the
Independence of India in 1947, Karnataka has experienced some marked architectural changes, notably
by the influx of Tibetan refugees which arrived in the state between 1963 and 1997, bringing with them the
traditional Tibetan art and architectural styles, reflected in the Buddhist monastery at Bylakuppe for
instance
• . Vidhana Soudha (built in Bangalore in 1953) and the tallest temple at Murudeshwar are witnesses to the
Neo–Dravidian architectural influences which have evolved since independence. The chronology of the
architecture of Karnataka is elaborated in the right-hand box.

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 KADAMBA ARCHITECTURE :-
• Kadamba architecture was a style of temple architecture founded by Mayurasharma in the 4th century AD
in Karnataka, India.
• Kadambas created new style of architecture which was the basis of the Hoysalas style of architecture,
developed original school of sculpture, was the forerunner of series of South Indian sculptors.
• Many temples at Aihole, Badami and Hampi are built in Kadamba style.
• During 345 AD to 525 AD, the ancient royal dynasty of Karnataka, the Kadambas made early contribution
to the architecture of Karnataka and they are the originators.
• The 5th century monuments at Halasi are the oldest surviving Kadamba structure.

FEATURES OF KADAMBA ARCHITECTURE STYLES

• The most prominent feature of Kadamba architecture was Shikara called Kadamba Shikara.
• The tower rises in steps without any decoration (pyramid shaped shikara) with pinnacle (Stupika
or Kalasha) on top.
• The Kadamba temples vimana usually square in plan, the tower is pyramidal shape and
constitutes a series of horizontal step stages
decorated with uniform series of quadrangular
vertical projections and covering vestibules
attached to vimana.
• The stages are more numerous and less
elevated, devoid of pavilion ornamentation.

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 KADAMBA ARCHITECTURE :-
HOYSALA ARCHITECTURE – BASE OF KADAMBA ARCHITECTURE

• Hoysala architecture is the building style in Hindu temple architecture developed under
the rule of the Hoysala Empire between the 11th and 14th centuries, in the region Kedareshwara Temple in Halebidu
built by the Hoysalas (1026 CE – 1343
known today as Karnataka. CE).
• The nucleus of this activity lay in the present day Hassan district of Karnataka, India.
Halebidu is a town located in Hassan
District, Karnataka, India.

Hoysala-Kadamba architectural style :

•Aghoreshwara Temple at Ikkeri

•Late Hoysala Trikutachala temple built in granite has Kadamba Nagara shikhara.
•The Eshwara Temple at Malali (Holenarasipura Taluk) in Hassan district in KADAMBA SHIKHARA (REAR,
LEFT AND RIGHT)
Karnataka, an early Hoysala structure with Kadamba Nagara style shikara. AND DRAVIDA SHIKHARA (FR
ONT) LAKSHMI DEVI TEMPLE
•Lakshmi Devi temple, Doddagaddavalli built by Hoysala.
AT DODDAGADDAVALLI

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 ARCHITECTURAL ELEMENTS
• A CUBOID CELL, THE GARBHA GRIHA (SANCTUM SANCTORUM) HOUSES A CENTRALLY
PLACED MURTI (ENSHRINED ICON) ON A PITHA (PEDESTAL).
• THE SHIKHARA (SUPERSTRUCTURE), RISES OVER THE GARBHA GRIHA AND TOGETHER
WITH THE SANCTUM THEY FORM THE VIMANA (OR MULAPRASADA) OF A TEMPLE.
• A RIBBED STONE, AMALAKA, IS PLACED ATOP THE SHIKHARA WITH A KALASH AT ITS
FINIAL.
• AN INTERMEDIATE ANTARALA (VESTIBULE) JOINS THE GARBHA GRIHA TO AN
EXPANSIVE PILLARED MANDAPA (PORCH) IN FRONT, CHIEFLY FACING EAST (OR
NORTH).
• THE TEMPLE MAY BE APPROACHED VIA ENTRANCES WITH
GIGANTIC GOPURAMS (ORNATE ENTRANCE TOWERS) TOWERING OVER EACH
DOORWAY.
• IN THE PRAKARAM (TEMPLE COURTYARD) SEVERAL MINOR SHRINES AND
OUTBUILDINGS OFTEN ABOUND.
DRAVADIAN ARCHITECTURE :-

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DRAVADIAN ARCHITECTURE :-

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SWOT
ANALYSIS :-
• RIVER SIDE VIEW.
• RICH VEGETATION. • VIEW OBSTRUCTS
• ROAD ACCESSIBILITY. FROM 2 SIDES BEHIND
• PEACEFUL AS IT IS THE SITE .
AWAY FROM CITY.

• MORE TOURISTS
EXPECTED AS SHIMOGA
• AS SUCH NO THREATS
AIRPOT IS TO BE BUILT
SOON.
• SMART CITY MISSION IN
KARNATAKA.
• DEVELOPMENT OF RIVER
CRUISE.

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THANK YOU…….