SDPS COLLEGE OF ARCHITECTURE, INDORE (M.P.

RAJIV GANDHI PROUDYOGIKI VISHWA VIDYALAYA, BHOPAL

Acknowledging the Essence of Vernacular

Architecture

(A Case of Architecture in Malwa)

(A DISSERTATION REPORT)

GUIDED BY SUBMITTED BY
Ar. Ayush Jindal Stuti Kanherkar

0842AR151073
 DECLARATION

This dissertation in subject AR- 416, entitled “Acknowledging the Essence of Vernacular
Architecture” is being submitted as part of the requirement for the seventh semester of Bachelor
of Architecture by the undersigned for evaluation.

The matter embodied in this dissertation is either my own work or a compilation of others’ work,
acknowledged properly. If in future, it is found that the above statement is false, then I have no
objection in the withdrawal of my dissertation and any other action taken by the Institute.

Date:

Stuti Kanherkar
0842AR151073
(Enrollment Number)
 RECOMMENDATION

This is to certify that Ms. Stuti Kanherkar has submitted the dissertation report on
“Acknowledging the Essence of Vernacular Architecture” as a partial fulfillment of the seventh
semester, B.Arch. It is also affirmed that she has researched for one semester for preparing this
dissertation report. The report submitted by her is original, bonafide and genuine.

DISSERTATION SUB-HEAD DISSERTATION HEAD

AR. KHUSHBOO LAHORI ER. UTKARSH JAIN
ASSO. PROF., DEPT. OF ARCHITECTURE ASST. PROF., DEPT. OF ARCHITECTURE

DISSERTATION GUIDE HEAD OF DEPARTMENT/PRINCIPAL

AR. AYUSH JINDAL AR. SOMA ANIL MISHRA
ASSO. PROF., DEPT. OF ARCHITECTURE DEPT. OF ARCHITECTURE

Date:

Place:
 ACKNOWLEDGMENT

The dissertation report submission that is a part of my curriculum for B.Arch. is aimed at providing
hands-on experience and research exposure. During the course of my project, I came across a
number of problems to tackle and overcome.
I feel my duty to thank all those who have directly or indirectly helped me to cross several hurdles
during this dissertation report.
I would like to express my sincere thanks to Ar. Soma Anil Mishra for her guidance and support
in the dissertation.
I would like to express my particular thanks to Ar. Ayush Jindal for his continuous
encouragement, guidance and infinite patience for supporting my Dissertation report.
Also, I would like to thank my parents and my friends for supporting me in the pursuit of my study.
CONTENTS
1. DETAILED SYNOPSIS: ........................................................................................................ 7

1.1 Introduction: ..................................................................................................................... 9

1.2 Importance:....................................................................................................................... 9
1.3 Aim:.................................................................................................................................. 9
1.4 Objectives: ........................................................................................................................ 9
1.5 Scope & Limitations: ..................................................................................................... 10
1.6 Methodology: ................................................................................................................. 10
1.7 Conclusions: ................................................................................................................... 10
2. INTRODUCTION: ............................................................................................................... 11

2.1 FACTORS INFLUENCING VERNACULAR ARCHITECTURE: ............................. 14

2.1.1 Climate .................................................................................................................... 15
2.1.2 Culture..................................................................................................................... 15
2.1.3 Environment and Materials ..................................................................................... 15
3. DEMOGRAPHICS: .............................................................................................................. 17

3.1 People ............................................................................................................................. 18

3.1.1 Population ............................................................................................................... 21
3.1.2 Education and literacy............................................................................................. 22
3.1.3 Culture..................................................................................................................... 22
3.2 History ............................................................................................................................ 22
3.3 Language ........................................................................................................................ 23
4. CASE STUDIES ................................................................................................................... 24

4.1 Private Residence, Chawani Main Road, Indore............................................................ 24

4.1.1 Overall Analysis: .................................................................................................... 24
4.1.2 Material Analysis: ................................................................................................... 25
4.1.3 Structural Details: ................................................................................................... 26
4.1.4 Discussion on Planning: .......................................................................................... 26
4.2 Rajwada Palace, Indore .................................................................................................. 27
5. ANALYSIS: .......................................................................................................................... 29
6. INTERVENTIONS: .............................................................................................................. 32

6.1 DESIGN INTERVENTIONS: ....................................................................................... 32

6.1.1 Orientation and Form: ............................................................................................. 33
6.1.2 Internal Planning: .................................................................................................... 33
6.1.3 Day light and Ventilation ........................................................................................ 34
6.2 BUILDING MATERIAL INTERVENTION ................................................................ 34
6.2.1 Lime ........................................................................................................................ 34
6.2.2 Rammed Earth ........................................................................................................ 35
6.2.3 Flyash Bricks .......................................................................................................... 36
6.2.4 Old Railway Sleepers .............................................................................................. 36
7. CONCLUSION: .................................................................................................................... 38

8. REFERENCES ..................................................................................................................... 39
List of figures

Figure 1 MALWA SURVEY AREA ............................................................................................ 18

Figure 2 Districts and Headquarters ............................................................................................. 19
Figure 3 View of back entrance through courtyard ...................................................................... 25
Figure 4 Plan of the house ............................................................................................................ 27
Figure 5 Interior Views of Rajwada Palace .................................................................................. 28
Figure 6 Rammed earth Constructions ......................................................................................... 35
Figure 7 Fly-ash bricks ................................................................................................................. 36
Figure 8 Old Railway Sleepers ..................................................................................................... 37
Figure 9 Azkoitia Station façade................................................................................................... 37

List of tables

Table 1 Groups reportedly speaking Malwi.................................................................................. 18

Table 2 Districts and tahsils covered during this survey. ............................................................. 19
Table 3 Census figures for Malwi speakers. ................................................................................. 21
Table 4 Literacy figures for Malwa. ............................................................................................. 22
Table 5 Parameters of Changes in Culture and Architecture ........................................................ 29
 1. DETAILED SYNOPSIS:
1.1 Introduction:
Vernacular Architecture is the architectural style based on the locally available construction
materials and the suitable construction techniques. This architectural style reflects the local
traditions and responds to the native climate of the region.

All forms of Vernacular Architecture are built so as to meet specific needs, accommodating the
values and the lifestyle that produces them.

1.2 Importance:
 Vernacular Architecture proves its importance in how it maintains our link to the roots. It
is this link that keeps us latched to the vernacular buildings and styles that can be
incorporated into other building designs.

 Utilizing vernacular architectural styles and elements when building, provides the residents
with a sense of calm and consistency throughout their community, without any departure
from their traditions and heritage.

 Vernacular Architecture uses locally available materials that eventually cut down the
transportation costs of the material thereby reducing the cost of construction and
maintenance of the structure. Hence, making the building economic.

 Due to the use of locally available materials, this architectural style also responds
efficiently to the climate of the region, hereby making it climate responsive and
environment-friendly.

 Use of traditional construction techniques requires skilled labor. Hence, promoting the
local craftsmanship and art.

1.3 Aim:
The aim of this dissertation is to understand how the vernacular materials and construction
techniques govern the built form and the surroundings of a built environment.

1.4 Objectives:
 To study the basics of Vernacular Architecture.
  To study and understand how Vernacular Architecture touches the aspect of built forms.

 To study the basics of the architectural style of Malwa.

 To study and bring out ways to incorporate vernacular materials and techniques into
contemporary architecture.

1.5 Scope & Limitations:

The study of the use of vernacular materials, methods and techniques of Malwa and their use in
the contemporary world will be taken into the scope of the study.

The scope of the study will be limited to the Vernacular Architecture of Malwa and hence, may
not relate to any other region or architectural style.

1.6 Methodology:
 Literature Studies for a better understanding of the subject.

 Case Studies of the region for the better understanding of their native lifestyle and
corresponding architecture.

 Data assortment and study related to the researches done before on similar subjects.

 Listing of the elements and materials on the basis of the literature studies and the case
studies.

 Drafting of the Inferences and Conclusions

1.7 Conclusions:
This dissertation will conclude with a proper understanding of the Vernacular Architecture of
Malwa and ways to incorporate the study into Contemporary Architecture.

This study will help us in understanding the methodology and importance of Vernacular
Architecture in the present day scenario.
 2. INTRODUCTION:
Vernacular Architecture is the art of developing structures and shelter, which are unconstrained,
environment-oriented, and network-based; it recognizes no architect or settlement and mirrors the
innovation and culture of the indigenous society and condition. This style has developed through
centuries of experimentation and applies basic science to beat most complex spatial issues. It gives
us knowledge of planning, construction techniques, and building materials while exemplifying the
essence of our underlying foundations.

Towns have dependably affected the establishments of customs and societies in the Indian
subcontinent. However, in the midst of irresolute advancement plans and the unforced yet
impactful western tendencies into these developing administrations, where does the magnificent
past lie? Urban Contemporaries manage the effect of legacy on towns in the urban definition. The
separation of the world itself clarifies the ongoing or the contemporary connection of all-
encompassing urban spaces, spreading over a bigger setting with the origin as the current legacy.

In spite of having a rich vernacular legacy the customs, social and also manageable components it
includes are presently wiped out in our current structural practices. Be that as it may, if carefully
examined consolidating present day innovative progressions with vernacular architecture, it could
lead design towards a radical new measurement of sustainability. This neo-vernacular style will
incorporate all the key components of its forerunner while at the same time amend its
disadvantages by acquainting contemporary materials and techniques with it.

India has been a land of wonders for centuries now. People visiting the country are mesmerized
by the charisma and the vibes it has presented before them. Ranging from the people, their culture,
the way of living and of course the architecture has amused them beyond words. Takeo Kamiya in
the foreword of his own book, "The Guide to the Architecture of the Indian Subcontinent said that
“I have traveled widely, but nowhere in the world have I seen a continuation in culture and
architecture from the ancient to the present. India is an exception.”

If we want to look into any realm’s architectural intellect, we have to relate it to three major
categories;

• Culture
• Patronage

• Building Arts

The culture reflects the way of life at a specified time. It includes the level of taste, aspirations and
social richness which is reflected through the artistic and creative expressions of various arts.
Patronage of these impulses is an indicator of the measure of need and awareness of collective
identity. Building arts are indicative of the level of technical skills and the craftsmanship
traditionally evolved at a specific time. Patronage is a measure of nobility that existed in
prosperous communities which took upon themselves the responsibilities to uphold the traditional
heritage and nurture the artistic expressions signifying the cultural traits, cohesive, harmonious,
artistic through true to the lifestyle, was the character of the settlements of a bygone era, which
was a result of collective, mutually agreeable, tasteful but true to the traditional culture of the
society it represented. (Anonymous, Architexturez, 2014)

India has been an exception due to the variety yet the country upholds the integrity of the traditions
passed on to the next generation.

Traditional architecture is that way of building which makes serious use of the familiar symbolic
forms of a particular culture of a particular people in a particular place. In other words, traditional
architecture takes into account the styles that were popular in a region or area. The characteristics
of traditional architecture used by architects and builders include a commitment to maintaining a
link to the past styles of building, reuse of materials or designing homes and building to stay
consistent with the overall building design of the area. This creates a sense of continuity and
connection to the past, which helps the area maintain its traditional look and feel for the residents
of the community.

Traditional architecture is important because it maintains our link to the past. It is this link to the
past that keeps us latched to the traditional buildings and styles that can be incorporated into other
building designs. Utilizing traditional architectural styles and elements when building provides
residents with a sense of calm and consistency throughout their community without a wild
departure from their traditions and heritage.
The main component of a traditional architectural style is the way in which the past building styles
and present are merged together, creating a seamless transition. With traditional architecture, much
deference is paid to the materials used in a building and how they function and work. Traditional
style does not depart from the norm in the way that contemporary architecture does nor is it rigidly
devout to form and function as in the case of modern architecture. Traditional architecture is an
older way of building homes and buildings that stand the test of time and continues its link to the
past, moved forward. (Anonymous, DIY, 2017)

Vernacular architecture is an architectural style that is designed based on local needs, availability
of construction materials and reflecting local traditions.

Comprising the dwellings and all other buildings of the people. Related to their environmental
contexts and available resources they are customarily owner- or community-built, utilizing
traditional technologies. All forms of vernacular architecture are built to meet specific needs,
accommodating the values, economies, and ways of life of the cultures that produce them. (Oliver,
2015)

As per the ICOMOS Charter for Built Vernacular Heritage (1999), the built vernacular heritage is
important; it is the fundamental expression of the culture of a community, of its relationship with
its territory and, at the same time, the expression of the world’s cultural diversity. More
importantly, the static preservation of vernacular architecture is in understanding the building
traditions, their knowledge systems, and skills that have continuously evolved to adapt themselves
to the changing environment and yet have remained distinctive in a specific place. (Oliver, 2015)

The vernacular architecture is not to be confused with so-called "traditional" architecture, though
there are links between the two. The traditional architecture also includes buildings which bear
elements of polite design: temples and of "vernacular." In architectural terms, 'the vernacular' can
be contrasted with 'the polite', which is characterized by stylistic elements of design intentionally
incorporated by a professional architect for aesthetic purposes which go beyond a building's
functional requirement. Between the extremes of the wholly vernacular and the completely polite,
examples occur which have some vernacular and some polite content, often making the differences
between the vernacular and the polite a matter of degree. (Gupta, 2013)
The terms vernacular, folk, traditional, and popular architecture are sometimes used
synonymously. However, Allen Noble wrote a lengthy discussion of these terms in Traditional
Buildings: A Global Survey of Structural Forms and Cultural Functions where he presents
scholarly opinions that folk building or folk architecture is built by "persons not professionally
trained in building arts"; where vernacular architecture is still of the common people but may be
built by trained professionals such as through an apprenticeship, but still using local, traditional
designs and materials. Traditional architecture is architecture is passed down from person to
person, generation to generation, particularly orally, but at any level of society, not just by common
people. Noble discourages use of the term primitive architecture as having a negative connotation.
The term popular architecture is used more in Eastern Europe and is synonymous with folk or
vernacular architecture.

Ronald Brunskill has defined the ultimate in vernacular architecture as:

...a building designed by an amateur without any training in design; the individual will have
been guided by a series of conventions built up in his locality, paying little attention to what may
be fashionable. The function of the building would be the dominant factor, aesthetic
considerations, though present to some small degree, being quite minimal. Local materials would
be used as a matter of course, other materials being chosen and imported quite exceptionally.

Vernacular architecture is a broad, grassroots idea which envelops fields of architectural study
including native, indigenous, tribal, provincial, and ethnic architecture and is appeared differently
in relation to the more scholarly architecture called courteous, formal, or scholastic architecture
similarly as people workmanship diverges from the compelling artwork.

2.1 FACTORS INFLUENCING VERNACULAR ARCHITECTURE:

Vernacular architecture is affected by an incredible scope of various parts of human conduct and
condition, prompting contrasting building shapes for relatively every unique setting;
notwithstanding neighboring towns may have inconspicuously extraordinary ways to deal with the
development and utilization of their residences, regardless of whether they at first show up the
equivalent. Regardless of these varieties, each building is liable to similar laws of material science
and henceforth will show critical similarities in auxiliary structures.
 2.1.1 Climate
A standout amongst the most noteworthy effects on vernacular architecture is the macro-climate
of the region in which the building is developed. Structures in cool atmospheres perpetually have
high thermal mass or noteworthy measures of insulation. They are normally fixed to prevent heat
loss, and openings, for example, windows tend to be small or non-existent. Structures in warm
atmospheres, by complexity, have a tendency to be built of lighter materials and to permit
noteworthy cross-ventilation through openings in the fabric of the building.

Buildings for a continental climate must have the capacity to adapt to critical varieties in
temperature, and may even be adjusted by their inhabitants as per the seasons.

2.1.2 Culture
The lifestyle of building inhabitants, and the manner in which they utilize their shelters, is of great
impact on building frames. The extent of nuclear families, who shares which space, how food is
prepared and eaten, how individuals interact and numerous other cultural contemplations will
influence the format and size of abodes.

For instance, the nuclear families of a few East African ethnic networks live in family mixes,
encompassed by checked limits, in which separate single-stayed residences are worked to house
diverse individuals from the family. In polygamous networks, there might be isolated homes for a
various spouse, and all the more again for children who are excessively old to share space with the
ladies of the family. Social interactions inside the family are represented by, and security is given
by, the partition between the structures in which relatives live. By difference, in Western Europe,
such detachment is accomplished inside one dwelling, by isolating the working into discrete
rooms.

Culture likewise impacts the presence of vernacular structures, as inhabitants regularly enrich
structures as per neighborhood traditions and convictions

2.1.3 Environment and Materials

The nearby condition and the development materials it can give, oversee numerous parts of the
vernacular architecture. Regions wealthy in trees will build up a wooden vernacular, while regions
absent much wood may utilize mud or stone. In early California, redwood water towers supporting
redwood tanks and encased by redwood siding (tank houses) were a piece of an independent breeze
fueled local water framework. In the Far East usually, bamboo is utilized, as it is both abundant
and adaptable. Vernacular, nearly by definition, is sustainable, and won't deplete the local assets.
On the off chance that it isn't sustainable, it isn't reasonable for its nearby setting, and can't be
vernacular.
 3. DEMOGRAPHICS:
Madhya Pradesh can be isolated in four social zones such as Bundelkhand, Baghelkhand, Malwa,
and Nimar. Each zone has its very own social personality, for example, dialect, language,
traditions, cultures, and rituals. The state is well known for its innate expressions in tribal arts and
crafts of bamboo, wood, metal, metal casting, earthenware, terracotta, and textiles.

The Malwa region comprises territory from 21 to 25 degrees North latitude from 73 to 80 degrees
east longitude, or from Chittore to Mewar in the north of Tapti River in the south, and from
Bundelkhand in the east to Gujarat in the west (Malcom, 1970). It consists largely of the plateau
but it also has low ranges of hills and rivers running roughly west to southeast. Malwa is a
traditional cultural area consisting today of the districts of Ujjain, Ratlam, Indore, Dewas,
Shajapur, Mandsaur, Nimuch, Rajgarh, Sehore, Dhar, and Bhopal of MP and Jhalawar district of
Rajasthan.

The traditional boundaries of Malwa are attested to it in a well-known poetic verse as ‘between
Chambal, Betwa, and Narmada in the south.’ In fact, the Narmada River in the south, the Betwa
in the east and the Chambal in the northwest roughly marked its boundaries.

Bundelkhand and Gondwana surrounded Malwa on the eastern and south-eastern side. The region
within the province was mainly plateau, with alluvial tracts scattered all over the land. The jungle
was dense in many places (Singh, 1936).

Compared with other areas of MP, Malwa is the most agriculturally developed area. Malwa is rich
in agriculture and the most fertile land in India after the Ganges region, producing large quantities
of crops such as wheat, rice, millet, maize, groundnuts, chana, kappas, soybeans, cotton, oilseed,
opium, sugarcane, musk, melon, and betel-leaf.

Before the independence of India, Malwa had its own name in the cotton industry and today has
the third position in India in cotton clothes and thread manufacturing, after Mumbai and
Ahmadabad. Other main industries are the production of sugar, rayon, cement, and synthetics.
Beautiful forests rich in natural products, particularly teak, cover large tracts of Malwa, and these
form a valuable article of commerce.
For many of these, it is now difficult to trace the sites or discover the names, though there are
remains of architecture, sculpture, and inscriptions to be found amid their ruins (Malcom, 1970).

3.1 People
According to the older generations, the
people of Malwa are traditionally peace-
loving. Since their land is fertile and
produces a vast amount of crops, they
have had enough to satisfy their needs.
The people say, ‘We ate, drank and lived
a peaceful life.’ They were not warriors
Figure 1 MALWA SURVEY AREA
like the bordering Rajasthanis and
Mahrattas. Because of this, invasions happened often; Mughal kings, Mahrattas, and
finally Britishers invaded this area. Balai, Bagri, and Chamar are the groups reportedly
speaking pure Malvi. Mainly the Balai and Rajputs are spread all over Malwa. Within
Balai, there is a clan called Malvi. Figure 2 lists additional groups reportedly speaking
Malvi, according to K. S. Singh and S. Manoharan (1993:315).

Table 1 Groups reportedly speaking Malwi

Scheduled Castes Scheduled Tribes General Castes

Alia, Bhavsar (MP), Gari,

Bagri (MP), Bhil, Gond Gosain/Gosai/Bairagi
Bhanumathi, (MP), Kharol (MP), Khati/Lohar (MP), Kulmi,
Lakhera (MP), Mali (MP), Mankar (MP),
Dhed Bawa (MP) Naita,
Panwari, Paratharia Ahir, Payak, Salvi (MP),
Sondhia, Anjana Patel (Rajasthan)
 Figure 2 Districts and Headquarters

Table 2 Districts and tahsils covered during this survey.

State Districts Tahsils

Ujjain
Ujjain Mehidpur
Nagda

Rathlam
Rathlam
Jaora
Mhow
Indore
Indore
M
Kannod
A
D Dewas Sonkach
 Dewas

H
Susner
Y
Shajapur Agar
A
Shajapur

Mandsaur Mandsaur
P
Nimuch
R Nimuch
Manasa
A
Rajgarh
D
Rajgarh Zirapur
E
Narsinghgarh

S
Sehore
H
Sehore Ashta
Ichhawar

Manawar
Dhar Sardarpur
 Dhar
Badnawar

Bhopal Berasia
Jhalrapattan
RAJASTHAN Jhalawar Gangdhar
Pirawa

3.1.1 Population
According to the 1991 census, there are thirty lakhs (three million) Malvi speakers.
According to language experts of this area as well as observations of the researchers, Malvi
speakers may number more than one crore (ten million) at present.

Table 3 Census figures for Malwi speakers.

Year Number of speakers

1911 2,500,000
1921 2,200,000
1931 1,800,000

1951 500,000

1961 905,405 (MP)

236,668 (Rajasthan)
1971 644,032
1991 3,000,000
 3.1.2 Education and literacy
In Malwa there is good access to schools; almost all villages have a primary school. Even though
there is good access, dropouts from school are many. Perhaps this is because the children are
needed to help with the work at home or in the fields since the main occupation of the people is
farming. Malwa has a comparatively high literacy rate in MP; Indore district has the highest
literacy rate of 55.43% (1991 census).

Table 4 Literacy figures for Malwa.

District Rate (%) District Rate (%) District Rate (%)

Indore 55.43 Ujjain 40.46 Mandsaur 39.74

Rathlam 35.63 Dewas 33.33 Sehore 32.01

Shajapur 31.30 Dhar 27.60 Rajgarh 25.30

3.1.3 Culture
In this age of nuclear families, the joint family system is continuing here, generally speaking,
however, in urban regions, there is a pattern toward the family unit framework. Customarily, the
majority of the people in Malwa are Hindus, however, the Scheduled Tribes in Malwa still pursue
animistic practices. The general population of Malwa commends all the real Hindu celebrations.

The communities of potters, materials, printer, weavers and bamboo specialists are very much set
in their local spots like textile printers in Bagh; weavers in Maheshwar, they have their very own
settlement design according to their trade exchange.

3.2 History
Malwa was one of the most notable provinces of India during the Hindu and early Muslim
periods of Indian history. Malvi is the speech of the people who trace their heritage to the
times of Chandragupta Maurya, the founder of the Maurya Empire (323 BC). It is said that
the ‘Malwas’ came from the western part of Rajaputana near the delta of the Sindhu River,
now in Pakistan, and they gradually spread over this part of this country, which was once
known as ‘Malawi Ganatantra.’ This part of the country became known as ‘Malwa’ (Sharma,
1957).

Oojein (now Ujjain), which may still, from its superior magnitude, be deemed the capital of
this province, has perhaps more undoubted claims to remote antiquity than any inhabited city
in India; it is not only mentioned in the sacred volumes of the Hindus, but in the Periplus of
the Erythrean sea, and by Ptolemy. We find, in Indian manuscripts, Malwa noticed as a
separate province eight hundred and fifty years before the Christian era. (Malcom, 1970).

The great king Vikramaditya's capital was in Ujjain; the famous nine scholars (nine jewels)
were from his kingdom. There were many famous people in Malwa, such as the great poet
Kalidas, Bhavbhuthi, Banabhatt, Bhoj, Swami Haridas, the great musician Tansen,
Rupamati, Devi Ahilyabai, and King Bakthawarsing.

The number of art centers is much more than in any other part of the country.

Despite the fact that religiously Malwa was ruled by Muslim Mughal rulers, Hinduism is presently
the prevailing religion in this area.

3.3 Language
Malvi is a regional language spoken in the northwestern part of MP and in Jhalawar district of
Rajasthan. It is functioning as a language for intra-group and inter-group communication. The
language name is Malvi because it is spoken in the region of Malwa. It has alternative names such
as Malwada, Mallow, and Ujjaini, and alternate spellings such as Malwi and Malavi. Malvi is a
language of the Indo-European, Indo-Iranian, Indo-Aryan subfamily, Central group (Raymond G.
Jordan, 2005).

Malvi is surrounded by different languages and dialects of Gujarati, Rajasthani, Hindi, and
Marathi. Along with its boundaries are:
to the northwest, Mewari
to the southwest, Gujarati
to the north, the Jaipuri dialect of Rajasthani
to the east, the Bundeli dialect of western Hindi
to the south, Nimadi and the Khandeshi dialect of Marathi.
 4. CASE STUDIES
• Private Residence, Chawani, Indore (Vyas, 2017)
• Rajwada Palace, Indore

4.1 Private Residence, Chawani Main Road, Indore

Chaawni is a common place where many of the buildings still exist from the pre-independence era
and the private residential units still effectively portray the original vernacular architecture of
Indore.

4.1.1 Overall Analysis:

S.No. Particulars Observations Analysis

1. Climate Composite climate, moderate annual rainfall Residence needs to be protected from
high temperature as well as low
temperatures during the night.
2, Site Surroundings Approach by a narrow lane Overshadowing through compact
planning and lesser exposure to the
Similar houses in close proximity. sun
Shared walls with nearby houses.

The volume of the house was 72% of the

3. Volumetric whole site. Emphasis on open spaces
Remaining 28% was used in the courtyard,
Analysis semi
open spaces and balconies.

4. Topography Flat land, no natural or developed contour was N.A.

observed.
5. User No influence of occupation on spaces of the Standard templates
Requirements house Designs are effective
6. Form The form of the house was a typical cuboidal Open spaces are encouraged as they
 in shape with considerable sized voids created allow wind flow, daylight and
as subtractions from the overall form. ventilation

Figure 3 View of back entrance through courtyard

4.1.2 Material Analysis:

S.no, Particulars Observations Analysis

1. Walls Composite climate, moderate Allows the house to breathe by use of perforated mud
annual rainfall bricks

2, Fenestrations Iron, wood, glass panels Deep-set windows for the provision of diffused daylight

3. Plaster Sand, lime plaster Lime plaster to provide a smooth finish

4. Roof Clay tiles, Timber strutting Haystack and bamboo is used to maintain

5. Floor and Wood, stone, lime, rocks These materials remain cool even when subjected to
Tiles direct sunlight.
 4.1.3 Structural Details:

S.no. Particulars Observations

1. Walls Thickness- 0.5 meters (narrow towards the top).

Wooden struts (dia. 7cm) placed at regular intervals

inside the walls.

2, Columns Dimensions- 0.5mX0.7m (narrow towards top)

Continuous Iron sections penetrating through columns

3. Rood 2 side sloping roof which was earlier covered with a roof
tiles.

4. Floor Timber strutting was done, perforated rocks were laid

under the framing and wooden boards/stone slabs were
used to flatten the surface.

4.1.4 Discussion on Planning:

• Segregation of private and public areas
• Planning is compact
• Un-clear separation of public and private areas.
• Washrooms and washing spaces are designed on the external walls for the easy dispatch of
foul smell.
• The courtyard is surrounded by bedrooms and all of them open towards it.
• The kitchen is placed on the southwestern side of the house which is completely shelled by
the adjacent house but windows are provided for ventilation.
• Long Asoka trees are planted in the garden on the western side of the house to block direct
sunlight. The circulation inside the house is continuous and well planned. Comfortable temperature
in the core of the house is maintained by regular air flow through the courtyard.

Figure 4 Plan of the house

4.2 Rajwada Palace, Indore

Rajwada Palace is said to be the centre of Indore city. It is the main focal point and is an
important part of Indore’s vernacular built forms. The palace is a marvelous example of Maratha
Architecture and displays an important Wada of the Marathas.

Architectural Details:

This is a seven-storied structure and is located near the Chhatris and serves as a fine example
of royal grandeur and architectural skills. Wada is a type of Maratha housing that revolves
around the ancient courtyard culture of India. It has a huge entrance with a giant wooden door
with iron studs. The lower three floors are made of stone and the rest made of wood. The back
portion of the Wada has a temple of Malharimartand, the kuldevta of the Holkars. The temple
has a huge courtyard surrounded by a high plinth verandah with beautiful wooden pillars and
cusped arches. The ceiling of the hall is of stone supported by wooden girders and some parts
also have a wooden ceiling. The Palace also has an open backyard that has a small water body
in the centre.

The

Figure 5 Interior Views of Rajwada Palace

Rajwada is presently state property under the Archeology who conceded unique consent for
reconstructing the old Wada (living arrangement) which was the primary Rajwada which was
completely burnt during the 1984 uproars, in particular, the working around the Tulsi Kund
alongside the sanctuary that already existed there, between the two back patios. This building
was to be modified by H.H Usha Raje Holkar and composed by designers Himanshu
Dudwadkar and Shreya Bhargava on the 200-year-old blueprint utilizing a similar material and
finishes while holding fast to the seismic auxiliary necessities, obligatory today. The
reconstructing was to be indistinguishable to what existed before – built with thin blocks in lime
 mortar with lime plaster, with wooden sections with stone bases, rough black basalt flooring
and a brick paved courtyard in tandem with the age-old building techniques

5. ANALYSIS:
Table 5 Parameters of Changes in Culture and Architecture

Parameters of Details Vernacular Architecture

changes

Characteristics Different cultures of tribal and folk are well

defined.

Aesthetics Murals, painting, sculpture are an integral part

of

Architecture.
Culture
Planning Settlement planning as per their lifestyle like
circular, squatter and linear.

Community living Choupal, otla, chowk, courtyard for social

interaction.

Strong social binding.

Site planning Planning as done as per topography and

landscape.

Response to Planform and built form are evolved as per the

climate
climatic conditions of the region.

Materials Locally available material like stone, mud,

bamboo,
 timber and lime are used.

Stone It is used in masonry, roof, flooring, in-built

furniture,

Mud Chajjas and Jharakhos are provided for

shading.

Rammed earth, adobe, mud mortar used in

random rubble masonry, helps in acoustics and
heat resistant.

Bamboo Because of strength and flexibility widely used

as

structural skeleton, roofing structure,

Architecture composite construction and utility items like
jaalis, baskets etc.

Timber Used as a structural component, in the

construction of beams, rafter, trusses, doors,
windows, and furniture.

Lime Used in brick masonry as a binding material,

for

Plastering and fresco painting.

Brick and Brick is used for masonry walls, piers, jaalis,

etc.
Terracotta
Terracotta is used in roofing tiles, roof gutters,
and pottery.

New materials Adaptability to new material.

 Cost-effective Because of locally available material, saves the
cost of transportation

Parameters Details Modern Architecture

of

changes

Characteristics `Universal characteristics, no reflection of local

culture

Aesthetics Contemporary art is depicted.

Planning People live in isolation, less interaction with

Culture
others, no place for local arts and crafts.

Community Cultural hubs, sports complex are interaction

living spaces,

Intimate relationship and social binding are

less.

Architecture Site Planning is as per the economic status of the

planning user like

HIG, MIG, LIG, and EWS.

Response to Eco-friendly materials are in the market but are

climate expensive.

Materials The market ones are given priority than local

ones.

Stone With modern techniques, it’s used in a better

way.
 Mud Rammed earth, Adobe is used in modern
design.

Bamboo It is used as a new material in modern

construction.

Timber Used for doors, windows and not a structural

member

Lime It is rarely used, limited to conservation

Brick and Brick is used for masonry walls, piers, jaalis,

etc.

Terracotta Terracotta is used in roofing tiles, roof gutters,

and pottery.

New Adaptability to new materials is more

materials

Cost- Material and transportation cost are high.

effective

Source: (Shikha Patidar, 2014)

6. INTERVENTIONS:
 DESIGN INTERVENTIONS
 BUILDING MATERIAL INTERVENTIONS

6.1 DESIGN INTERVENTIONS:

In light of the issues recognized and case studies played out specific explications/interventions
could be proposed to amend the issues with the present design practices on an exact level. These
interventions would be an amalgamation of customary vernacular architecture with present-day
procedures.

The entire method of fabrication of a building could be extensively divided into two stages of
design and construction. Design alludes to the planning of each space, element, and highlight of a
structure while construction implies its implementation and commission. Adjusting both these
stages is required for a true sustainable approach.

Energy conservation ought to be remembered all through the design procedure as all the design
decisions colossally influence energy requirement of a building. Certain aspects of design which
could be incredibly enhanced by the introduction of vernacular interventions are:

6.1.1 Orientation and Form:

One of the foremost crucial stages of design is deciding the best orientation of the block. Within
the composite climate of Indore providing shade in summers and adequate daylight in winters to
the building is very important. Ideal orientation will solely be set by surveying the micro-climate
of the location (a usual ancient vernacular practice) but, typically north-eastern areas of the
structures expertise less heat gain in summers. Southern orientation is recommended for winter
solar gain whereas landscaping should be planned to counter winter winds from getting into the
structure. It's ascertained that slight deviations in orientation might amend the energy consumption
of a house by 5%-10%, therefore, it ought to be set carefully.
According to the case study, 60% to 75% of the overall site volume ought to only be constructed
and rest ought to be left to provide open areas and provisions for ventilation. This kind of form
additionally enhances the aesthetic appearance of a structure. In ancient vernacular practices
planning was stressed because it minimizes solar gain by keeping the plan aspect ratio around 1:1.
Generally, orientation and form of a structure are influenced by planning laws and site constraints.

6.1.2 Internal Planning:

It is arguably the foremost vital facet of design and contains a vast potential for energy
conservation.

 Air movement for cross ventilation and summer cooling ought to be provided.
 Careful placement of fenestrations and walls for heat transfer.
 Areas ought to be distinguished in step with their functions. For eg.- Heat generating spaces
ought to be placed within the northern area of the building.
Courtyard planning that could be a major feature of the vernacular design of Indore is taken into
account glorious for passive cooling and improving ventilation. Provisions for small courtyard
areas ought to be enclosed invariably in contemporary design style also.

6.1.3 Daylight and Ventilation

Heating and cooling of a structure account for regarding 50% of the total energy consumption and
adequate day lighting might alone cut back electricity consumption up to 15%. It conjointly
provides a alimenting and soothing surroundings within a building. The fenestrations ought to be
designed considering the specified daylight factor. The light admitted by windows should not
cause glare in the eyes of users neither should it be unable to light a space effectively in day hours.
In composite climate of Indore, diffused light is nearly perpetually favored over direct light and
deep-set windows; a salient feature of vernacular design could be a viable possibility.

Ventilation will increase the comfort level of the users whereas lowering the general energy
demand of the building. Openings when learning micro-climatic wind pattern ought to be
meticulously placed to supply smart ventilation within a building.

6.2 BUILDING MATERIAL INTERVENTION

Identification and application of eco-friendly construction materials is very important for any
sustainable design. These building materials play a pivotal role in determining the true
sustainability of a building. Recent advancements in the field of architecture and chemical
engineering have resulted in the invention of many futuristic/innovative building materials which
are sustainable and affordable as well.

Traditional vernacular materials are however easier to harvest and process, this reduces the overall
costs of construction and transportation. These materials are completely eco-friendly and don’t
contribute to environmental degradation in any way. Combining the application of these with
modern building materials could bring out amazing results as this combination eradicates the
limitations of both the groups while keeping their favorable properties.

6.2.1 Lime
Lime is one of the most prominent vernacular building materials. It was used extensively for
binding stones and bricks, plastering, flooring and decorative purposes. It is abundantly available
in all parts of India and is a cheaper option compared to Portland cement. One of its only
disadvantages is its longer setting time but it more than makes up for it through other advantages
such as-

• Could be produced on small scale (ideal for individual residences)

• Lime has permeability which allows wind flow inside buildings.

• It is an excellent adhesive because of its fine particle nature

• Lime is durable and provides excellent strength to other materials as well

• It reduces greenhouse effect as it absorbs CO2 throughout its lifecycle.

6.2.2 Rammed Earth

Rammed earth buildings are extremely durable and strong. To create masonry using rammed earth
techniques, builder pounds layers of moist, sifted soil mixed with small amount of Portland cement
into removable forms. The best mixture of rammed earth contains 30% of clay and 70% of sand
with a small quantity of cement. This technique is inexpensive and extremely feasible. The main
advantages of using rammed earth in residential design are-

• High strength yet inexpensive.

• Soil dug out from the site itself could be used for this process to reduce soil waste and
transportation costs. Black soil is indigenous to Indore which is even better for this process.
• Thermal mass of rammed earth walls helps to even out temperature fluctuations between
day and night which are favored in composite climate of Indore.
• Gives a personal feel to the house.

Figure 6 Rammed earth Constructions

 6.2.3 Flyash Bricks
Fly ash is a combustion product of coal or lignite in thermal power plant. It is a waste material
which can have many applications in construction industry because of its low density, high fusion
temperature, and high surface active property. It is available abundantly and cheaply near all
thermal power plants in India.

Of the various usage of flyash, flyash based brick making is one of the most developed wide spread
application. These bricks are manufactured by grinding and later sun drying volumetrically pre-
measured quantities of flyash, lime, and gypsum in the ratio of 92:4.5:3.5 with measured quantities
of water. Advantages of fly ash bricks-

• Cheaper in cost and superior in quality when compared to burnt clay bricks.
• Flyash bricks have sharper edges and smooth finishes.

Figure 7 Fly-ash bricks

• Higher compressive strength.

• Flyash bricks consume a large amount of flyash which reduces atmospheric, surface and
ground water pollution.

6.2.4 Old Railway Sleepers

Wooden ties/sleepers were used traditionally in construction of railway tracks. However, after
introduction of concrete sleepers in early 1980s in India these wooden sleepers were deemed
outdated and were replaced. These used and surplus wooden sleepers currently stacked in railway
warehouses throughout the country could have vast applications in construction industry. Azkoitia
Station extension designed by Studio Beldrrain uses old wooden sleepers as a façade element to
give a unique aesthetic appeal to the building. These wooden sleepers are excellent substitute for
virgin wood which is a major cause of deforestation. Some suggested applications of wooden
sleepers are-
• Carpentry and façade treatment
• Platform construction to alter space inside a residence
• Truss design and fabrication
• Old furniture repair and patchwork

Figure 8 Old Railway Sleepers

Figure 9 Azkoitia Station façade

 7. CONCLUSION:
The changes in culture and architecture are reciprocal. The impact of one is reflected on the
other. India’s rich cultural heritage is vanishing due to the influence of urbanization and
globalization. In order to protect and conserve our rich cultural and architectural heritage the
elements of vernacular should be incorporated in the contemporary planning and architecture.
The provision should be made to incorporate vernacular architecture and traditional knowledge
in the policies. The policy makers, planners, and architects should consider this in their work for
the betterment of society. This dissertation concludes by learning and appreciating the principles
of vernacular architecture and integrating them with contemporary knowledge and technology.

It can be now concluded that these interventions can effectively decrease the carbon footprint of
buildings while being affordable and readily accessible. The vernacular derivation of these
solutions impart some unique pro climate techniques as well as aesthetics to the contemporary
architecture evolving it in a more interactive, relatable and responsible style. However, despite
having numerous qualities such solutions are not applied practically to the extent one would
expect. This is because of lack of awareness of people towards environment degradation,
unavailability of the skilled and aware workforce and absence of strong initiatives by the
government to support and encourage sustainable vernacular design applications. These issues
could only be resolved by organizing awareness campaigns, including strict bylaws in building
codes and educating all strata of construction industry about advantages and applications of these
interventions.

Perpetuated environmental degradation has connoted dark times ahead for humans should they
choose to continue on their current path. Construction industry being one of the biggest
contributors to this atrocity, has enormous scope of sustainable transformation which can be
achieved by neo-vernacular architecture. This transformation is absolute necessity for
conservation of earth and betterment of human race on it.
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