DISSERTATION

TABLE OF
CONTENTS
....................................................................................PAGE NO.
1
TOPIC.............................................................................................
......................... 03
2
ABSTRACT.......................................................................................
......................03
2.1
AIM ................................................................................................
.................03
2.2
OBJECTIVE ......................................................................................
..............03
2.3
SCOPE ...........................................................................................
.................03
2.4
LIMITATION.....................................................................................
.............03
3

DESIGN

METHOLOGY ...................................................................................
......04

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LITERATURE

REVIEW........................................................................................0
5
5
INTRODUCTIONS .............................................................................
....................07
6
CHAPTERS ......................................................................................
........................08
6.1

CHAPTER 1: BRIEF ON BHUTANESE

ARCHITECTURE..08
6.1.1
TIMELINE........................................................................................
........08
6.1.2

WHAT IS BHUTANESE

ARCHITECTURE .......................................09
6.1.3
HISTORY..........................................................................................
.......10
6.2

CHAPTER 2: ARCHITECTURAL

ELEMENTS..........................................14
6.2.1

KACHEN (COLUMN) AND ZHU

(CAPITAL) .....................................14
6.2.2

JADHANG TAZI (BALCONY

RAILING) .............................................15

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6.2.3

PAYAB GOCHU

(WINDOWS) ............................................................16

6.2.4

MAGO

(DOORS) ....................................................................................17
6.2.5
ROOF..............................................................................................
...........18
6.3
CHAPTER 3: TYPES OF BHUTANESE
BUILDINGS.................................20
6.3.1
DZONG
( FORTRESS) ..............................................................................20
6.3.2
LHAKHANG (TEMPLES) & GOENPA
(MONASTERIES) ...............22
6.3.3
CHOETEN
(STUPAS) ..............................................................................23
6.3.4
PHODRANG
(PALACES) .........................................................................24
6.3.5
YUE CHIM (DWELLING &
FARMHOUSES) ........................................25
7
REFERENCE.....................................................................................
.............................28
8
BIBLIOGRAPHY................................................................................
...........................29

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1. TOPIC : BHUTANESE ARCHITECTURE

2. ABSTRACT
This dissertation looks at the architecture of Bhutan with respect to its
different

style of architecture followed

in the country. This report explains the ways and techniques that are adopted
for decades to construct a structure of Bhutanese architecture.
Bhutanese architecture is the architecture practiced in Bhutan. Architecture
in Bhutan is distinctive from all other architectures in the world as it reflects
the tradition and customs of the country and it is kept uniform throughout
the country with the help of the parameters like colors, construction style,
appropriate design elements and materials used. Architecture in Bhutan aids
beauty to the existing biodiversity of the country as the main construction is
done with the theme of green architecture.
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AIM is to study Bhutanese architecture and its parameters.

OBJECTIVE is the features, construction techniques and elements which
makes Bhutanese architecture distinctive.
SCOPE is to understand architecture of Bhutan and its parameters which
makes it different from other architectural styles in the world.
LIMITATION is that architecture in Bhutan provides very less scope to
forecast a designers creativity because of certain rules and regulations that
is mandatory to follow while designing which restricts the designers.

3. LITERATURE REVIEW

Name

: Unpublished thesis

Work

: Distinctive features of Bhutanese architecture.

Author

: Karma Choden Thinley

Year

: December, 2012

CONTENT OF THE WORK

1.
2.
3.
4.

Origin of Bhutan
Architecture and its elements
Different building types
How it is different from other architecture

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5. Its applications

APPLICATION RELATED TO TOPIC

This thesis provides us with information regarding:1. History of Bhutanese architecture
2. Give knowledge about its construction techniques and elements.
3. Gives idea about how architecture can be merged with traditions and
customs of the country.
4. How we can design taking green architecture theme.

Name

: Unpublished thesis

Work

: Hill architecture of Bhutan

Author

: Aman Pulami

Year

: November, 2013

CONTENT OF THE WORK

1.
2.
3.
4.
5.
6.

Introduction
Literature review
Architecture of Bhutan
Hill architecture
Case study traditional farm house
Process

APPLICATION RELATED TO TOPIC.

This thesis provides us with information regarding:6 | Page

1. Severe earthquakes may cause the structure on a hilly area to get

unstable and
so for the construction of the building, the slope should not be greater
than 30
degrees.
2. To avoid any hitting on the building from any slip of soil, soil mixed
boulder or
fractured rock zone there should be a suitable clearance of about 40
degrees.
3. On a filled up ground, any part of the building foundation should not
rest.
4. Any site vulnerable to high winds, storm and floods should be avoided.

4. METHODOLOGY.

TOPIC:
Bhutanese

INTRODUCTION
CHAPTERS
1. CHAPTER 1 : Brief on

AIMS: To study Bhutanese architecture and its

parameters

LITERATURE REVIEW:
Unpublished thesis
. Distinctive features of Bhutanese architecture.

Bhutanese architecture

2. CHAPTER 2 : Elements

DATA COLLECTION

3. CHAPTER 3 : Types of

SECONDARY DATA:

buildings

4. CHAPTER 4 : Material used

5. CHAPTER 5 : Uniqueness in
7 | to
P aother
g e styles.
reference

6. CHAPTER 6 : Conditions it
can be built in.

Unpublished thesis

CASE STUDIES
. Wangdue Phodrang
Dzong.

ANALYSI
S

. University of Texas at El Paso

CONCLUSIONS

REFERENCES AND BIBLIOGRAPHY

5. INTRODUCTION.
Bhutan, officially called as Kingdom of Bhutan, is a landlocked country in
South Asia, the eastern end of the Himalayas. It is boarded to the north by
China and to the south, east and west by India. To the west, it is separated
from Nepal by the Indian state of Sikkim. Bhutan is well known worldwide for
conserving its traditions and customs and mainly focusing on GNH (Gross
national happiness) rather than GDP (Gross Development Product).
Bhutanese architecture goes hand in hand with the countrys tradition and
customs where the construction in the country is properly guided and
restricted by the government and the religious authorities. Architecture in
Bhutan has been done at the stake of modernization where architecture in
the country is kept simple and traditional, keeping uniformity throughout the
country.
Architecture is a significant feature of Bhutanese identity. The characteristic
style and color of every building and house in the kingdom is a distinct
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source of aesthetic pleasure. Dzongs (fortresses), Lhakangs (temples),

Goenpas (monasteries), Chortens (stupas), Palaces, bridges and vernacular
housing that can be seen across the countryside from the diverse but
harmonious architectural expressions of the cultural heritage and living
traditions of the Bhutanese people. The unmatched combinations of
engineering skill and aesthetics beauty are reflected in all the structures.
Traditional shapes, colours, and patterns are distinctive making Bhutanese
architecture unique among other architecture around the world.
Bhutanese architecture is distinctively traditional, employing rammed earth
and wattle and daub construction methods, stone masonry, and intricate
woodwork around windows and roofs.

6.

CHAPTERS.
6.1
CHAPTER 1: BRIEF ON BHUTANESE ARCHITECTURE
6.1.1
TIMELINE

BUDDHIST
ARCHITECTURE
(3RD CENTURY

TIBETEN
ARCHITECTURE
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(6TH CENTURY)

BHUTANESE
ARCHITECTURE
(12TH CENTURY)

6.1.2

DEFINATION OF BHUTANESE ARCHITECTURE.

Bhutanese architecture is architectural style followed in Bhutan where the

norms and bylaws for construction is set by Ministry Of Work And Human
Settlement, Royal Government Of Bhutan and religious authorities.
Bhutanese architecture consists of Dzong and everyday varieties like
residences, monasteries,etc. Dzongs in Bhutan were built as fortresses have
served as religious and administrative centers since the 17th century.
Secular lordly houses emerged as a distinct style in the late 19th century
during a period of relative peace in Bhutan. Throughout its history, Bhutan
has mainly followed the Tibetan tradition of Buddhist architecture.

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6.1.3

HISTORY.

Bhutanese architecture is famous for its originality, its harmonious

proportions and its adaptation to the landscape. The first recorded buildings
in Bhutanese history were the temples of Lhakhang Karpo and Nagpo in Haa,
Kyichu near Paro and Jampa, Koebnchog-sum and Gayney Lhakhangs in
Bumthang, built around the 6th and the 7th centuries. From the 11th century
until the early 17th century, numerous lamas and their disciples built
temples and monasteries all over the country. From the buildings dating back
to the 17th century that still exist, it can be seen that they were relatively
small structures with a courtyard enclosed within their walls. In most cases
they were only one-storied built close to the temples were the lama's
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builders in the 15th century were Ngawang Choegyal, the great grandfather
of Zhabdeung Ngawang Namgyal, and Tertoen Pema Lingpa.
Fortresses such as Jathel Dzong, Chelkha Dzong and Dongoen Dzong were
built by the Lhapa Kagyu religious school which once dominated the western
region in the 12th century. In the eastern region, stone castles called khar
were built mostly by the local nobility. In the early 15th century, the saint
Drubthop Thangthong Gyalpo, who was popularly known as Chagzampa,
visited the country and built iron bridges in different parts of Bhutan.
The architectural landscape changed in the 17th century when Zhabdrung
Ngawang Namgyal introduced the construction of dzongs which became the
model for all monasteries built or restored from that time. Gangtey Goemba,
Dramitse and Tango monasteries are based on the dzong model. After
Zhabdrung Ngawang Namgyal, one of the most active temple builders was
the 4th Desi, Tenzin Rabgye, who at the end of the 17th century had
Taktshang and Tango built in their present form. From the second half of the
19th century and especially after the earthquake of 1905, temples and
dzongs were restored and palaces were built. The active patrons were Jigme
Namgyal and the successive Kings and their Queens. Some of the best
examples of Royal patronage are the Kharbandi monastery in
Phuenbtsholing, the Memorial Chorten in Thimphu, the new Kyechu
Lhakhang in Paro and the newly built Kuje Lhakhang in Bumthang.
There used to be impressive dzong (fortress) complexes in Tibet and areas of
the Himalayas with Tibetan influence. Today most of them are lost or in ruins,
a few are restored as museums, and it is only in Bhutan that we find the
dzongs still alive today as administration centers and monasteries. This
paper reviews some of what is known about the historical developments of
the dzong type of buildings in Tibet and Bhutan, and I shall thus discuss
towers, khars (mkhar) and dzongs (rdzong). The first two are included in this
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context as they are important in the broad picture of understanding the

historical background and typological developments of the later dzongs. The
etymological background for the term dzong is also to be elaborated.
What we call dzongs today have a long history of development through
centuries of varying religious and socio-economic conditions. Bhutanese and
Tibetan histories describe periods verging on civil and religious war while
others were more peaceful. The living conditions were tough, even in
peaceful times. Whatever wealth one possessed had to be very well
protected, whether one was a layman or a lama, since warfare and strife
appear to have been endemic. Security measures were a must, and this is
apparent in all building types: in camp settlements and houses, in temples
and forts. People seldom lived on the ground floor of their houses, and the
stairs were simply made like ladders which could be drawn up like miniature
drawbridges in case of raids.
Ancient Tower Structures
The obvious function of ancient towers was defense, but at the same time
they may also have been means for communication with heaven. The tower
structures were utilized both in fortifications and in palaces as fortified
dwellings. These towers are believed to have been built, not by humans, but
by a Chung, the king of demons in the Gesar in connection with independent
kingdoms and peoples of Tibetan stock. The towers have a small, square
base measuring four to five meters. At the bottom level one enters through a
small door, and then climbs upwards inside. Each story is closed off by a
notched tree trunk that can be pulled up.
The fortified towers used as dwellings were more accommodating than
defense towers. Some of the tower dwellings might have had a cantilevered
upper floor resembling architectural traditions in Himachal Pradesh, as
visible for example in the Thakur castle in Gondhla. The drawings of the

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Baltit fort also show a cantilevered upper part on all towers, which may
thereby have been a development characteristic of the western Himalayas.
In Bhutan the only known evidence of a similar structure is found in a washdrawing from 1783 by Samuel Davis; "View from the Bridge at
Wandepore".This shows a tower with a minimum of openings, and a slightly
cantilevered wooden structure called rabsey (rabgsal) on all four sides of the
top floor. This was a bridge house by the river of Pho Chu in Wangdi, and a
place for tax collection and control, and of obvious strategic importance.
It is a characteristic of Tibetan and Bhutanese architecture that the amount
of openings in the massive walls gradually increases upwards. This is
especially visible in the central tower of the dzongs in Bhutan. Even if the
upper floors were not vastly cantilevered as in the traditions of Himachal
Pradesh, this was the most accommodating place with many window
openings and extra space created by the cantilevered rabseys. The
typological precedent of the uts-structures is positively the ancient towers.
This is particularly visible in Tongsa dzong called the Chorten Lhakhang,
which is believed to be remains of an earlier structure at the site. Stein terms
the towers the prototypes of Tibetan architecture in general.
Many of the old tower structures may originally have had nine floors, as this
is an ideal, auspicious number with ancient roots in shamanistic mythology.
Such symbolism is also described by Stein explaining how this ideal was
applied to a vertical hierarchy revealed by the number of stories; The king
(or queen) had as many as nine, the people up to six. A similar numerology is
also reflected in an old Bnpo (bonpo) text from the twelfth century
published by Samten Karmay which relates how palaces are to be
organized.This text describes how various functions are to be adapted
horizontally within a 3x3 pattern, according to an ideal which buildings were
striving to achieve. By following "the rules of Shenrab, the radiant clarity will
cause blessings to descend.
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" The buildings would then please the gods and divine presence. The
strength of the ideal myth of nine stories also influenced Buddhist
architecture. The historical precedent which is most frequently referred to, is
the tower of Sekhar Gutok (sras mkhar dgu thog), `the nine storied sons
castle in Lhodrak. This was the khar, which the saint Milarepa had to build
over and over again for his master Marpa at the end of the 11th century.
Among the diverse architecture expressions of the country, the castke-like
Dzongs (fortresses), with their massive stone walls, large courtyards and
beautiful architectural details and galleries built on a grand scale without the
help of any drawings and constructed entirely without a single nail
represents unique architectural marvel.

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6.2

CHAPTER 2: ARCHITECTURAL ELEMENTS.

Architectural elements in traditional Bhutanese architecture enhance or

upgrade the hierarchy and values of a design. The architectural elements in
traditional Bhutanese architecture may be divided into two categories. They
are the following:
1) Main Architectural Elements: - The Main Architectural Elements are those
that are mainly structural elements and are commonly found in traditional
Bhutanese architecture.
2) Secondary Architectural Elements: -Secondary Architectural Elements are
those that are usually installed to enhance aesthetics and create higher
standards of hierarchy and value in traditional Bhutanese architecture.
Main Architectural Elements are: 6.2.1

KACHEN (COLUMN) AND ZHU (CAPITAL)

Kachen and Zhu are the traditional Bhutanese column and capital that are
built together as a component. In traditional Bhutanese architecture, the
column and capital are fashioned out of timber by local carpenters as two
separate elements and then assembled together during installation in a
building. The more elaborate column and capital were normally installed in
Dzongs, Lhakhangs and palaces. They are also installed in the main altar
room of family homes. Simple style Kachen (also called kawa when in simple
post form) are usually found mainly in farmhouses.

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ZHU ( CAPITAL)
KACHEN
( COLUMN)

6.2.2

JADHANG TAZI (BALCONY RAILING)

Jadhang Tazi is the name commonly used for traditional balcony railings.
Landing railings, roof barrier railings and stair hand railing balusters are as
well often called Jadhang Tazi too. Taziis sometimes also pronounced Tazee in
some areas of Bhutan.The name Ja-dhang Ta-zi is derived from the functions
of a balcony with railing. Ja literally means bird, while dhang is from the
name given to a timber perch (for the bird to rest on). The name Ta
originates from the action to look down from the balcony while zi is an
honorific reference of the same action to look or observe.
The design for Jadhang Tazi can be very simple or very elaborate with
Tshegen, intricate carvings and paintings. The width of the newel post of
Jadhang Tazi is traditionally said to be of the size of a palm width and is
usually square in dimensions. The height of the newel is said to be of
standard human height or just below the shoulders. The cap on the newel
post is designed as an offering of Norbu tog (wish granting treasure).

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6.2.3

PAYAB GOCHU (WINDOWS)

The Payab Gochu, which is a traditional Bhutanese window that is embedded

within the facade walls of a building, is an important element of traditional
Bhutanese architecture. There are many different styles of Payab. The 3 main
types of distinctive Payab Gochu in ancient traditional Bhutanese
architecture are:
1. Horgo Payab,
2. Lingo Payab,
3. Gedkar Payab,
The 4th style of windows, which has been in use only for the past 70 years in
Bhutanese architecture, is known as Boego Payab. The Payab Gochu windows
are in general simple when compared to the design of the Rabsel. However,
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in important buildings (such as Dzong or Lhakhang) they are designed with

elaborate carvings, multiple layers of traditional cornices, lintels and intricate
paintings.Traditionally, the Payab Gochu is flanked and shored on all sides
with timber boards. The two sides are flanked with timber boards called
Loshog that protect the window to the walls. The lower level is shored with
the traditional timber sill called Chiden. The upper part of the Payab has the
lintel called Zangshing. The general practice in traditional Bhutanese
architecture is to incorporate one layer of (cornices) above the window. The
layer of cornices can be single or double and is sometimes also constructed
with a single layer depending on the significance of the building or the
budget available.

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6.2.4

MAGO (DOORS)

Mago or the main entrance door to a traditional Bhutanese house is an

important aspect of a building.The direction of the door is usually dictated by
various Buddhist astrological instructions in relation to the function of the
building and the date of birth of the owners of the building.
For good fortune and prosperity, in the case of a family house, the local
belief is that the outer door should face a direction according to the mans
date of birth and the direction of an internal door should be installed
according to the date of birth of the woman. The doors of homes are typically
simple. However, the Mago in Dzongs, Lhakhangs and palaces are
elaborately decorated with intricate carvings on the doorframes. Sculptures
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of the heads of auspicious animals such as the Singye Karpo (snow lion),
Jachung (garuda) and sometimes even small statues of deities are placed
above the door or in between the cornices above the doorframes.

6.2.5

ROOF

The roof plays an extremely significant part in the characterization of

traditional Bhutanese architecture and is therefore one of the most important
elements in traditional Bhutanese architecture. A very noticeable design
aspect of the typical Bhutanese roof is the elevation of the roof high above
the building (often in layers) to form what is often called the flying roof.
This type of roof appears to float above the building. This design thus
allowed the roof to protect the building from rain and sun while allowing
cooling breezes to flow freely through the attic space under the roof. This
meant that the area under the roof in the attic is thus a very useful and
practical space for storing and drying vegetables, fodder and other produce
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from farms and gardens around a house.In addition to protecting the building
from external environmental elements, in the traditional Bhutanese practice,
the roof element additionally played an important role in defining the
hierarchy and significance of building.
TYPES OF ROOFS IN BHUTANESE ARCHITECTURE
There are four main types of roof design in traditional Bhutanese
architecture. These are the following:
1. Jabzhi Roof
2. Jamthok Roof
3. Drangim Roof
4. Chenkhep Roof
Within the Thobthang practice of entitlement of architecture in traditional
practice, the Jabzhi roof is the roof of the highest level. The simple gable roof
and the layered gable roof style known as Jamthok roof is the most common
one found in traditional Bhutanese architecture.
For buildings of very high status such as the Utse of the Dzong, palace or for
the Lhakhangs with Sertog the square hipped roof called Jabzhi (four
corner roof) was used to signify their importance in the community and their
status.

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6.3

TYPES OF BHUTANESE BUILDINGS :-

6.3.1

DZONG ( FORTRESS)

Fortresses known locally as Dzong are architectural masterpieces and are by

far some of the most impressive and majestic forms of architecture in
Bhutan. The Bhutanese word Dzong loosely translates as "fortress". With its
primary objective of defense, the site selected for a Fortress was usually a
commanding one, generally on a strategic ridge overlooking the entrance to
a valley. Fortresses in Bhutan are in use today as they were for many
centuries as centers of administration and religious practice. Each Fortresses
in a district therefore houses the offices of the local Government and
residences of the local monastic body. They are therefore not silent static
museums.
As the most prominent building in a region, Fortresses were, and continue to
be architectural trendsetters for other buildings in Bhutan. Fortresses are
considered treasure houses of magnificent paintings, murals, carvings,
sculptures, ancient hand printed manuscripts, rare artifacts, and textiles.
Some of the best examples of Bhutanese artistic achievements, paintings
and craftsmanship are thus found in the fortresses. In terms of historical
importance, Fortresses are the most significant tangible symbols of the
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history of Bhutan. Fortresses were the seats of powerful leaders and often,
great historical battles and events took place in or around fortresses.
They thus played vital roles in establishing the identity and independence of
the Bhutanese. A particularly important association that fortresses epitomize
is the historic dual system of governance and power shared harmoniously
between a secular leader and a religious leader that still exists today. The
main fortresses that stand today are attributed to the great historical and
religious leader Zhabdrung Ngawang Namgyel (1594-1651) who is credited
with the construction of some of the greatest fortresses in Bhutan including
the Semtokha Dzong, the Punakha Dzong, and the Trongsa Dzong.

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6.3.2

LHAKHANG (temples) & GOENPA (monasteries)

With over two thousand Lhakhangs (Temples) and Goenpa (Monasteries) in

Bhutan, they can be found in almost every village and on almost every
mountaintop in the country. Although they do not match the soaring
proportions of the fortress, many temples and monasteries are older than
fortress, with some dating as far back as the 7th century. Usually, within a
village, the temple is the most prominent building. Besides being religious
centers, they also have important social and cultural functions as almost all
village cultural events are held there. The Buddhist Lhakhang is usually a
simple hall with an entrance foyer and a main hall holding the main altar of
the temple. Besides the main temple building, simple buildings with rooms
for the monks are constructed. Often the layout of a monastery consists of a
one or multiple storey temple building in the centre of a simple courtyard
flanked by structures used for the living quarters of the monks.

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PARO
TAKSHANG (FLYING TIGERESS)
6.3.3

CHOETEN (STUPAS)

With over ten thousand stupas, these traditional structures are the most
common spiritual heritage structures found in Bhutan. Stupas were built to
represent receptacles of the relics of the Buddha and important saints and
monks. They were also built in places where negative energies and spirits
needed to be turned into positive forces. Stupas are found practically
everywhere in Bhutan.
They are found located mainly on high mountain passes, on roads, on
approaches to important locations and buildings, and even on bridges.
Stupas range from as small as 2 metres to over 10 metres in height. Stupas
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are sometimes linked by long thick walls called Mani (prayer) walls, which
are inscribed with religious paintings and prayers. Stupas are built mainly of
stone and mud mortar. The inner part of the structure of a Stupas is usually
kept hollow and filled with important and sacred elements including a square
post called Sokshing (post or tree of life) which is made of timber that is
inscribed with prayers and religious illustrations.
Stupas can be designed in a very basic way without any embellishment or
decorations. They are also designed in very elaborate ways with slate
carvings, carved cornices, and embossed gold frames and pinnacles.
Although there are many different types of Stupas in Bhutan, the typical
Bhutanese Stupas is known as Khangzha and is square in shape with a hip
roof of stone. The Square Bhutanese Stupas is always marked with a red
band called Keymar around the upper level of its walls to signify its spiritual
status.

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6.3.4

PHODRANG (PALACES)

The architecture of palaces is very similar to the architecture of fortress. The

most famous palaces that stand today were built during the time of the first
and second Kings of Bhutan. These include the Wangduecholing and Lami
Goenpa Palaces in Bumthang, Ugyen Pelri palace in Paro, Kuenga Rabten and
Samdrupcholing palaces in Trongsa. The Dechencholing Palace in Thimphu,
which was built during the time of the third King of Bhutan, is also known for
its beauty and graceful serenity.
The layout of a typical palaces included a main temple within the central
Utse in the centre of a courtyard with chambers for the King, the royal family
and main officers and attendants around the courtyard. The quarters for the
servants and stables were usually built outside the main palace building.
The palaces of Bhutan are known for their graceful beauty and have some of
the finest and unique designs, craftsmanship, paintings and carvings.

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6.3.5

YUE CHIM (DWELLING & FARMHOUSES)

Secular architecture in Bhutan finds its main form in traditional farmhouses

that form small clusters in tiny villages. A Bhutanese home is not only a
residential unit but also a social, economic and religious unit. Apart from
providing a home for the family and shelter for domestic livestock, it was
also an extension of the religious space of a temple.
The arrangement of spaces within an indigenous Bhutanese house is
extremely functional. An ideal traditional house was one that had three main
floors and an attic, with each level having distinctive functions.
Spaces due to functional demarcations were normally laid out in a vertical
hierarchy, which start from the simple lower ground floor spaces used for
sheltering livestock, to the storehouses for products from the farms in the
middle level to the sacred upper level spaces, used for sleep, family, guests
and spiritual rituals.
Spaces in traditional Bhutanese homes are designed to be functional yet
flexible. Spaces usually flow organically from one room to the other in a
relationship that brings the residents together.

TYPICAL FORM OF A BHUTANESE HOUSE:

The built form of indigenous houses generally consists of a light thin
structure suspended and floating above a heavy massive box like structure.
These forms project out from the land and are notable in that they do not
seem to try to stimulate the natural curves and slopes of the hills and valleys
that make up the natural topography of the land. This box-like built form is
seen to have come about due to the following main reasons:
-

The influence of the local materials used.

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The simple local technology used for construction.

The climate conditions of the land.
The functional and spiritual demarcations of spaces.

The natural climate and topography of the place and the use of local natural
materials like rammed earth for the walls were the main aspects that
determined the formation of the built form of indigenous houses. In the past,
lack of technology to produce curved formwork, that would allow rammed
earth walls to have curved organic forms, restricted formwork to box-like
forms which gave rise to straight regular walls that were joined together in
straight angular corners.
The shape of the buildings could also be a response to the climatic conditions
of the land. The box-shape of the houses meant that there was a smaller
ratio of surface area to volume thus lesser area of the building envelope was
exposed to the cold climatic conditions leading to a smaller amount of heat
loss than there would be with a single storey ranch style building form.
The wide overhangs of the roof came about from the need for protection to
the earth walls and timber structures from the heavy rainfall during the
monsoon season. To help to drain rain, during the monsoon, and snowfall, in
winter, the roof had to be designed with an inclination. To prevent stones,
which were used in the absence of nails to hold down timber shingles used
for roof cover, from rolling off the roof, the inclination of the roof could not be
too steep and was thus kept to around 11 degree to 13 degree.
The absence of refrigeration meant that food for the winter months was dried
for preservation. A space that was secure, clean and had good ventilation
was needed for this drying process. An attic that was open to the
environment thus came about leading to the roof being suspended above the
ceiling to create this space. This space was also used to store feed for
animals.

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REFERENCES
Harald N. Nestroy (2011), Bhutan the Himalayan Buddhist kingdom
sandwiched between India and China.
The ministry of works and human settlement royal government of
Bhutan, (2014), Bhutanese architecture guidance.
Aris, Michael (1979), Bhutan: The early history of a Himalayan kingdom,
Warminster, Aris & Phillips, p.344
Pommaret, Francoise (1990). An illustrated guide to bhutan, Geneva,
Ed.Olizane S.A.,p.277
chiel boonstra (2011), Sustainable urban development and zero impact
architecture through culturally based concepts in Bhutan.

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BIBLIOGRAPHY.
Maintainance plan for religious buildings in Bhutan using Buli Lhakhang,
Karma Gelay (Thimphu, Bhutan), 2007.
Happiness and Architecture: the traditional and the new, Jnis
Dombrovskis (German), 1998
Bhutan Green Building Guidelines, Department of Engineering Services,
Ministry of Works and Human Settlements (Thimphu, Bhutan), 2013
On Bhutanese and Tibetan dzongs, Ingun Bruskeland Amundsen, 1997.
The Hero with a Thousand Eyes-A Historical Novel, Karma Ura (Thimphu),
1995
Bhutan: Living Culture and Cultural Preservation, Amundsen, Ingun B
(1994).

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