A courtyard or court is a circumscribed area, often surrounded by a building

or complex, that is open to the sky. Such spaces in inns

and public buildings were often the primary meeting places for some
purposes, leading to the other meanings of court.
Nagpur wada The main rooms of a courtyard houses often open onto the courtyard,
and the exterior walls may bewindowless and/or semi-fortified and/or
surrounded by amoat.
Courtyard houses of this type occupyan intermediate position between
a castle or fortress,where defence is the primary design
consideration.Thecourtyardhouse makes its first appearance ca. 6400
–6000 BC (calibrated), in theNeolithic
Yarmukian site at Sha'ar HaGolan, in the central
Jordan Valley,on the northern bank of the Yarmouk River, giving the
site a special significance in architectural history. Courtyards have
historically been used for many
purposes including cooking, sleeping, working, playing, gardening, and
animal husbandry.
Typical Features of ‘Wada’
1.Chawk:

There are a number of chawks in the Wada The more the Chawks, the bigger or more
affluent the status of the owner. The typical Wada is two storied and overlooks thechowk.
The chowk acts as a visual connector and ventilates the interior spaces of theWada. The
Chawk also functions as a transition space between the public and privateareas of the
house.The Wada and ‘Chawk’ is a module of traditional house-form where thenumber of chawks in the Wada,
depicted the status of the family.

2.Kacheri: The administrative or office part of the building

3.Diwankhana:An Urdu term was the living room
4.Tijorywas the treasury where generally a safe box was kept
5.Swayampakghar Kitchen
6.Kothar :Store room
7.Gotha:Cow pen
8.OSARI:Surrounding the Chawks are the open verandas (osari) which allow multiple activitiesto take place.
9.Dandi:Within the larger plot, the structure is placed abutting the approach road with an imposing entrance door termed as
Dandi along with rooms for watchmen called devoid.
10.Tatabandi:The house is protected with high compound wall termed as Tatabandi. Theentrance veranda is used to receive
the strangers. The houses have relatively small front yards and huge backyards. The spaces in the Wada are flexible and are
used for multiple activities during day and night-times.
11.Collective planeWadas in the Nagpur region do not reflect the modern concept ofdifferentiated spaces for various
activities wherein each room is connected to another anddifferent activities exist on a collective plane. The sacred spaces are
the most important in the house and at times so elaborate that there are Wadas encompassing a temple that is accessible by
any outsider or stranger.
12.Cattle shed, the servant rooms and toilets The spaces for cattle shed, the servant rooms andtoilets are located in the
backyard.
Wada GardenEvery Wada is provided with areas for plantation and space for holy Basiltulas) as an essential feature of every
house. According to the caste, occupation and status ofthe family, the size and location of Wada is designed, but basic
planning principle remainssimilar. With increase in status and wealth of the family, the architectural elements andfurnishing
become more distinguished.
14.Temple: The sacred spaces are the most important in the house and at times so elaboratethat
there are Wadas encompassing a temple that is accessible by any outsider or stranger.
Construction Material
The wadas were built of Lime, bricks made from Clay that were availablei n te market called”vita”.Cowdung,sand,
Wooden beams cut from trees,Gum and Jaggery weremixed with soft soil,cowdung to make the bonding
material.Number of such wadas were built in the Maharashtra area( which was then C.P and berar) manyfell to ruin
as they were expensive to maintain, some however were preserved and have had arenaissance. Several such wadas
were found in and around the larger cities and are still standing.
Houses in the village are in form of three-four compartments with spaces used formultiple activities.
Provision of semi-open spaces in front and rear provides functionalflexibility. The semi-open spaces
termed as osari forms the most important element of thehouse. Traditionally, the osari is used for multiple
activities throughout the day by both menand women of the family. The space is used for social
interaction as it is visually andphysically connected with the entrance. The open space (angan)
surrounding the osari isused for cleaning and drying of grains for annual storage, sorting and storing of fire
wood forcooking and fodder for the livestock. The osari is connected with the cattle shed to keep aneye on
the family livestock.

Family Structure:
The Kinship-structure within the village is mostly intact with the extended families.The gender-based roles
are prominent in the families. The spaces within the house are assigned by gender usage. The
semi-open space at the entrance is mostly used by men of the house for social activity. The side open
space (angan) is used by women of the house, and this space allows neighbouring women to gather
during afternoons for collectively preparing certain food-items which are stored and used throughout the
year. The largestorage (Bakhari) within the house is an essential space connected with the kitchen and
usedby the women. The central portion of the house is used as kitchen and space for worshiping,which is the
only enclosed space of the house acting as private zones, mostly used by thewomen of the family.
In the village, the pattern of cooking takes place in the most traditional form (Chula)
with no elevated cooking platform or the use of any modern appliances. The high ceiling of
kitchen, vent-out the smoke created due to firewood. The storage spaces are in the form of
niches in the thick mud walls. The space for cooking is sacred and the entry to the kitchen
takes place after washing of hands and feet. The women during their menstruation cycle are
restricted to enter this place. The floor is thoroughly washed every morning before cooking.
The consumption of food is in the traditional pattern, with men and children of the family
being served the food in the kitchen. The cooking, serving of food and cleaning of the
kitchen are the domain of women.
Konkani houses in Dhamapur village, Taluka Malvan,
Maharashtra
Konkani houses in Dhamapur village, Taluka Malvan,
Maharashtra
● warm and moderately humid climate.
● The housing pattern is based on various factors like position of temple, climate
considerations. Social interaction among the community members is of prime importance.
Hence, the street acts as an extension to the leaving space, which also determines the
housing pattern. Its typology changes with respect to the caste, class, occupation

Location, orientation and Principles

The traditional architecture was based on the principles of Vaastushastra, right from the selection
of the site to the building construction techniques. The character of the building was related to
domin, Vaastupurusha, The strategic location of the settlement was decided by the religion and
occupation. For example, the location of the Brahmins are near temple, Konkani Maratha near
agriculture land, maratha’s near agriculture land and Buddha near their location of occupation and
normally surrounded by the village.
Site planning.

It was divided into three parts aangan (Front yard), which is normally provided with a Tulsi
vrundhavan, and area for drying the various agriculture products. Main house and the Paaras
(back yard) with cow shad, storage for fodder, water well, area for gobber storage, kitchen garden
and coconut, mango, suparri plantation.

Architectural features

It is found that the houses were constructed with locally available mud, timber and laterite stone,
having high thermal capacity and low ductility. Traditional houses in the settlement are being
constructed on the basis of functional requirements of the users and the availability of the suitable
building materials and construction techniques developed. The house planning is simple and
functional. Spaces are designed into Maajghar (living),bed rooms. Kitchen. Kitchen is divided into
two parts vegetarian and non vegetarian kitchen with separate store room. Detached toilet is
provided in the back yard with cowshed. All the houses are having high plinth due to heavy rain.
Most of the houses got seating place in front of the houses. The settlement is divided into three
types of houses higher income group, middle income group and lower income group.
Cluster planning

One can always see clusters of houses standing adjacent to each other as if they are integrated .It’s
interesting to see different patterns of configuration of laterite sometimes mud even modern brick with
Mangalore tiles on top. If you will over view, you will find it similar but great fun is to travel and take closer
glimpse. Each of these houses has its own touch, its own unique combination of colour, Customized
space allotment.

Building Planning

The building was planned around a Maajghar (Living room) and room were positioned according to
Vaastu Mandala. This kind of layout ensured climatic comfort in warm and humid regions. The building
was divided into public, semipublic/semiprivate and private spaces, ensuring the required level of safety,
security and privacy for the spaces.

Form and typology

This is determined by the social needs of the inhabitants. In the Brahmins residential unit’s big otti
(Entrance verandah) are provided to cut off the direct entry for non-Brahmins. Big library, pooja room and
vegetarian and non-vegetarian kitchen are provided.
Climatic Responsiveness

The traditional buildings were always climatically sustainable. They made use of local materials, such as
laterite masonry, stone, wood carpentry and mud. The technology and method adopted were passive.
Slopped roofs were appropriate for heavy rains. The use of wood regulated humidity. The use of terracotta
roof tiles allowed infiltration of air. Attic spaces helped regulate the temperature inside and at the same
time, provide storage space too. Mud walls of 450 to 600 mm to provide good thermal insulation. Pitched
roof made out of timber and covered by mangalore tiles because of heavy rains. Steep roofs and large
overhangs protect the wall from heavy rains. In ground level mud, cow dung and red oxide flooring was
used.

Aesthetics or Beauty

Beauty refers to the psychological comfort of the users. Traditional buildings were carved beautifully in
teak wood, and used traditional proportion systems, leading to the creation of a very healthy environment
and equally healthy users. For this we can refer “medicinal houses” for them.
Red thick walls and sloping roof surrounded by sky touching coconut trees and lush green paddy fields is the common scene if you
take a simple ride by Konkan railway through this region. If you go closer, the simplicity will make you fall in love and you will carry a
dream of spending all your life close to nature and nature-loving people. Amid of urbanization, this region has successfully retained its
tradition and its reflection can be seen in the way houses designed. In this Houses of Konkan series, we are going to see some typical
form.
Let's start with the simplest form- Linear arrangement Angan –Otti - Majghar (surrounded by small room) - Kitchen with store area –
Padvi – Paras (Backyard)
Angan - Open area in front of the house. Regularly finishes with cow dung. Adorn by Holy - Tulsi Vrindavan- Meant for social
gathering. seasonally covered with a temporary covering made up of natural material such as thatch, coconut leaves different outdoor
activities which vary from harvesting the fruits, drying, cutting, peeling, making by-products, or utilizing various parts of trees such as
wood, leaves, branches, etc. .These activities are manually carried out and take place in Angan, Padvi and Paras during the summer
season only. During summer, Angan is covered with temporary roofing in the form of interwoven coconut leaves supported on bamboo
posts which can be dismantled as per climatic needs
Otti- semi-open space with low height seating covered with a permanent roof. Transition space leading to an enclosed environment. Sometimes
sides are covered by wooden jali walls. Otti generally is the most comfortable space considering Hot and Humid climate of the Konkan region; it
offers temporary resting space to house members during the afternoon and evening time.

○ Majghar- Large open room situated at the center of a house, surrounded by small rooms like Pooja Ghar, kitchen, and
private areas.
● Kitchen- Elaborate, most important and busiest room with in-build shelves in walls and levels to facilitate women gatherings.
Mangalore tiles roof for the kitchen are designed in a specific manner to regularize natural air circulation and to capture maximum
daylight. A small storeroom is situated adjacent to the kitchen to store yearlong food items like grain, pulses, and pickles, etc.
● Padvi- semi-open space covered by a permanent roof and connected with washrooms. This area generally has a specific area for
Chulha (Firewood burning) which is mainly used for heating bath water during the day to day life.
● Paras (Backyard) – Open to sky area at the rear of a house having entry through kitchen. Seasonal vegetable, medicinal plants,
Local fruit plants, flowering plants are planted in this area. For big houses, water wells are situated in this area.
 Cluster formation
Cluster formation is one of the prominent features of coastal Konkan settlements with
unique arrangements, placements, sizes, etc. These clusters are not arbitrary but strongly
guided by the social structure. Moreover, they are named by the caste and subcaste of
people leaving in - Brahmin Vadi, Gurav wadi, Vani Aali etc. Sometimes by Family name-
Jadhav Vadi, Parab Vadi, Kubal Wada, Naik wadi etc. and sometimes by family ancestral
occupation like Gawali wada, Kumbhar wada, Chambhar wadi, Sutar wada/ wadi, Koli
Wada etc.

Though Cluster looks organic pattern, it follows two basic patterns, closed arrangement
which is generally named as 'Wada' or 'wadi' and Linear arrangement which is generally
named as 'Ali. Within these universes of patterns, one can find smaller clusters
reciprocating micro-climate and usability. It is really interesting to see the influence of
various generations on building styles that forms a lineage.

Thick mud wall and sloping roof house extended by load bearing laterite wall structure to
further RCC structure. These clusters are surrounded by a vast vista of family-owned land.
Each of the houses from the cluster has open, semi-open, and built spaces called
'Aangan', 'Padvi' & 'Oati'. The number of houses in one cluster may also depict the
number of close relatives. Angan can be a shared amenity among a few houses.
 Family occupation plays an important role in cluster forms. eg. land owner farmers create large storage spaces. Housing
clusters of Kumbhar wada/ wadi (clay Potters) requires different type of working spaces, dedicated areas for kilns etc.
Sutar wada/ wadi (Carpenters) required large working spaces; Koli wada’s (Fisherman) are design with common spaces
for drying fish, knitting fishing nets, sorting of fish etc; whereas Gawali wada/wadi (Dairy Business) requires spaces like
cattle shed and for ancillary activities. Etc.

The architecture of the Konkan is not monumental or iconic. One can always see clusters of houses standing
adjacent to each other as if they are integrated.It’s interesting to see different patterns of the configuration of
laterite sometimes mud even modern brick with Mangalore tiles on top. If you will overview, you will find it
similar, but great fun is to travel and take a closer glimpse. Each of these houses has its own touch, it’s own
unique combination of color, customized space allotment. After all its architecture for the people by the people.\

Even though it is abundant space is available to build upon, most of the houses are forming an irregular cluster.
There is a social, geographical reason behind it. Generally, these houses are not separate entities but
extensions. If I take the example of my ancestral house, it is built by my great grandfather. It is made up of
almost 1ft thick mud wall. It is an extension of the house nearby. Now my uncle has extended it by building a
small house made up of laterite. These houses share some common amenities such as aangan, Tulsi
Vrindavan, well, backyard etc. Generally, these clusters are designed and build by people belong to same
caste. Usually land own by one family, which gets subdivided within family members. Generation after
generation, as per need they build their place. For social security, it is generally beside its origin.
Konkan is blessed with heavy rainfall, humidity causing dehydration. During these seasons, closely packed
form facilitates direct connection within each other without exposure to the outer environment. Even roads are
formed by the strategic placement of the house. As a result of this, roads are always shaded makes sizzling
environment livable
Pune Wadas Architecture
Design of Wadas

https://www.nobroker.in/blog/architecture-of-traditional-houses-in-pune/
‘Wadas’ of Pune are the best example of how houses from centuries ago have shaped the
entire neighbourhood of the city. Traditional houses of Maharashtra are called ‘Wadas’.
This word is derived from the word Vata which means piece of land meant for house. With
distinct features that hold great importance, the wadas stand tall amidst the high-rise
buildings. These traditional residential houses of Pune emerged during the reign of
Peshwas and were influenced by the political, social, and cultural statistics.

Wadas basically denote mansions with the courtyard having introvert design.This type
of planning was introduced by Marathas to safeguard their families from outsiders. The
design is amalgamation of Mughal, Rajasthani, and Gujarati architecture combined
with the local construction techniques. These houses are typically multiple storey
buildings with internal open courtyards surrounded by rooms. These are designed to
accommodate multiple or single families.

● The most important element of the wadas are the open courtyards known as
‘Chowks’. The number of chowks vary based on the size of the house.
● The architecture is characterized by stone walls, wooden staircases and open
chowks.

During the reign of the Peshwas the neighbourhood of Pune was well established and
divided in wards known as Peths.The major highlights of these old jewels are the
woodworked railings of balcony, tinted glass windows and thick walls protecting the
interiors from the changing climatic conditions.
The areas in the wadas are divided in public, private, and semi-private zones. There are different
elements that make these houses different and unique.

1. Threshold: The transitional space between outside and inside is referred as threshold. At
the entrance of house, on the either side of the door, there are elevated platforms called
Osari, which is supported by pillars,for the residents to connect with their neighbours. It
also provides shelter from the harsh weather outside.
2. Courtyards or chowks. This is the main element in the design of wadas and its number
can vary from 1 to 7 based on the size and capacity of the house. All the rooms are built
facing the courtyard. This private open space is commonly used by the families residing
there and can be converted to public space during festivals. This space is used to perform
rituals, prayers, for gathering, gossip sessions and more.
3. Verandas: The courtyard is surrounded by semi-covered passageway known as ‘Sopas’.
This space connects all the rooms and provides shelter from sun and climatic
changes.This space is used for recreational purposes where the families would put
swings and play games.
4. Doors: These wadas have huge wooden doors with smaller gates known as ‘Dindi
Darwaja’. For day to day purpose only the Dindi Darwaja is kept open.This was mainly for
security purposes.The huge wooden gates have bolts called as ‘Kadi Koyanda’ in the
local language.
5. Windows: The wadas usually have full height wooden windows with cusped arch and
small square opening at the top. These windows have wooden railing adjusted across the
width for security purpose. These windows were narrow and tall, starting from the floor;
this is one of the peshawi feature
KHARADKAR WADA IN PUNE
WHAT IS A WADA?
The traditional residence in Maharashtra was called the wada.
A wada was typically a large building of two or more storey with groups of rooms arranged around open courtyards.
Two types of wadas:
One which houses many families, like an apartment building of recent times or chawl of Mumbai.(Mostly for the middle class
families) AND One in which only one family resided. (Mostly owned by the richer class like relatives of the peshwas and
traders)
EMERGENCE OF WADA ARCHITECTURE
Wadas - which were the traditional residential form of Maratha architecture, evolved under the reign of Peshwas.Its style
was an amalgamation where features from Mughal, Rajasthan, and Gujarat architecture were combined with local
construction techniques.
SETTLEMENT OF PUNE UNDER THE PESHWAS
Land around the Peshwas residence was divided into wards called peths.
These were self-sufficient units and they were named after the days of weeks or the person who had
established the peths.

NEIGHBOURHOOD OF A WADA
The streets and roads in the settlement were narrow.
Roads were never straight as the growth of the settlement was organic.
The plots for construction of wadas were rectangular and lay right next to the streets.
The urban form of the settlement appeared like a maze of two or three storied structures having internal
open spaces, placed along the road network with very little open community space.
CASE STUDY: KHARADKAR WADA

This Wada was built in 1875 by Shri Karandikar who was a moneylender by profession and was related to the Peshwas.
LOCATION
Kharadkar wada is located in Pune, Maharashtra, in Budhwar Peth.
CLIMATE
Pune having a moderate type of climate has the following characteristics:
The solar radiation is more or less the same throughput the year.
The relative humidity in dry periods varies from 20-55% and in monsoons 55-90%.
The total rainfall usually exceeds 1000mm per year. Winter is a dry season.
Winds are generally in summer.
Their speed and direction mainly depends upon the topography.
The sky is mostly clear with an occasional presence of dense low clouds during summer.
The design of a wada was not influenced much by the climatic factors rather it was influenced more by the social and
cultural factors.
SOME CHARACTERISTICS OF THE KHARADKAR WADA
Distinct zoning can be seen.
Separate entrances for guests, domestic help, people visiting the durbar, separate entries for the
people performing in the durbar and a separate entry into thecattle shed.
There are 4 entrances to the house.Privacy for the women given a priority.Three main
courtyards or chowks.The wada has it’s entrance in the southern side
ZONING

The most significant features of the wada was the way it’s zoning of public, private and
semi-private spaces was done.
This can be seen very distinctly in the plan.

Visual showing the environment of the wada

Small window openings with wooden grills


One of the HAUDS in the wada
One of the most interesting features of this wada was
the underground water supply which came from Katraj
dam which was 11kms from the site.
One noteworthy point is that no pumping was
required.The water that came was collected in open
tanks called ‘HAUDS.’
Kharadkar wada has three separate hauds for separate
activities.One for bathing, one for washing utensils and
one for storing drinking water
Stone base
supporting a wooden Niche in the wall
pillar
All the staircases were places in 4ft thick walls.
This was done so that when the women moved
around in the house they wouldn't be seen from the
outside.
This way the privacy of the house was maintained.
All the external walls of the wada were 4ft thick.This
helped to keep the interior of the wall cool in
summers.
 Ring in the courtyard to tie horse

External wall section of a Wooden battens supporting

wada the upper floor
https://www.academia.edu/24677220/Traditional_Dwelling_Wada_in_Maharashtra_India
GOAN CATHOLIC
HOUSES
The architecture of Goan Catholics has strong Portuguese, Mughal, and Indian influences. It developed over the
long colonial Portuguese India era (1500s–1961).
Factors that influenced residential design in Goa include:-
Protection from fierce seasonal monsoons.
Portuguese Empire rule allowed Goan people to travel abroad; when they returned they brought with them ideas
and influences from other countries. The Goan master builders executed these ideas using local building materials,
making the Goan house a mixture and adaptation of design elements and influences from other cultures.
The traditional Baroque architecture style of Portuguese-built churches.
A European aesthetic/lifestyle was encouraged to separate newly converted Goan Catholics from their cultural
roots. However, they adopted a European outlook but did not cut themselves off from their Indian roots completely,
and resulting cultural fusion affected house design.

The traditional pre-Portuguese homes had the following features-

● inward-looking with small windows; which reflected the secluded role of women.The houses opened into
courtyards, and rarely opened onto streets.However,The Catholic houses built or refurbished between the
middle of the 18th and the 20th centuries were more outward-looking and ornamental, with balcões
(covered porches) and verandas facing the street.
● The large balcões had built-in seating, open to the street, where men and women could sit together and
chat with their neighbours, or just enjoy the evening breeze. These balcões are bordered by ornamental
columns that sometimes continued along the steps and added to the stature of the house. This, together
with the plinth, which usually indicated the status of the owners. The houses of rich landlords had high
plinths with grand staircases leading to the front door or balcão
https://images.app.goo.gl/xsbJzVThJs5RRcYE7 https://images.app.goo.gl/vvcXYDnacuLo3D
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● A typical red Mangalore tile used for the roofing of traditional built Goan Catholic houses
● Large ornamental windows with stucco mouldings open onto verandas. There these elements of style were
devices to help sailors identify their homes at a distance as they sailed in. The design is therefore an
import but serves a similar purpose in Goa: to help construct the identity of the home. Windows gradually
became more decorative, ornate, and expressive.

● Front doors were flanked by columns or pilasters.-Railings were the most intricate embellishment in a Goan house.

● Cornices- Country tiles used as a corbel are a feature peculiar to Goa. The effect achieved is aesthetically pleasing,
giving the roof projection a solid, moulded appearance.
● Gateposts and Compound walls - Gateways consisted of elaborately carved compound walls on either side of the gate
posts.

● Use of colour- Dramatic and startling colour plays an important role in Goan architecture.With a colour wash, the
house looked "dressed" and therefore displayed the economic well-being of the family that lived in it.
● However, this was not completely a matter of individual choice, since during Portuguese rule the owner of the house
could be fined if his house was not painted.This rendering or piping in white is the result of the unwritten rule
during the Portuguese occupation of Goa that no private house or building could be painted in white. Only
churches and chapels enjoyed this privilege. It is understandable that Goan Christians followed this rule, as white
was associated with the Virgin Mary and therefore the virtues of purity and chastity (both desirable in Goa), but,
surprisingly, Goan Hindus also respected this practice.
● The walls were made of mud and then later of laterite stone; they were usually plastered then painted. Very few
buildings are coloured exactly alike and solid colours are used for front facades; interiors are usually in paler
colours/white with solid color highlights.
● Most houses are symmetrical with the entrance door occupying the place of honour.
● Typically this front door leads to a foyer which then either leads to the sala (the main hall for entertaining a
large number of guests) or the sala de visita (a smaller hall for entertaining a small number of guests) and in
some cases the chapel in the house. From here one can also directly enter the rest of the house, which
usually revolved around a courtyard. Typically the master bedroom opens into the sala or is close to it. The
dining room is usually perpendicular to these rooms; the bedrooms flank the courtyard, and the kitchens and
service areas are at the rear of the house. In the case of two-story houses, a staircase, either from the foyer
or the dining room, leads to more bedrooms.
● Consisting of humble burnt earth plastered over with cow dung and hay, or with elaborate patterns made
with tiles imported from Europe, the floors in Goan houses have been both workplaces and statements.
● Almost all Goan houses have a false ceiling of wood.

https://images.app.goo.gl/ymTmGeweK4FC3Xfk9
MUMBAI CHAWL SETTLEMENTS
Typically, a chawl is a set of rooms strung along a corridor. Each of these rooms are inhabited by
different households. Chawls can be single- or multi-storied—generally they have a ground floor plus
two or three above. While one end of the corridor has a staircase, the other end typically has a set of
toilets that are shared by the households. The entire building may also have a courtyard inside with
corridor(s) running all around the courtyard.
GOAN HINDU HOUSES

Style: Indo Portuguese Style • Internal courtyard with rooms built

Ancestral Hindu houses in the town are plain, closed structures which

Building Materials : Laterite stones, Baked clay tiles

conceal the illustrious tradition of the inhabitants • The goan Hindu Architectural style is different
from the Portuguese

influenced style.

• Hindu houses have little colonial influence

Most of the houses are symmetrical

• Rectangular in plan • Single storey

• A step or two (plinth level) lead into quiet entrances with small windows opening out on to the street • Central
entrance has a verandah

• The rooms are arranged around a central pillared courtyard A typical Hindu home is low-scaled with a low
plinth, a small seating

windows

porch with short bulbous columns and a loft like upper floor with • The house reveals its beauty only
indoors-rooms converge on to the courtyard with 'Chowkis • Column and their brackets are pre Portuguese
features that depict the

progression of the architectural style in ornateness and refinement.

DETAILED STUDY OF SPACES.

Courtyard. The Goan ‘Rajaangan’ concept is a traditional hindu house design evolved with central small
courtyard with a ‘Tulsi’ plant. This basic spatial arrangement came about not just for a practical reason of the
morning light to illuminate and ventilate the inside spaces but also to associate with their social and cultural
lifestyle. In this design the ‘Tulsi Court’ is not the centre but surely the focal point which marks the entrance to
this house. In this constrained plot the element of courtyard has evolved as a new contemporary
Goan Hindu house:

The goan Hindu Architectural style is different from the

Portuguese-influenced style. Hindu houses have little colonial
influence. Most of the big houses have a courtyard called as
Rajangan in konkani where a Tulsi vrindavan is seen. A special
place called a Soppo is often used for relaxing. Goan
traditional Hindu houses have the following features:
● Angan (courtyard with a Tulsi Vrundavan)
● Rajangan (a courtyard inside the house)
● Deva kood (a place for daily prayer and other rituals)
● Saal (a hall)
● Raanchi kood (a kitchen with a door which is called
Magil daar)
● A room special meant for pregnant and nursing
mothers.
● Kothar (store room)
● A hall specially meant for celebrating ganeshotsava
The ‘Padvi or sopo’ (entrance seat) is the transition space that connected the inside to the outside. The
column element featuring around the courtyard and the ‘Padvi’ had a strong impact in the traditional designs

In this design, ‘Tulsi’ and ‘Padvi’ with an imposing traditional column feature of local ‘laterite’ stone were
harmoniously blended together.

The column being the main load bearing structural component also served as an illuminating source
(‘Deepstambha’) at night, complementing the practice of ‘Diyalagan’ (lighting of lamp around the ‘Tulsi’),
thus creating a ceremonial platform for the religious occasions.

The ‘Ganesh’ sculptured in ‘laterite’ stone on the wall looks over this ambience commanding strong
reverence.
Spatial arrangement:

The traditional courtyard house layouts had its

socializing spaces around the courtyard with an
extroverted character whereas the private spaces
were placed in an introverted and secluded
manner. In this design, the sloping terrain facilitated
a similar sensibility.

The public spaces (praying, music room, living, dining

and kitchen) were designed at the higher level giving
an advantage of better illumination and cross
ventilation and the private/resting spaces (bedrooms
and study) were placed at the lower level to achieve
privacy, seclusion, introverted character and to
receive the diffused light.

They were much cooler being placed at a lower level.

Orientation The traditional courtyard houses were strongly designed on the footprints of ‘Vastushastra’
wherein the spaces had a sense of direction. In this design, orientation was analyzed in an advantageous
manner to position the Entrance courtyard, Prayer room and Living towards the north-east and the Kitchen and
Dining in the southeast. Similarly the Bedroom spaces have been advantageously arranged westwards

Levels: The hierarchy of spaces was a prime consideration in the traditional approach of design wherein the
prayer room was given the highest platform. In this design the same principle is adopted with the prayer room
positioned at the highest level from where all the other spaces descend radially downwards. The prayer room
has a glass ceiling which filters the natural light directly lighting up the deity (refer with Fig. 3, Fig. 14). Volume:
The traditional ‘Rajaangan’ houses offered a comfortable human scale with the Ground and Attic floors. The
Interior volumes also were more at user friendly heights. In this design, the structure is effectively made to
appear externally only of one floor (refer with Fig.11) due to the play of the sloping terrain. In reality, it is a G+1
structure accommodating the traditional attic space which has direct access to roof level easing out the
maintenance

Openings: The Sills and Lintel levels of the traditional courtyard houses were low (about 60cm to 85 cm)
adopted to suit the lifestyle. In this design, similar character has been achieved by extending the sill widths
thereby giving the impact of the solidity of the traditional thick walls and also acting as a barrier, shielding the
direct heat and glare. The lowering of the sill heights acts as a dual advantage of using it as a seater or
working space within the walls and saving the need for furniture requirements
Façade:

The traditional facades in Goa have more earthy colours. The colour combination in the designed house is
similarly maintained with a blend of the original colour and texture of the‘laterite’ stones harmoniously
combined with the whites. Roof. Traditionally roof profiles were simple, sloping 2-ways or 4- ways having huge
overhangs shading the verandah spaces. In this house, a simple pyramidal 4-way canopy with flat overhangs
provides a complete cover over the full cubical mass. In addition, as the roof is accessible from the attic floor it
has been planned for multi use, maintenance of solar panels, roof tiles, water harvesting and even a
comfortable jogging track open to sky .Cost. Like the traditional courtyard houses, the designed structure
stands fully load bearing on the reddish ‘laterite’ soil type best suited for the site.
Houses in Madhya Pradesh

INTRODUCTION:
Madhya Pradesh is one of the states in India which is
centrally located. It is also known as heart of India due to its
geographical location. Bhopal is the capital of Madhya
Pradesh was formed in 1956. The border of this state
touches five states: Gujarat, Rajasthan, Uttar Pradesh,
Chhattisgarh and Maharashtra. The influences of these
states are prominent in zones and architecture of Madhya
Pradesh. Its culture can be divided in four zones such as
Bundalkhand, Baghelkhand, Malwa and Nimar. Each zone
has its own cultural identity such as language, dialects,
customs, rituals and beliefs. The state is famous for its
tribal arts and crafts. As per 2011 census of the state the
population was 72 million and the tribal population is
approximately 20 % of the total population
Culture and Architecture of Worker’s house:
The tribal and folk traditions of Madhya Pradesh are reflected in the vernacular architecture.
The state is known for its visual and performing arts, these art forms are closely associated
with their beliefs, customs, religion and values. The singing and dancing are part of their day
to day life. It is a community activity performed each day after the work to relax and enjoy.
These activities have evolved the necessity of a community space like a courtyard or
chaupal in their settlement pattern. These patterns resulted in a strong social binding within
the community. Each tribe has its own way of settlement pattern on the basis of their culture
and lifestyle like Saharia has circular, Bhil has scattered and Korku has linear. The central
space in Saharia is ‘chaupal’ where grandparents chat and look after grandchildren while the
parents are working on fields.

Circular pattern, saharia scattered pattern, bhil linear pattern, korkuu

Madhya Pradesh is famous for its traditional crafts like bamboo, wood, pottery, painting, metal
casting, terracotta and textiles. The sarees from Mahaeshwar and Chanderi are famous for
weaving whereas Bagh and Ujjain are famous for printing. The designs are evolved and inspired
from the surrounding environment. The weaving pattern in Maheshwari sarees ‘Laharia’ is most
dominating which is inspired from the holy river Narmada. These patterns of textiles are also
reflected in the vernacular architecture. The sculpture and murals in the houses are not simply
for decoration but are part of their rituals and beliefs. During the festivals and rituals the murals
depicted on the walls are Pithora, Sanjha and designs on the floors are Mandana, Alpana and
Rangoli. The tribals adorn their roof tiles with animals, human images and some figure which
have something to do with witch-craft and evil spirits. Horses occupy a significant status in tribal
life as symbol of power and force. It is depicted in different forms in murals, sculpture and even
in the structural members of the built form. The bas relief figure of birds, flowers, trees and
animals are depicted on the interior walls of houses. The clay figures are prevalent to mark both
auspicious as well as inauspicious occasions. The paneled doors of single plank and wooden
pillars are carved with the motifs of flora, funa and geometry designs. The Bas relief figure of
animals, birds, trees, flowers and god-goddess are depicted on the interior walls. The trees are
integral part of a house like a Tulsi chura in middle of a Hindu house, they also have medicinal
values.
REFLECTION OF CULTURE IN ARCHITECTURE

The communities of potters, textiles, printer, waevers and bamboo workers are well placed in their native places
like textile printers in Bagh; weavers in Mahaeshwar, they have their own settlement pattern as per their trade.
When they come to a city in search of employment they have to adopt a new trade or either continues with their
own. There cultural identities are well defined in the traditional settlements in their built forms, decorations and
lifestyle. The settlement of Bhil or Gond tribe can be easily identified through these identities.

Tribal house bamboo worker

Gond painting.
VERNACULAR SETTLEMENT OF POTTERS (KUMAHAR)

Potters community lives in separate clusters in village settlement due to their work culture. A traditionl
dwelling of potters at Damnod, District Dhar, Madhya Pradesh is selected for a case study. In the dwelling
the spaces are required for storage of raw material and finished products, preparation of clay, creation of
pots, roof tiles or bricks and firing. In the front there is an open space for working and selling and on the
backyard for private space like washing, bathing and other household works. The enclosed spaces are used
for sleeping, cooking and living. The toilets are not attached with the dwelling. A separate room for donkey is
provided. These communities are associated with ceremonies of birth, marriage and death. The three to four
generations live together which forms a strong social binding. The walls are constructed by rammed earth or
brick masonry with mud mortar. The brick piers or wooden post are the vertical structural members. The
attic is made of bamboo matting with mud mortar or wooden planks and is used as storage space. The
stone slabs are rarely used because of site conditions. The roof consists of rafters, purlin with the covering
of country tiles. The decorative figures of bird or animal are placed at the ridge. The tiles are moulded and
casted or made on potter’s wheel. The plastering is done by mud plaster, red clay, white clay and yellow
ochre. The flooring has rammed earth covered with cow dung. The wooden door and windows are double
leaf. The niches are used for storage.
 When they migrate to cities, they do not
have space to settle down as per the work
culture. Therefore, they are forced to live on
the “eyeshores”, ‘Jhuggis’ or on the
pavements. In the planned residential
zones, the firing is not allowed where such
living and working can be performed
together.

The potter’s community residing on the

pavements of Link Road No.3 in Bhopal is
documented. There is a planning proposal
for resettlement for these dwellers under
JNNURM, which is a multistoried housing in
the same locality. In the new dwellings they
cannot live and work per their work culture.
If they are not given an opportunity to work,
they are forced to switch over to another
trade. As a result this craft will slowly vanish
from the society.
VERNACULAR SETTLEMENT OF BAMBOO WORKERS (BASOR)

Bamboo workers community lives close to the forest. The Basods are the people belonging to community of
bamboo craftsmen who are traditionally dependent on bamboo for their livelihood. They are mostly engaged in
construction work like scaffolding or temporary structures. Variety utility items are made like furniture, basket,
ornaments, musical instruments, effigies, totems etc. A traditionl dwelling of bamboo worker at Churhat, District
Satna, Madhya Pradesh is selected for a case study. They have living and sleeping spaces along the
courtyard and the working space is outside the courtyard in front of the dwelling. The courtyard is used for
household works, storage space for raw material and a pig house adjacent to the dwelling. This community is
also closely associated with the society, when a girl is married; the essential utility items are given to her in a
basket called ‘pitara’ or ‘dori’. It is very auspicious. The walls are made of thick bamboo matt covered with mud
plaster, thick bamboos are used for vertical support. The attic floor is made of bamboo mating, covered with
mud plaster. The roof consists of wooden trusses, rafters and purlins of bamboo and covering of country tile or
thatch. The mud is used for plastering; flooring is done by rammed earth, covered with cow dung. The timber
doors and window frames with bamboo shutters, bamboo jail used for lighting and ventilation.

These communities have a tendency to calls his family members or relatives when one gets an employment in
the city. They start living in close vicinity; form a community, quite similar to the village pattern. This result in the
formation of basti’s (informal settlement) like potters basti, basoor basti, lohar basti etc. and are named after
their trade. They face hardship in daily life; their biggest strength is social binding. Similarly the construction
labors also form basti, named after their state as Chhattisgarhi basti, Orriya basti etc. There lives are
challenging; even a birth or a death can take place at the site. Sometimes they come across serious incidences
like Gas tragedy, Bhopal in 1984, the residents of Orriya basti were among the victims. It was one of the
biggest industrial disasters; lakhs of people lost their life.
Plan of basor
settlement
Elevation of basor house.
Basor settlement, madhya pradesh.
URBAN SETTLEMENT IN BHEL TOWNSHIP, BHOPAL

This township has been designed for an organized sector for the workers with modern
amenities and facilities. It is a RCC framed structure, use of modern materials and
construction techniques, technical experts, skilled labor were the prime concern. There is
monotony in form and character which has similarity with any other planned urban
settlement in India. The dwellings are designed as per the economic status of the worker.
There is not a defined character and does not reflect a particular culture. Hence there is a
change in living pattern and lifestyle.We have selected two type of dwelling units of the
township, Type A and Type C. Type A is one bedroom unit with living room, kitchen,
verandah, courtyard with bath and wc with an area of 454 sq ft. Type C two bedroom unit
with two verandahs, kitchen, one common toilet and one attach toilet with an area of 883 sq
ft.