vernacular architecture (case study ppt)

The Vernacular Architecture of Kerala: A Case Study of Mishkal Mosque of Calicut, India

By Kenner N. Carmody ( Master in Design Studies / Energy & Environment , Class of 2019), through the Aga Khan Program for Islamic Architecture Research Fellowship 2019

This exhibition is designed to provide a small insight and broad introduction to the climate, culture, and context of Kerala and the city of Calicut through drawings and photographs.

The heat during the summer season in Kerala is brutal. The sun, almost vertical in the sky at this latitude, shines relentlessly on the Grand Bazaar Market in Calicut at midday. In fact, the local government prohibits manual labor during these afternoon hours, but judging by the ferocious loading of trucks, motorbikes and handcarts, nobody has taken notice. Calicut, a bustling maritime city on the Malabar Coast of India, has existed under this stroke-inducing sunlight since the dawn of the medieval spice trade, when Arab traders first introduced Islam to the Indian subcontinent, not by war and conquest, but rather by trade and commerce. Save for the effects of benign neglect witnessed by the aging architecture and infrastructure here, not much has changed in the old quarter of this city. Indeed, in the early morning hours, before the onset of cacophonous motorbike, truck, and automobile traffic – one can imagine the city sounds and smells much as it did well before the industrial age.

The genesis of this research began as an effort to document a building representative of a regional style of architecture not largely published within the domain of vernacular timber construction. Mishkal Mosque, a 16th-century laterite (an earthen block that is cut out of the ground to form masonry blocks in the region) and timber building in Calicut, was selected for its exemplar building tectonics, qualities of light and shade, and its material composition considering its unique position in India. This research not only aims to contribute to general scholarship on architecture in the region, but also endeavors to make contributions to the methodologies for the study of historic vernacular buildings as well as framing larger questions around preservation, maintenance, and building types. To date, the vernacular buildings in Kerala have been studied for their religious and cultural significance as well as their relationship to broader art and architectural heritage, but their detailed material composition, tectonics, and environmental and geographical relationship to the people and landscape remain under examined.

Composed of a tiered timber superstructure set atop coursed laterite stone masonry at the ground floor (rendered with mud-lime plaster), Mishkal Mosque is one of the oldest and largest of Kerala style mosques and is located at the center of the historic Mappila Muslim quarter in Calicut, called Kuttichira. Unlike any other architecture on the Indian subcontinent, this architectural style is a combination of various features born of its local tropical climate and context. Proportionally, the building exhibits more roof than it does façade, as the building consists of a series of tiered volumes, each wrapped by an umbrella-like assemblage of timber rafters and clay tile shingles – with each tier resting on the one below. Shading the building is paramount: Even at the second floor veranda, one must almost lay prone to steal a view to the exterior, as the roof reaches as far as possible beyond the exterior masonry walls, further compressing the already narrow balcony space. Supported principally by the masonry walls that extend beyond the ground floor, the slender columns at the veranda serve to tie the roof down more than transfer any vertical loads to the ground. Instead, this barely habitable zone acts as a buffer, a thickened zone within the building façade that shields the second level of the building from the nearly vertical year-round solar radiation, as well as the almost equally intense indirect horizontal solar radiation abundant in the region. The third and fourth levels of the building are underused or even unused spaces in the building. They do however, contribute to the mosque’s monumental scale. And even as they are underused spaces in the building, the third and fourth levels are treated with equal consideration when examining how they address the tropical monsoon climate and context. Both the third and fourth levels of the building use horizontal latticed screen walls that provide access to views while reducing glare from both the direct and indirect sunlight. The roof framing on the fourth level at the hip roof is perhaps the most unique feature of the building’s timber framing. The roof framing at the hip roof bears on a single timber drum which holds the rafters in place. According to local building tradition, and my conversations with local carpenters, one may not call oneself a master builder until this particular joint has been successfully constructed.

To observe all of this, I visited the mosque during the peak of the summer dry season just before the summer monsoon season begins, when not a single cloud is present in the sky. Upon entering the mosque from the south side, the ground floor masonry walls break the searing daylight sun. A continuous gallery protects the principal worshiping spaces of the building, forming a solid façade, punctuated only by modest doorways guarded with solid teak door panels. The transition from outside to inside of the building is immediately palpable, with an almost blinding transition from white light to a pitch darkness as one’s eyes adjust to the contrasting conditions. There is an immediate sense of refuge upon entering the ante chamber and main prayer hall at the ground floor, as there is a clear sense of the local architecture’s ability to banish direct sunlight from the building’s interior. The building is organized as a sequence of vertical rooms that increase in height as one ascends the building through series of stairs that separate one floor from another. Qualities of light, shade, and thermal comfort are also stratified vertically. As one moves from the ground and second floor, with their heavy mass and punched openings to the lightweight third and fourth levels of the building which exhibit a softer light and more well-ventilated spaces enabled by light-diffusing louvers and an enclosure made entirely of timber – save for the clay tile roofing.

• Vernacular Architecture

Vernacular Architecture of Gondia, Maharashtra, India

Traditional Dwelling Study of a House in Gondia, Maharashtra

INTRODUCTION

• Gondia district (almost on Maharashtra and MP border) is located near Nagpur in Mahrashtra.
• The traditional dwellings situated there, are typical for that region.
• The houses varied from small single storied mud structures to three or even more, in similar pattern.
• This is a study of a three storied haveli belonging to a zamindar.
• But unfortunately the front courtyard was a mere shadow of its original form.
• So, the information gathered here is a combination of a couple of other similar structures.
• So the main building of the original haveli is combined to the courtyard and livestock-shelters of the second, completing the original traditional dwelling as it would have had been.

BASIC HOUSE FORM

• Spaces are arranged about a central space which is the main bedroom.
• The plan is a rough 7×7 grid.
• The wall thicknesses vary from 1m and downwards.
• A stepped pyramidal structure with sloping roofs.
• No open terrace and minimal openings.

AN ISOMETRIC VIEW OF THE DWELLING COMPOUND

SECTIONAL PLAN SHOWING THE ZONING INSIDE HAVELI

VILLAGE GATHERINGS

• Gatherings of males of the village happened daily in the evenings after the days work.
• Sometimes small scale social functions also happen here.
• This activity is completely public and thus no privacy is required.
• Front verandah for minor  and personal gatherings
• A large courtyard suitable for holding mini functions
• Seating outside the main gate.

LIVESTOCK MANAGEMENT

• The managementof the livestock is mainly carried out by the servants, throughout the day.
• It is a combination of different activities like cleaning, milking, feeding, etc.
• Cleaning of the shelters is done eveyday.
• The 1st floor of the shelters is used for storing the fodder for the livestock. An year’s supply is stored at one go.
• Use of courtyard for livestock management.
• Storage on 1st floor, replenished each year.
• The whole built form has more combined space for storages than any other purposes.
• This is mainly because the amindar/ tehsildar the whole harvest produced on their land is stored in the haveli.
• Further there is a large collection of livestock, and storage is required for their fodder as well.
• Also an emergency food storage is kept for the family members.
• Sleeping was the activity done in the central room.
• The zamindar slept in both in the afternoon and night.
• It is a space where outsiders are not allowed.
• Adjacent side storage is used for storing the bedding whenever not in use.
• The building seems to be built keeping in mind all the seasons.
• Though it is best suited for summers.
• The upper floors act as false ceiling.
• The side passage rooms act as wind channels.
• Absence of openings reduces the heat exchange to the minimum.
• The roof extends almost a meter beyond the walls, probably to protect the heavy rainwater from soaking the walls.
• As well as to provide shade from the sun and prevent heating up of the building.
• Front courtyard faces the north, preventing direct solar rays on the most used part.
• The rear verandah can be used much more in winter due to sun’s southern inclination.

SPECIFIC FEATURES KEEPING IN MIND THE CLIMATIC CONDITIONS

• Increase of thermal resistance and capacity by maximizing the building depth.(The thick walls increase the time lag)
• Increase of buffer spaces
• (Low utility areas like verandahs, courtyards, storages, etc.)
• Low utility upper floors act as false ceilings.
• Light colouring to minimize heat absorbtion by the walls.
• Promote heat loss
• Vegetation outside to decrease glare
• Overhanging roof to the north and south to provide protection from sun and rain and glare from the bright overcast sky
• Planting and layout provide protection from hot dry and cold winds
• Walls to provide some shade to external spaces
• Main habitable rooms facing north and south
• Main openings to the north and south
• Dwellings facing onto fairly generously proportional courtyards

LOCATION & BUILDING MATERIALS

• The haveli is a structure with the entrance facing the north.
• A haveli is built in the centre of the land owned by a zamindar. This is about 100 acre.
• Other dwellings come up nearby adjacent to the haveli of the other villagers.
• Framework is done by teakwood found in the jungles nearby.
• Wherever stone is used, (most importantly as a plinth) is local stone. Grey granite is found in the region.
• Walls are made up off a mixture of mud + straw + cow dung.
• The walls are coloured with lime mixed with indigo, to give a light blue colour.
• The tiles used on the roof are burnt clay tiles
• Timber framework
• Light blue color of the walls

TRADITION AND BELIEFS

• The doors throughout the haveli are less than 6ft in height.
• The main entry to the central room being almost 1.5m.
• This is to make sure that each person entering a room bends in respect .
• Oppositely the main entrance to the haveli is almost 3m x 3m.
• This is because the gate is supposed to have an inviting and open look.
• The room is supposed to be very sacred and only the upper caste people are allowed to enter it.
• The pooja room is the most innermost room linked to the central room.
• It is a place where only the family members and priests are allowed.
• Sometimes poojas and even mini havans are conducted without anybody outside getting the whiff of it.
• The womenfolk were not allowed to come out in open in front of everybody.
• They were restricted to the backside of the haveli basically the kitchen and the rear verandah.

DWELLING FORM AS STATUS & POSITION SYMBOL

TOWERING STRUCTURE

• As one approaches the village the 2nd floor of the haveli is seen towering on top of other single and double storeyed structures.
• Though built as an outpost for watching the estate the 2nd floor works rather as an identitifcation mark.

COURTYARD SIZE

• Courtyard of the haveli is much larger than any other in the village measuring almost 17m x15m, making it an ideal spot for social functions.

GRAND ENTRANCE

• Though entries to all residences in the village are big, the main gate to a haveli is the largest measuring about 3m x 3m and outer walls being 5m tall.

BUILDING MATERIALS USED

• The haveli has a comlete timber framework, about which the walls are formed. Teakwood is the only wood used in the haveli.
• It is een that use of timber decreases as one moves from rich to poor.
• Poorer people are seen to have houses built only with mud.

ORNAMENTATIONS

• Maximum decorations found in the haveli are in the front verandah inthe columns and doors. These is most importantly to show off.

Reader Interactions

July 18, 2010 at 12:47 pm

the info provided by site is the info provided by site is really wonderful & important for students studing architecture……

thanking you….

March 20, 2011 at 11:37 pm

it is really an amazingly it is really an amazingly compiled work…grt job…

June 16, 2011 at 7:15 am

ITS REALLY A NICE ITS REALLY A NICE COMPILATION… HEY CAN I GET THIS TYPE OF DOCUMENTATION FOR NAGPUR,MAHARASHTRA

February 22, 2012 at 5:09 am

gr8 work!its very helpful 4 gr8 work!its very helpful 4 my thesis!

March 8, 2013 at 7:45 am

such ancient architecture such ancient architecture should be kept preserved so as we can study and apply it for the next generation thanks a lot for keeping all informations

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Ilaria Giovagnorio

Letizia Dipasquale

Cet ouvrage presente tout d'abord les objectifs du projet VerSus. Il s'agit en effet d'ameliorer la reconnaissance des habitats vernaculaires par la prise de conscience de leurs valeurs et qualites, en portant l’attention a la fois sur l’aspect patrimonial et sur ce qu’ils pourraient apporter en termes de construction durable et de durabilite. D'autre part, ce projet a pour objectif la diffusion des principes, techniques et solutions issus du patrimoine vernaculaire en Europe, afin de les adapter pour repondre aux besoins reels des societes europeennes en termes de culture, d’identite, de qualite et d’environnement. Les auteurs presentent ensuite les lecons du patrimoine vernaculaire dans leur contexte europeen au regard des quinze grands principes de durabilite. Le projet a pour ambition de constituer une veritable source d’inspiration pour une architecture contemporaine plus ecoresponsable et d’une grande diversite d’expressions dans la plus large declinaison des c...

Dr GAURAV GANGWAR

The vernacular and traditional buildings are supposed to be climate responsive, use of local materials, and designed in context with culture and social aspect and above all economical aspect. The sustainability in present context has similar goals as vernacular and traditional, the difference lies that sustainable design elaborate more in detail the criteria's of achieving sustainability and focus on measurable aspect of sustainability in the form of rating system. The present generation architects mostly have conception that vernacular and traditional solutions are incapable of solving the problems of modern buildings. This might be true to large extent but the vernacular and traditional buildings are developed throughout centuries and were able to sustain such long period, so there is need to understand the essence of these principles inherent in vernacular and traditional architecture. The question arise that extent of application of these principles of vernacular and traditional in modern architecture. There are so many architects who try to imitate the vernacular and traditional architecture in their design as it is but there are architects who grasp the essence and modified these principles in modern context to suit the needs of present context. Mere imitating the the knowledge of vernacular and traditional architecture might become boring to the present needs of people except in few cases. This paper will explore the work of architects who had grasped the essence of vernacular and traditional architecture and transformed these elements in such a way that these elements become new identity in architecture. The selected work will show case that for achieving the sustainability in present context, the traditional and vernacular knowledge could be very useful. It is up to the creativity of architect to apply this knowledge in present context. These selected works might reflects the mixing of the knowledge of vernacular and traditional architecture along with modern technology, materials etc.

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5 Vernacular Architecture styles in India

Vernacular architecture originated when mankind started to provide itself shelter according to its circumstances, made from surrounding materials . It is a mere response to society’s needs that has allowed man to construct climate-responsive structures even before the architects.

Such simple traditions have long been regarded as backward and seemingly forgotten in modern architecture but are catching eyes back, as these structures have proven to be energy-efficient and altogether sustainable . During this time of rapid technological advancement and urbanization, there is still much to be learned from the traditional knowledge of vernacular construction.

So here are some different vernacular architecture styles in India which have stood upright way more than our concrete structures and are extremely energy efficient and climate responsive.

1. Koti Banal From Uttarkashi District of Uttarakhand | Vernacular Architecture

Koti banal structures are earthquake-resistant buildings that have been standing since past 900 years in the Rajgarhi area of Uttarkashi and can be anywhere from 2-7 storeys high although the residences are generally 2 or 3 storeys , where the lower storey is for keeping cattle and upper storeys are for residing and as attic to store grains.

The building rests upon a raised platform made from dry masonry over the foundation. The walls are 50 to 60cm thick and are made up of timber reinforced stone masonry with the paste of pulse as mortar, the structure has minimum openings so that the heat is trapped inside the house, single small door access on the ground floor, and relatively smaller south-facing windows are provided, the upper two floors have balconies running around the whole building cantilevered with the support of wooden logs of the flooring system with a wooden railing. The roof consists of a wooden frame and is cladded with slate tiles.

2. Bhunga From Kutch District of Gujarat

A typical Bhunga house consists of a single cylindrical-shaped room topped with a conical thatch roof supported by a wooden post and rafter. The walls are made up of mud bricks and generally have only 3 openings: one for the door and two for windows that are set at a lower level to draw a cooling breeze.

The circular form of these houses helps to provide insulation against the external environment by resisting high-velocity desert winds and reducing exposure to heat; it also resists lateral forces of an earthquake , thus, making the structure earthquake resistant.

Since the traditional Bhunga dwelling requires regular maintenance i.e. a regular application of lime plaster to the walls and floor and replacing dried grass on the roof more and more houses nowadays are shifting towards Mangalore tiles as an alternative to the thatched roof.

3. Bamboo House of Assam

As the state goes through flooding almost every year, the traditional bamboo house has a higher plinth level. The structure can be of maximum two storeys connected through the bamboo staircase , and the walls are of timber frames inserted with ikra panels(A weed, which grows in river plains and lakes across the state of Assam) covered with 3 layers of mud mortar plaster, open spaces are provided in front (chotal) and backside (bari)of the house.

Due to heavy downpour round the year, Gable or Hip roof are considered best options as it doesn’t allow waterlogging and are made up of locally available grass which can last up to 10 years before being replaced.

4. Mud And Timber Architecture of Ladakh | Vernacular Architecture

A traditional house of Ladakh consists of a single large room with an oven in the corner which is used for cooling as well as heating the interior spaces and is made entirely of mud, sometimes reinforced with horizontally placed timber members. The ground level is reserved for animals, wood, and fodder storage for winters whereas the upper level has the habitable spaces.

Cavity walls of the structure are either made of sun-dried bricks or rammed earth and a six-inch gap between the two walls is filled with low-cost insulation : sawdust or wood shaving mixed with earth and clay. The walls are generally thick at the bottom and taper gradually as they rise, these are coated with 15-25 mm thick wet mud plaster. Most mud plasters have to be repaired annually.

As Ladakh sustains in cold and dry climatic conditions, the ceiling is mainly built in mud and wood due to their insulating properties and easy availability and is cladded with slates. The ceiling height is kept low to provide the required insulation in all the areas. The heat is trapped and the temperature is maintained inside for a conducive living.

5. Chuttillu From Vishakhapatnam District of Andhra Pradesh

Chuttillu style houses are built with mud or mud and wattle, the house is raised on a plinth decorated with finger marks in white rice paste or vertical stripes of white and red ochre. Thickly thatched roof projects and comes down very low on all sides to protect the interiors of the mud walls from the rains and because of it, it was better not to have windows.

The interior of the house is divided into two or three rooms: the inner circular room is used to stock grains during summer and used as sleeping space during winters, it is enveloped by another circular space that serves as the kitchen on one side and a store or a sitting/sleeping area at the other end. Each house has a spacious verandah at the entrance.

Earlier, the houses were built close to each other in a circular formation so that the cyclonic winds that often hit the coast bounced off tangentially away from the cluster.

IMAGE SOURCES-

• Chuttillu ©Mapio.net
• Chuttillu ©Slideshare
• Chuttillu ©Wikimedia commons

Aditi Garg is pursuing final year of B.arch and believes in sustainable architectural practices. She came to RTF while discovering architectural journalism and is passionate about documenting ideas and architecture.

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