Use of Architectural Elements in Evolution of Traditional Style

[USE OF ARCHITECTURAL ELEMENTS IN EVOLUTION OF REGIONAL STYLE IN JAIPUR] April 7, 2014

Abstract² the below following report depicts the

Rajasthan’s traditional architecture which has

acknowledged a balancing and active role in the

harshest hot and dry climatic conditions providing

delicacy and beauty to the facade and rich aesthetic

variations in the elements of the building.

“Folk building growing in response to actual needs,

fitted into environment by people who knew better

than to fit them with native feelings”

- FL Wright

1.INTRODUCTION

n traditional architecture of Rajasthan there are features like pavilions, courtyards,

terraces, as well as threshold and realm accentuating transition. All these come together to articulate the space. This structure can also be a part of temple, palaces, ghat and institutional buildings. These features show the simultaneous existence versatility and anonymity. In essence, the meaning emerges from the context and the manner of its application.

Traditional architecture, generally speaking, conjures up images of huge temple spires and gateways, large fortified palace complexes, mosques and tombs. On the other hand, there is the mundane domestic architecture with its

occasional flair for refinement. Yet there are features that retain continuity and scale, playing an instrumental role in the characterization of Indian architecture. An effort to understand space in Indian architecture can draw on the simple and direct physical conditions of the environment prevailing at any place, thus giving meaning to the creation of spaces within specific physical parameters. Amongst these parameters, climate has a very deterministic role in shaping activity areas by creating indoor, outdoor and in-between spaces. Consequently, for Indian communities, 'outdoor activity' spaces acquire special significance.

2. INTRODUCTION TO THE PINKCITY

|

The foundation of the city of Jaipur was

established by Sawai Jai Singh II (1700-1743) in

1727. The city was designed by Sawai Jai Singh II

himself and further developed and monitored by

his renowned counsellor Vidyadhar. The city

planned in the gridiron pattern was built with

extraordinary foresight and futuristic planning

and is probably the only 18th century walled city

in India that can still cater to the present day

pressures of vehicular traffic on roads.

Use of Architectural Elements in Evolution of Regional Style in Jaipur

S hubham S harma, 2009 BARC 065 | X sem B.Arch

School of Planning and Architecture, B hopal

I


It included innovative concepts in traditional

planning guidelines along with an appropriate

adaptation of the terrain itself. The direct

application of the mandala in the plan of Jaipur

seems improbable, though parallels can be

found between the Jaipur planning principles

and traditional texts on spatial organization such

as Rajvallabha, the regional 15th century text

written by the sutradhar Mandan.

3. URBAN FORM OF THE CITY

The main markets, havelis and temples on the main streets in Jaipur were constructed by the state in the 18th century, thus ensuring a uniform street façade is maintained. The widths of roads were predetermined. The streets and chowks (central open squares in a town) of the internal chowkries (sectors) with numerous clusters or mohallas were not predetermined; hence show a mix of grid iron and organic pattern, with the basic unit of built form being the rectangular haveli. Typical architectural features of the bazaar streets are - use of chhajjas (sunshades) resulting in strong horizontal lines, projecting vertical blocks on brackets, a modular system of arches filled

with delicate latticed screens to cut direct sun and glare of reflected sun in the street.

Façades of Jaipur and surroundings typically have gokhdas (sitting spaces) on either side of the entrance. The openings are often characterized by the use of cusped, trefoil or pointed arches with rectangular or chhatri (vaulted dome) type framing, flanked with lotus columns. An increased ornamentation is seen in later post Jaipur Marwari patterned havelis as compared to the Dhoondhari ones from the 18th century.

Stylistically, the bangaldar (curvilinear) roof became prevalent in stone chhatris and chhajjas (sunshades) and was later used in other areas of Rajasthan too. Stone for construction is available in abundance in the region. The earlier structures are of masonry in random rubble or dressed form in grey metamorphosed stone, schist from Ramgarh or stone from Ghat Ki Guni area. Makrana marble is used for decorative components such as carved columns and black marble from Kotputli for inlay-work.

4. BASIC COM PONENTS OF THE

ARCHITECTURE

a) Pavilions

They came into being by multiplying very

simple spatial units in modules. Consisting of four

columns and a roof. Irrespective of the style and

construction method, their essence is the same.

Mandapas and baradaris are some outstanding

examples of spaces created to provide well -

articulated shelters for gatherings or for

pleasure. Pleasure pavilions known as baradaris

have an extremely sophisticated form in Rajput

and Mughal complexes. The most important

aspect of this kind of space is that it offers a


simultaneous experience of the inside and the

outside.

The essence of this spatial unit lies in its modular character and therefore in its potential for multiplication - in contiguity or as independent units organized in a certain proximity. It is a built space, yet open. It defines and yet extends boundaries and can exist by itself or be part of a group. Despite regional and temporal variations, the power of its manifestation has remained unaffected. It conveys the idea of shelter, but does not enclose; it is built and has a presence, yet it is transparent and ethereal.

Climatic Response: It is clear that such open shelters served best during summer evenings in arid regions, or even in the warm humid regions,

allowing a free flow of fresh air.

b) Baradaris and Chatrris

It is a beautiful example of how the basic form has responded to the various construction methods and styles of building. Every royal complex has to have a baradaris often more than one. The use of the baradaris as pleasure pavilions is clearly understandable since they are invariably located in gardens, or on high points or along water tanks and lakes. These structures are so articulated with the landscape and the spatial order of a building complex as to provide the most strategic location for a good view, fresh air and general comfort.

Another version of pavilion is the large cupola-like structure called a chattri in the north-western parts of India. The structure is polygonal or circular in plan and has a domical roof. This extremely adaptable element is space, but equally it is a complete form. Chattris are often grouped in clusters. However, since they are a complete form by themselves, unlike the other pavilion forms, they to make larger spaces. Also, chattris generally have only peripheral supports allowing a columnless space. This naturally brings about dimensional limitations.


c) Courtyards

Internal open spaces, become another thematic element in all scales of domestic architecture. From small urban houses to large mansions and palaces, courtyards became the key organisational elements responding to climatic conditions as well as the cultural needs of communities. This private internal open space also acquired special significance while serving various levels of privacy. A wide range of household activities could extend into courtyards. These spaces became the living areas of all domestic architecture.

Courtyard spaces, drawing people out into the open, were further supported by terraces serving similar functional and climatic needs. In the warmer and more and zones, one can see the extra effort made to build terraces, as if one was gilding a courtyard at a higher level. It would not only be articulated in its construction system, but also get connected to the spaces at that level. Courtyard contributes to its spatial quality beautifully by bringing in a subdued light, creating a peaceful environment. This room without a roof is often bounded by verandahs along its periphery. Other rooms open into these verandahs creating a spatial

organization based on a hierarchical sequence of spaces ranging from open to enclosed.

. The rooms get their light and ventilation from this courtyard and have very few openings onto the exterior. This spatial sequence encourages the intermittent flow of activities responding to various private needs. Also, the tropical climate of India demands air movement as well as shaded spaces for comfort. The open, yet protected spaces, become the heart of Indian living.

In most cases courtyard is scaled to human proportion making it comfortable space to use. At houses it becomes larger, it is the number of courtyards and terraces that multiply, not the size. A sequence of courts is generated based on a hierarchy ranging from public to private. It is the courtyard that gives porosity to an otherwise extremely dense fabric of the city. It is the breathing space the lungs of an Indian city. Courtyards have, down the ages, served many purposes:

Socio-Cultural Aspects: The chowk served as the centre for various ceremonies and the rituals. The tulsi plant was placed here and worshipped daily to bring prosperity to the house.

Security and Privacy: The chowk, at times, separated areas for men and women, and provided them with privacy.

Climate: The courtyard served as a micro-climate modifier.

Different Activities At Different Times: The use of the court in the day time, mostly by women to carry out their work, talk and interact with other women is one of the uses.

Articulation Of Space: In Mor chowk, City Palace, Udaipur, there is the concept of courtyard as a dancing hall. It well explains, how it can be used in articulating space. Similarly, in havelis, a courtyard has several functions. Some miniature paintings also explain this.


The Elements of Courtyards

The Planes: The horizontal plane not just imparts spatial experiences, but also accentuates them by adding intangible effects to spaces, by virtue of levels, patterns created, materials used, the form, etc. It can be taken as a surface for reference, with respect to which other elements in the space are seen. The vertical plane encloses the courtyard, and defines its volume. It gives connectivity to areas or spaces inside and outside the court. The elements of facade make the court lively. The openings, balconies and jharokhas opening into the court also control the climate very efficiently. The proportions of these facade elements affect the orientation, flow of space, the quality of light coming in, the views, the wind circulation, and the shading, which is provided by the projections

opening into the court. The sky is the intangible ceiling, spreading out across the entire dimensions of the courtyard. It completely transforms the space with each passing hour of the day. During the day, when there is sunlight, the court appears to be large and spacious; when it is night, the same court looks smaller. In fact, many hotels, farm houses and restaurants today recreate courtyards, primarily because they serves as an antidote and retreat from the busy, closed-in-abox kind of lifestyle. So why shouldn’ t we gain inspiration from the past when it can revitalise our present and future?

d) Entrances

The most important transitional relationship between two distinct realms is expressed through entrances. Whether it is the entrance to a city through a fort wall with defense as the major consideration, or a hierarchical sequence of spatial layers with a series of in-between realms, incorporating symbolic as well as functional values, transition remains the most significant aspect. The complexity of transition as an architectural element varies from community to community.


In many cultures, entrances are intentionally indirect in order to achieve greater privacy. On the other hand, there are numerous examples all over the world, where a single door can be the total and only link between the inside and the outside. In yet another form, an entrance may be the prelude through which one is introduced to the interior right from the first step. vet is not shown the inside completely.

A typical town of Rajasthan presents a very compact picture of houses and other buildings huddled together so that they not only shade each other but also considerably reduce the exposed open spaces around them. The height of the building compared to the width of the streets

is large to create shaded cool environment for the pedestrians and other social activities on the streets.

In cases where normal low level dust swirls within the settlement the interiors of buildings are protected by almost blank walls with very small openings. All major streets are oriented almost in the East-West direction at right angles to the direction of dust storms.

The famous havelies with jharokhas and decorative facades are located on these streets. The streets are relatively narrow and winding.

6. CONTROL OF HEATING BY TEXTURE OF

SURFACE

The heat inside of the building is controlled by the use of textures as same in Jaisalmer. This is organized at three levels. At the town scale the buildings are of unequal height with parapets and high walls, creating uneven sky lines and desired shading of each other. Secondly, the building facades have large number of projections like jharokhas and chajjas which provide shade to the facades.

Thirdly, the front part of the facade which remains exposed are controlled by creating deeply carved patterns. Use of such devices minimizes the heat gain by providing shading due to texture. Such devices also result in increased convective transfer of heat because of increased surface area. In summer in day time when the major heat source is Sun the exposed textured surfaces will be cooler than plain surfaces. In evening when ambient conditions are cool


the increase surface area helps in cooling it faster. However, an extended surface will warm up faster than a plain surface under winter conditions due to low solar altitude, therefore the location in context of these surfaces is very important.

7. ORIENTATION

The building is always oriented by the cardinal directions: North, South, East, West, Northeast, Northwest, Southeast and southwest. Each of these directions is considered as energy by itself. Hence the spaces in different orientation are considered differently for design purposes which are a very climate sensitive approach. For example the East or the North walls are made more open to light and air as the West is the heat gaining side in the warm humid climates of India

The placement of the building within the site is the first step toward forming the grid for internal planning. The centre of the plot is generally not where the centre of the building is placed, only exception being temples. The climatic logic behind this is that in the house the outdoor and indoor is designed as one.

8. THE GRID AND THE CONCEPT

The grid system of planning was always followed regardless of the site or building type. The grid was made flexible enough to accommodate any site condition and topography. Grid system is more sustainable in terms of economy and speed of construction. It is also easier to recycle materials if it was built on a grid.

Prefabrication also favors the grid. The grid was not always symmetric or simple. Complex geometry and curvilinear grids were also adopted. The central courtyard is the ‘lung space 'of either the house or the housing block. Just to ensure there is a courtyard in every house,the centre of the house is never built up and is called the Brahmastana, the genius loci of the house.

9. THE FOUR GOLDEN PRINCIPLES

The four golden rules in architecture which were outlined in the great epic “Ramayana”, the story of Lord Rama, summarise Indian architecture as a whole. They are function or bhogadayam, aesthetics or sukha darsham, harmony and poornam. The perfect example which explains all the four principles is a temple structure which is designed and built by the most skilled architects .

Function or bhogadam which was given the first priority keeps climate among the first considerations in architectural design. Bioclimatic approaches to new forms and materials were explored. The architects never considered climate as a force to fight or win but to enhance and enjoy. Even extremities in climate were handled with master skill and remarkable comfort levels were achieved. There was no question of thinking about climate in the last stage of design and trying to come up with ‘quick fix’ solutions. Most of the forms were aimed at long term benefit and well thought about before the designed building is built.

The aesthetics or sukha darsham were not ‘added on’ to the building but were an integral part of it. It is sometimes difficult to tell apart where the functional aspect stops and the aesthetic one starts.


Harmony or ramyam was achieved by geometry and play of shapes, Solids and voids. The architectural language was of simple spaces with complex ornamentation, which in most cases had a use along with its aesthetic appeal. For example a rain water gutter was so well sculpted in the temples that one just thinks it is for the delight of the eye.

Lastly, the ‘all encompassing’ factor or poornam of Indian Architecture was a result of the perfect blend of the above-mentioned three factors which makes it feel eternal.There is more to the spatial order that runs right across this enormous range of building types in Indian architecture. A large part of this order emanates from its own meaning as built space rather than from the specific function it caters to. There is a range of spaces, irrespective of the material and the construction methods, that are built, as if for their own sake. This is essentially to create a 'spatial opportunity' for things to happen and they do. The meaning is in the space itself and the range of activities it can accommodate and not in the specificity of a function. One can see meaning in its ambiguity and yet very essential nature. It is important that the style and manner of creating a space are seen independently of factors that generate them.

Space in Indian architecture can draw on the simple and direct physical conditions of the environment prevailing at the place, thus giving meaning to the creation of space within specific physical parameters. Architectural expressions in post-Independence India have oscillated between European modernism and archaic Indianism. At times some combinations of the two have also been observed. There are examples where some efforts have also been made to relate the spatial organisation and formal structure of some historic buildings and complexes with modern buildings. In any case

the basic forms and principles seem to have meant very little. It is the visual imagery and stylistic expressions that seem to have been the most influential. Indian architectural space in the manner in which it is enclosed is vet different form the Western notion of space. The definition of boundaries are often changing with physical or other contextual changes. Quite often one does not know when one is inside and when outside.

10. TOPIC RELEVANCE IN MODERN DAY

CONTEXT

Traditional architecture verbally may be defined as culmination of a creative process of interpretation of building traditions, skills & experience, which is strongly experiences by factors such as environmental conditions, material resources, social structures, belief system.

Traditional architecture still stands today and is relevant because it has always addressed sustainability. Traditional is language, a method for communication, it only makes sense that we create habitats that speak the language of the landscapes we put them in. Modernity served the need to reinvent a new and more responsive architecture from past experiences.

A new development are not entirely devoid of our root, it carry, even within their differences, allegories of influences on the architecture. By creating an urban environment that is in tune with nature and provides for more than just the basic needs of the inhabitants. With the help of innovative synthesis of modern technology with traditional yearnings - it is a new synergy for a new language, which is climate and culture responsive.


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Use of Architectural Elements in Evolution of Traditional Style

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