THE VERNACULAR ARCHITECTURE OF RAJASTHAN

INTRODUCTION:
In Indian architecture there are features like pavilions, courtyards,
terraces, as well as threshold and realm accentuating transition. All these
come together to articulate the space. To these new rooms are also
added. 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.
Indian 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.
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 wellarticulated 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.
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
organisation 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.
Variations in the generic form of the courtyard come from changes in
materials, articulation of the enclosing elements, scale, proportion and
complexity of plan. The articulation of the sides of a courtyard is
dependent on the kind of building and the users. By and large they
receive a treatment similar to the external facade; they are in fact facades
inside the house.
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.
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.
PLANNING ISSUE AND CLIMATE:
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
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 have,lies with jharokhas and decorative facades are located
on these streets. The streets are relatively narrow and winding .
CONTROL OF HEATING BY TEXTURE OF SURFACES:
The heat inside of the building is controlled by the use of textures 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.
ORIENTATION:
The building is always oriented by the cardinal directions: North, South,
East, West, Northeast, Northwest, Southeast and outhwest. 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.
THE GRID AND THE COURTYARD:
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
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.
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.