- HASSAN FATHY

- LAURIE BAKER
- GEOFFERY BAWA

INDEX
1) HISTORY
- INTRODUCTION.
7) PROJECTS IN VERNACULAR ARCHITECTURE.
- WHAT IS VERNACULAR ARCHITECTURE ???
- FARM HOUSE, NADHAWADE,
- INFLUENCE OF VERNACULAR ARCHITECTURE. SINDHUDURRG,MAHARASHTRA
- PRINCIPLES OF DOMESTIC VERNACULAR INDIA.
ARCHITECTURE
- INFLUENCES OF INDIGENOUS, FORMS AND CULTURE ON
2) CONSTRUCTION TECHNIQUES. ARCHITECTS.
- FACTORS INFLUSING VERNACULAR ARCHITECTURE - PRARTHNA.
- METHODS IN VERNACULAR ARCHITECTURE 8) VANISHING VERNACULAR ARCHITECTURE……….???
- STRUCTUAL ROMANCE WITH BAMBOO, BY 9) CONCLUSION.
INSPIRATION WHY
BAMBOO………..???
3) WHAT IS AUROVILLE ?
4) WHAT IS ORGANIC IN ARCHITECTURE……???
5) EARTHEN ARCHITECTUR IN AUROVILLE LINKING A
WORLD
TRADITIONAL WITH MODERNITY.
6) ARCHITECTS IN VERNACULAR

1

INTRODUCTION
1) HISTORY:-
The term vernacular is derived from the Latin vernaculus, meaning
"domestic, native, indigenous"; from verna, meaning "native slave" or
"home-born slave". The word probably derives from an older Etruscan word.
In linguistics, vernacular refers to language use particular to a time,
place or group. In architecture, it refers to that type of architecture which is
indigenous to a specific time or place (not imported or copied from
elsewhere). It is most often applied to residential buildings
The term is not to be confused with so-called "traditional"
architecture, though there are links between the two. Traditional
architecture can also include buildings which bear elements of polite design;
temples and palaces, for example, which normally would not be included
under the rubric of "vernacular."
In architectural terms, 'the vernacular' can be contrasted with 'the
polite', which is characterised by stylistic elements of design intentionally
incorporated by a professional architect for aesthetic purposes which go
beyond a building's functional requirements. Between the extremes of the
wholly vernacular and the completely polite, examples occur which have
some vernacular and some polite content, often making the differences
between the vernacular and the polite a matter of degr
2) WHAT IS VERNACULAR ARCHITECTURE………???
Vernacular architecture is a term used to categorise methods of
construction which use locally available resources and traditions to address
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local needs. Vernacular architecture tends to evolve over time to reflect the
environmental, cultural and historical context in which it exists. It has often
been dismissed as crude and unrefined, but also has proponents who
highlight its importance in current design.
It can be contrasted against polite architecture which is characterised
by stylistic elements of design intentionally incorporated for aesthetic
purposes which go beyond a building's functional requirements.
“...a building designed by an amateur without any training in
design; the individual will have been guided by a series of
conventions built up in his locality, paying little attention to what
may be fashionable. The function of the building would be the
dominant factor, aesthetic considerations, though present to some
small degree, being quite minimal. local materials would be used as
a matter of course, other materials being chosen and
imported quite exceptionally………..”
The Encyclopedia of Vernacular Architecture of the World defines vernacular architecture
as:
“...comprising the dwellings and all other buildings of the people. Related to their
environmental contexts and available resources they are customarily owner- or community-
built, utilizing traditional technologies. All forms of vernacular architecture are built to meet
specific needs, accommodating the values, economies and ways of life of the cultures that
produce them…….”
3) INFLUENCE OF VERNACULAR ARCHITECTURE.
Vernacular architecture is influenced by a great range of different
aspects of human behaviour and environment, leading to differing building
forms for almost every different context; even neighbouring villages may
have subtly different approaches to the construction and use of their
dwellings, even if they at first appear the same. Despite these variations,
every building is subject to the same laws of physics, and hence will
demonstrate significant similarities in structural forms.
A) Climate.
B) Culture.
C) Environment and material.
A) CLIMATE:-
One of the most significant influences on vernacular architecture is
the macro climate of the area in which the building is constructed.
Buildings in cold climates invariably have high thermal mass or
significant amounts of insulation. They are usually sealed in order to
prevent heat loss, and openings such as windows tend to be small or
non-existent. Buildings in warm climates, by contrast, tend to be
constructed of lighter materials and to allow significant cross-
ventilation through openings in the fabric of the building.
Buildings for a continental climate must be able to cope with
significant variations in temperature, and may even be altered by their
occupants according to the seasons.
Buildings take different forms depending on precipitation levels in
the region - leading to dwellings on stilts in many regions with frequent
flooding or rainy monsoon seasons. Flat roofs are rare in areas with high
levels of precipitation. Similarly, areas with high winds will lead to
specialised buildings able to cope with them, and buildings will be
oriented to present minimal area to the direction of prevailing
winds.
Climatic influences on vernacular architecture are substantial and can be
extremely complex. Mediterranean vernacular, and that of much of the
Middle East, often includes a courtyard with a fountain or pond; air cooled
by water mist and evaporation is drawn through the building by the natural
ventilation set up by the building form. Similarly, Northern African
vernacular often has very high thermal mass and small windows to keep the
occupants cool, and in many cases also includes chimneys, not for fires but
to draw air through the internal spaces. Such specialisations are not
designed, but learnt by trial and error over generations of building
construction, often existing long before the scientific theories which explain
why they work..
people interact and many other cultural considerations will affect the layout
and size of dwellings.
For example, the family units of several East African tribes live
in family compounds, surrounded by marked boundaries, in which separate
single-roomed dwellings are built to house different members of the family.
In polygamous tribes there may be separate dwellings for different wives,
and more again for sons who are too old to share space with the women of
the family. Social interaction within the family is governed by, and privacy is
provided by, the separation between the structures in which family
members live. By contrast, in Western Europe, such separation is
accomplished inside one dwelling, by dividing the building into separate
rooms.
Culture also has a great influence on the appearance of
vernacular buildings, as occupants often decorate buildings in accordance
with local customs and beliefs.
C)ENVIRONMENT AND MATERIAL:-
The local environment and the construction materials it
can provide governs many aspect of vernacular architecture. Areas rich in
trees will develop a wooden vernacular, while areas without much wood may
use mud or stone. In the Far East it is common to use bamboo, as it is both
plentiful and versatile. Vernacular, almost by definition, is sustainable, and
will not exhaust the local resources. If it is not sustainable, it is not suitable
for its local context, and cannot be vernacular. Toda hut, Indian
vernacular architecture

B) CULTURE:-

The way of life of building occupants, and the way they use
their shelters, is of great influence on building forms. The size of family
units, who shares which spaces, how food is prepared and eaten, how

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 4) PRINCIPLES OF DOMESTIC VERNACULAR
ARCHITECTURE
• The vernacular dwelling is the unconscious expression of a people’s
culture. More than the architectural of secular or religious institutions,
houses mirror the needs, desires, and living habits of a time because
they are the direct result of the interaction between people and their
environment.

• In Lebanon and adjacent areas of the Middle East,along the eastern

edge of the Mediterranean Sea,we can see in the evolution of house
types a simple and frugal society that created habitat with elementary
means

but insight into the functional requirements and the potential of

available

materials

• Before the 20th century, house construction was traditionally the task of
a village’s master mason (mu’allim) who selected, in consulation with
the clients, one of the common plan types and proceeded without any
formal

documents. The houses was built by simply following tradition, usually

with participation from the owner’s whole family.
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 • The houses were built of the materials furnished by the environments
and embededed in hilly landscapes humanized by countless terraces.
They were a clear response to simple needs of protection and survival.

a)Form and Pattern

The form of these agraharams could be understood as a derivative
of a grid pattern, with the temple forming the main focus. The row of houses
(tube houses) is either single or 2 storied with the traditional pitched roof
striking a significant profile against the sky – the imageability context.
c)Vernacular
Linear in organisation, the culmination point being the temple as
The pitched roofs, ornamental brackets, columns of the thinnai
the early settlements were by the priests who were Vedic scholars who
have been seeing shades of changes with grilles enclosing the thinnai for
attached themselves to the religious activities. The temple tank forms an
security reasons, sloping roofs being replaced by the flat roofs with a variety
interactive community space with the Peepal tree (sthalavriksham) forming
of precast concrete motifs forming the parapet.
another focal element.
The complete neglect of traditional techniques of construction and
b)Spatial Organisation materials that once harmonized the entire settlement sees an ensemble
The house of the Brahmins perfectly fits the laws of linear pertaining to availability of local materials and modern techniques
organisation with a clear demarcation of spaces as public, semi-public and d)Identity
private areas. The porch (thinnai) forms the semi public space – a transition Elements and spaces that rendered Imageability, character and
from the public arena (theruvu – street) to the realms of the habitable space style to these agraharams needs to be explored in the current scenario as
– the house. they are no longer evident. The public wells – a key community interactive
The arai, is the store and the pathayam (granary) or the grain store utility have been totally left have been rendered non-functional.
is a take – off from the Kerala style. Primarily being an agricultural The dwajasthambam of the temple stills holds reign to the settlement
community where the Brahmins were land owners the spatial organisation with the heights of the houses rising only upto the line of control specified
of the house reflects the occupation and the religious relevance .The house by this vertical element. The Vedic schools (Vedhapaatashala) have lost its
was organized around a courtyard with rooms around – typical offshoot from ethnic charm and the settlements are caught in the quagmire of change.
the illams and tharavads of Kerala.
The sunken portions were classified as the thalvaram and
conversely the raised areas in the house were broadly categorized as the
melvaram. The upper storeys were the machi (on top).From the verandah,
there was a long, narrow passage leading to the interiors, on one side of
which would be the grain store (pathayam) below which was the nilavara or
the nilavarakundu, the place of storage of valuable assets. This then led to a
large hall (koodam) with an open area (nadumittam) which was a feature
similar to the courtyard.
The rooms (aria) were attached to the hall which was then followed
by the kitchen (adukalai) which finally culminated in another open space
(mittam) which completed the typology of an onaamkettu (first stage)
house.The affluent had the second stage (rendaamkettu) which included a
semi covered area for the cattle and the rear yard (kollai) with the toilets.
The concept of bathrooms was unheard of as the village ponds (kulam),
streams (ozhukku) and the rivers (puzha) facilitated the purpose. The well
was located in the open space near the kitchen or at the rear end (Kerala
Iyers Trust)

Orgination of spaces:-
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 2)STONE AND BRICK MASONRY CONSTRUCTION
The most widespread vernacular housing construction involves
the use of masonry walls as the load-bearing structure. The simplest
CONSTRUCTIONS TECHNIQUES technique is based on the use of sun-baked blocks, generally classified as
adobe, described in the previous section. The use of burnt clay bricks is
A) FACTORS INFLUENCING VERNACULAR CONSTRUCTION
widespread where wood or coal fuel is available. Clay brick is a traditional
Locally Available Materials
building material used for centuries in many parts of the world. Stone is the
The first factor influencing the development of vernacular construction
locally available material in some regions. Unshaped stone blocks collected
practices is related to the availability of local building materials. In many
in the field have also been used for housing construction for centuries,
areas, the locally available resources have governed the use of the following
mainly in the form of uncourse (random) stone-rubble construction. In some
constituent materials for walls:
cases, the stones have been shaped, usually by hand tools. Such
• Earthen construction, stone and Masonry construction
construction is called “dressed-stone masonry.”
• Αdobe (mud blocks or whole walls)
• Μasonry (stone, clay, or concrete blocks)
• Τimber construction

1)EARTHEN CONSTRUCTION
Earthen dwellings utilize mud walls or adobe block walls. This type
of construction is widespread in many different cultures, especially among
poor populations that do not have access to more sophisticated building
materials. Adobe construction offers a very limited seismic resistance;
however, there are a few strategies for improved earthquake resistance of
these buildings. These strategies are as follows:
• Good choice of building shape (preferably a circular floor plan). In order to
achieve desirable seismic performance, it is crucial that the floor plan be
absolutely regular. If possible, it should be symmetrical in both orthogonal
3)TIMBER CONSTRUCTION
directions.
• Use of timber to reinforce earthen walls. Timber reinforcement can be
added Examples of traditional wooden houses are found throughout Japan
to increase ductility and secure the connections. Timber reinforcement must and the Russian Federation .The advantages of timber housing construction
be stem
adequately protected against humidity and insects (such as termites in from the use of timber, a lightweight and ductile building material. A critical
Africa issue in timber construction is related to the connections (floor-beam, column–
and India) in order to ensure long-term structural integrity. beam
• Use of a lightweight roof to reduce the mass on top of the walls; a secure or panel-beam) and their ability to transfer the forces from one building member
roof-to wall connection is essential for satisfactory earthquake performance. to another and then down to the foundation. It should be noted that the wood is
quite vulnerable to the effects of humidity and insects. Moreover, the use of
timber construction is limited by the local availability of suitable wood materials.

7
 One of the biggest advantages of the Adobe system is that it allows the
individual units or bricks to shrink before they are placed in the wall. The risk
of extensive shrinkage and cracking, which would otherwise occur in soils of
high clay content in a large monolithic wall, is prevented. Due to the
production process and the nature of clay, Adobe bricks have good water
resistance. Nevertheless it is very important to provide adequate weather
protection of the earth walls, especially in exposed situations. This is
normally done with the provision of adequate eaves. The small Adobe units
provide great flexibility in the design and construction of earth
buildings. Adobe bricks can be easily cut for fitting and can be provided
with holes for reinforcing and services.Many people find the pattern and
texture of Adobe walls very attractive.

B) METHODS IN VERNACULAR ARCHITECTURE

 Adobe Brick (mud bricks)
 Rat trap Bond
 Cavity Wall
 Filler Slab
b) Rat Trap Bon : It is bond,which probably used in vernacular contruction.
a)The Adobe Brick (Mud Brick)

Adobe bricks (mud bricks) are made of earth with a fairly high clay content
and straw. If produced manually the earth mix is cast in open moulds
onto the ground and then left to dry out. Adobe bricks are only sun-dried,
not kiln-fired. When used for construction they are laid up into a wall
using an earth mortar. Before drying out, the finished walls are
smoothed down. Often a clay render is applied as a surface coating.
-Advantages of Adobe bricks :

Making use of Adobe bricks is probably one of the simplest forms of

earth building. Adobe bricks are a fireproof, durable yet biodegradable,
non-toxic building material which provide sufficient thermal mass to
buildings to ensure excellent thermal performance. Other benefits include c) Cavity Wall
low sound transmission levels through walls and a general feeling of Cavity wall consists of two walls with a 5cm to 8cm,cavity between them.
solidity and security. The outer

8
wall also known as outer leaf,consists of a 10 cm( half brick) thick wall and the has a higher strength than the other two materials. This high strength and
inner wall is sufficiently thick and strong to carry the imposed load safely.the low weight factor of bamboo means that it inherently has a capability to be
minimum thickness of the earthquake and cyclone resistant.
inner wall is restricted to 10cm(half brick). The provision of a continous cavity in Why or how is bamboo ecofriendly?
the wall Being a naturally growing material it is nonenergy-intensive in
efficiency prevents the transmission of dampness to the inner wall the sense that no energy is used as such in its ‘production’.It is non-
Advantages polluting in its growth (unless of course chemical fertilizers are used) or
-They are economical even after it has been harvested and when it is being used. The treatment
-They have good sound insulation property. process may or may not be polluting – the choice is in our hands. All natural
treatment methods are of course non-polluting and chemical treatment
methods can be managed in a non-polluting way by using nontoxic
d)Filler slab chemicals and re-cycling / re-using the chemicals used for treatment and
taking all other necessary precautions.
Being the fastest growing grass in the world (one canliterally SEE and HEAR
bamboo grow – the species Phyllostachys Edullis can grow upto
120cm/day!) it is ahigh yielding renewable material resource.
To build 1000 houses of bamboo annually, material may be
takenfrom a 60 hectare bamboo plantation. If an equivalent project used
timber, it would require 500 hectares of forest cover. With a 10-30% annual
increase in biomass versus 2 to 5% fortrest, bamboo creates greater yields
of raw material for use. One clump can produce 200 poles in the three to
five years. Bamboo generates a crop every year. It can be harvested in 3-5
years versus 10-20 years for most softwoods. A sixty foot tree cut for the
market takes 60 years to replace. A sixty foot bamboo cut for market takes
59 days to replace.

Some Projects
One of earliest usageof bamboo constitutes abamboo reinforced road
base,covering an area of 6000Sqm., at Hotel Sarovaram,Ernakulam,
belonging to BTH Group of hotels. The soil atSarovaram is of a weak
A) Structural Romance with Bamboo by Inspiration Why marineclay kind and the site isbordered by backwaters on the western side.
Bamboo?
64 % of the bamboo species are native to South east Asia. 33%
grows in Latin America, and the rest in Africa and Oceania. With about 125
species, spread across eighteen genera,the availability of bamboo
resources in India is the second largest in the world ranking only
behind China. Here are 1500 species of bamboo on the earth. This
diversity makes bamboo adaptable to many environments. It scores
Our other non-building but structural uses bamboo include the
comparably with mild steel, with some considering a few bamboo species to
following:
be even stronger than steel in terms of comparative stiffness factor and
Our own office and an experiment where we have attempted to develop
tensile strength. It definitely scores above other types of timber.
a technology forusing premises in Eroor,Kerala, covering an area of 2750
Comparisons
Sft, is a first of its kind structure bamboo in floors, walls and roofs in ways
It is very much light in weight compared tosteel, timber or
that meet our contemporary needs. . ..an effort for which we have been
concrete and has a higher strength by weight ratio than steel and timber
honoured with the National award by HUDCO.
which means that for equal weights of bamboo, steel and timber, bamboo

9
Basically, the building is a framed structure designed for a loading condition
of approx. 400kg per sq.m live load and to withstand wind speeds of up to
200 km per hour.
The basic advantage is that because bamboo is a light material,
the entire dead weight of the building has been reduced to almost
1/3rd of a similar building done with conventional RCC slabs and
masonry walls. This has helped in bringing down the cement
and steel consumption by almost 70%.The other advantages are the
thermal insulation provided by the hollow cavity of bamboo and additional
carpet area because of reduced wall thickness.
The two storied building is built on column footings about 3feet deep.
ROOF ROOF
The structure stands on stilts, which reduces the chances of dampness
seeping in as well as the attack on the bamboo by wood by rodents and
insects. All bamboo used has been given
preservative treatment.

Details
wall Wall corner
interior

We at Inspiration have the backing of over 15 years of

research done in structural application of bamboo by Shri

10
K.R. Datye and Shri V.N. Gore of Geo-Scienc Services,
Mumbai
• Preservative treatment of bamboo with non-toxic pressure treatment
• Preservative treatment of bamboo using coal tar Creosote oil.
• Cold dip with LOSP (Liquid Organic Solvent Preservative)treatment.
• Use of Split bamboo and reinforced plaster combination in walling.
• Use of Split bamboo and reinforced plaster combination in floor slab
and roof slab.
• Use of full bamboo screen and reconstituted bamboo-wood composite
for soil retaining structure.
• Use of Re-constituted bamboo-wood composite for soil retaining walls
for construction of water retaining structures.
• Use of combination of Geo-fabrics and preservative split bamboo mesh
for reinforcement in clayey soil as road base.
• Use of bamboo crating for packing dry rubble as retaining
Web: ww
Cholayil MEDIMIX Ayurvedic Retreat, Chennai, Tamil Nadu
An exquisite reteat with an wholesome treatment facility w.inspir Bamboo House Research Project
along with deluxe and executive cottages, numbering 30, with the With Kerala Forest Institute.
highlight being making use of the available bamboo on site for the
entire construction – walls, floors and roofs.

inspiration@eth.net

11
 Prefabricated bamboo house at Kallara,Kerala.
ins
Bamboo for partition walls
Bamboo office for socio Economic Unit Foundation
12
FROM DUST TO DAWN
Raven Le Fay describes how an eroded landscape was turned into a
beautiful eco-city and improved the local climate in the process.
WHAT IS AUROVILLE?
The name Auroville means ‘City of Dawn’ and refers to the dawning
of a new consciousness. It was conceived and founded in the late 1960s by
the French visionary known as ‘The Mother’, a spiritual collaborator of the
philosopher and yogi Sri Aurobindo. Together they envisioned a great future
for humanity, one where all might live together in peace and harmony.
Auroville intends to realise this dream of human unity. It is a place for the
spiritual evolution of humanity: an awaken-ing of the divine consciousness
that lives in us all.
2,000 people from 35 countries currently live in Auroville, and spiritual
evolution is their driving force, breathing life into all their activities. This
truth is most strikingly reflected in the organic architecture of its town plan,
a galaxy shape that spirals out over 5 square kilo-metres (2 square miles).
The Matrimandir (‘Temple of the Mother’) sits in the centre alongside an
ancient banyan tree, an amphitheatre for ceremony and ritual, and an
inaugural urn that contains earth from 124 countries as a symbol of
international harmony. The city is divided into four directional zones:
cultural, industrial, international and residential, and surrounding everything
is the ‘green belt’, an area dedicated to the promotion of biodiversity,
organic farming, reforestation, and sustainable research.
SOIL & WATER CONSERVATION
When the Auroville pioneers arrived, regeneration of the environment
was their first concern. There was no electricity, water or shade, and
finances were limited. Through careful observation and listening to local
traditional knowledge, they slowly developed an integrated soil and water
conservation strategy that restored the fertility of the land. Extensive
networks of raised earth bank and ditches called ‘bunds’ were placed along
the contours of the land, along with a series of earth check dams and
catchment ponds. Learning the hard way to work with nature, they placed
features near the top of the watershed following the topography, and
through trial and error succeeded in their goals.
As they became more skilled and efficient in their work, Aurovillians
turned their efforts towards the bioregion. Work units ‘Palmyra’ and ‘Water
Harvest’ are currently targeting the rehabilitation of an ancient network of
community catchment tanks that once covered the land, in an attempt to
recharge the aquifers, prevent saltwater intrusion and conserve water for
irrigation.
REFORESTATION
Since the 1970s, millions of trees have been planted behind bunds,
next to dams and ponds. Fences have made from thorn and cactus to
protect the vegetation from grazing. As the vegetation has grown the
microclimate has changed. It has become cooler and more humid, which
facilitates more plant growth, and brings in many species of animals, birds
13
and insects. This in turn further enriches the environment through seed
dissemina-tion and fertilization.
Initially both native and non-native species were planted, but the
Australian ‘work tree’ (Acacia auriculiformis or Darwin Black Wattle) became
invasive and crowded out other species. Now these trees are harvested, and
efforts are focused on recreating the native vegetation of a tropical dry
evergreen forest. Auroville’s botanical gardens have a 20 hectare (50 acre)
plot that is being developed into a research and demonstration site with
over 5,000 specimens from the native forest. Pitchandikulum Bio-Resource
Centre also has a 20 hec-tare (50 acre) forest where it has collected over
440 indigenous plant species, and runs a revitalization pro-gramme for
medicinal plant traditions. Both have seed banks to protect forest
biodiversity.
Today, the Auroville forest is acknowledged and safeguarded as an invalu-
able resource for the community: for medicine, food, firewood and building
materials; erosion control; as a microclimate moderator; and as a sacred
sanctuary.
APPROPRIATE TECHNOLOGY
Having established vegetation and water control, Auro-villians
started building their infrastructure. Keen to integrate appropriate
technology into their designs, they aimed for solutions suitable to the
climate that would incorporate passive solar features, protect from rain,
reduce energy consumption and utilise rainwater har-vesting, wastewater
treatment and renewable energy systems. They were both constrained and
motivated by such factors as no electricity, transportation, machinery, or
conventional building materials on the one hand, and an abundant but
unskilled labour force on the other. Solutions had to use local people and
materials, be inexpensive, and simple to implement and maintain.
The basic building material was an obvious choice, since earth was
abundant on site. The Auroville Earth Institute and Centre for
Sustainable Research (CSR) have developed a successful manual press
to create Compressed Earth Blocks (CEBs) that are used like bricks. The
presses are robust, using a high compression ratio of 1.83 with 13.5
metric tons (15 tons) available force, and produce up to 1,000 accurate
blocks per day of adjustable height and shape (including hollow blocks that
save on material and give insulation).

In Auroville, the blocks are stabilised with 3-5% cement to prevent water
erosion, but lime or bitumen can also be used. CEBs are energy efficient
(using bet-ween 5 and 15 times less energy to make than a fired brick),
durable, ecological, cheap, and the technology is easily transferable. The
blocks are adaptable and can be used without support or form. This
technique is known as free-spanning or Nubian, and is made possible
through the blocks’ adhesive properties with the clay mortar. Many buildings
in Auroville demon-strate this through vaulted floor and roof designs.
Along with earth construction, Auroville has had great success in the
use of ferrocement, where a thin cement mortar is laid over steel wire
meshing that acts as reinforcement. While not a truly sustainable solution, it
has proven to be a very cost-effective and highly efficient building material
that is adaptable,
14
WASTE WATER TREATMENT
The first wastewater recycling solutions that Auroville developed were
simple, inexpensive combinations of septic tank and soak pit. Later,
European funds enabled the CSR to research and develop planted filters,
also called constructed wetlands or root zone treatment systems. Currently
Auroville has over 40 water treatment systems of small to moderate size
many using horizontal or vertical planted filter beds, and also using baffled
tank reactors, biogas plants and at least one Living Machine. Recently
Auroville has been researching Effective Microorganism (EM) technology to
improve system performance.
WHAT IS ORGANIC IN ARCHITECTURE…..???
Integrating humanhabitat with thenatural world.
• The term “organic architecture” wascoined by the famous
architect,Frank Lloyd Wright (1868-1959).
• Presently organic architecture forms the foundation and mother of all
architecture sustainable architecture, alternative architecture, ecology,
bio architecture and so on.
 • Organic architecture develops itself from inside to outside,from the
interior life (that flows in space)to outdoor.
• Primitive vernacular architecture was innately organic, based on
natural forms and structures and simple local materials.
• Patterns and forms in nature such as the spiral and fractal are
products of internal laws of growth and of the action of external forces
such assun, wind and water. In modern & post modern period, many
eminent
WHAT IS ORGANIC ARCHITECTURE?
• Organic architecture is the outcome of the feelings of life, like
integrity, freedom,fraternity, harmony, beauty, joy and love.
• It is a philosophy of architecture which promotes harmony between
human habitation and the natural world throughdesign approaches.
• It is well integratedwith its site and has a unified, interrelated rather a
reinterpretation of nature’s principles to build forms more natural than
nature itself.
ECOLOGICAL + INDIVIDUAL’S= ORGANIC
• Organic Architecture does describe environmental concerns.
• It also embodies the human spirit, transcending the mere act of
providing shelter from surroundings which shapes and enhances our
lives.Organic Architecture describes an expression of individuality. It
also explores our need to connect to nature.
• Organic Architecture is not a style of imitation but composition
consisting of buildings and its surroundings.
OBJECTIVES
• It is not a style, but unique and unrepeatable because it is related to
the man, site and time (three variables).It is visually poetic, radical,
idiosyncratic and environmentally known, multifaceted, flexible and
surprising.
• It is a total harmonized blending of outdoor and indoor space. It
promotes a more positive link between man and nature.
• Organic Architecture is influenced by Biophilia (love of life – nature or
living system). Organic shapes and forms that elicit a human affinity for
nature.
• It has more of a vernacular approach. Vernacular is a characteristic
style common to a particular region, culture or period.
• Vernacular Architecture consists of buildings or landscapes that
affirm a distinctive material, affinity for place and holds the promise of
achieving a compatible and sustainable relationship between people,
nature and the human built environment,
15
EXPLORING ORGANIC ARCHITECTURE
• Primitive vernacular architecture was innately organic, based on
natural form sand structures and simple local materials.
• Patterns and forms in nature such as the spiral and fractal are products
of internal laws of growth and of the action of external
forces such as sun, wind and water.
• Temperature flows also behave better in curvilinear interiors. It gives
respect to natural materials blending into the surroundings and honest
expression of the function of the building with relation of each piece to
the whole and the whole to the surroundings.
• Architects Gustav Stickley, AntoniGaudi, F.L. Wright, Louis Sullivan,
Bruce Goff, Rudolf Steiner, Bruno Zevi and most recently Anton Alberts
and Laurie Baker are all famous for their work related to Organic
Architecture.
• FLW was not concerned with architectural style, because he believed
that every building should grow naturally from its environment and it
should exalt the simple laws of common sense, or of super sense if we
prefer determining form by way of the nature of materials, non
cherishing any preconceived form fixing upon us either past, present or
future.
• There should be marriage in between the site and the structure and a
union in between the context and the structure.
• Architecture has an inherent relationship with both its site and its time.
• A building is a product of its place and itstime intimately, connected to
a particular moment and site, which is never be the result of an
imposed style.
• Architects could create swooping arches without visible beams or
pillars.
• Modern organic designs are never linear or rigidly geometric. Instead
wavy lines and curved shapes suggest natural forms, because most of
the natural aspects are curvilinear and asymmetrical in shape.
• Antonio Gaudi, Spanish architect designed sculpturally the creative
and irregular organic form. Mainstream architecture is also adopting
outward organic forms.

• Zambian vernacular architecture isorganic, beautiful and most

importantly comfortably integrated with the local climate, culture and
harvest cycles

• In India the famous architect Laurie Baker designed the buildings

with local materials, keeping the essence of organic architecture which
is more comfortable to the inhabitants with natural surroundings.
• The buildings are aesthetically beautiful, low-cost and high quality.
• The design of brick jail promotes natural air movement to cool the
homes interior and create intricate patterns of light and shadow.

other eminent Indian Architect, Nari Gandhi uses ‘art of craft’ in order to
achieve an organic and sensorial architecture with an ethos towards the
spiritual.
• In his design of Gobhai Mountain lodge, he explores a jewel like
exercise in geometry and simplicity. Gobhai Mountain Lodge, Nari
Gandhi views, the
• Rajmachi hilltop fort and the Valvan lake below, which the verandahs
overlook.

16

Gobhai mountain lodge,Nari Gandhi.
• The roof of the east face is pressed down to redirect the airflow of the
prevailing southwest winds.
• Fariborz Sahba designed the Bahai temple in Delhi, in the natural
form of lotus, which is again the modernist approach of organic
architecture, like Sydney Opera House.
• TZED homes in Bangalore by BCIL are a residential project consisting
of environmentally sustainable and aesthetically sound homes for
ninety-five families.
• It is an integrated approach with several innovative systems to
minimize environmental impact. Every aspect of TZED has been
designed to conserve the natural resources and to have minimal
impact on the environment. Fresh air input and builtin energy efficient
lights are among the features. Natural building materials, like stone
and mud, fly ash blocks, laterite blocks are used.
• We propose that all architecture should be organic, individual, and
ecological.
• The solution of every problem is contained within itself. Its plan, form
and character are determined by the nature of the site, the nature of
the materials used, the nature of the system using them, the nature of
the life concerned and the purpose of the building itself.
• A building should grow from its site as nature grows from the inside out
and shaped by the forces which surround it.
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EARTHEN ARCHITECTURE IN AUROVILLE
LINKING A WORLD TRADITION WITH MODERNITY -
• The development of earth architecture in Auroville attempts to link the
ancestral tradition of raw earth buildings and the modern technology of
stabilised earth. The R&D conducted by the Auroville Earth Institute
finds its source of inspiration in the traditional earthen architecture
which is found worldwide.
• Tradition has accumulated over the ages wisdom and knowledge and
it is our duty to distillate the essence of this genius and use it for
today’s development.
TRADITIONAL ARCHITECTURE: A SOURCE OF
INSPIRATION
• Since ages raw earth has been used all over the world as a building
material to achieve amazingly long lasting buildings. There is hardly
any continent or country which does not have numerous examples of
earth construction.
• From the roof of the world in Tibet, or the Andes Mountains in Peru, to
the Nile’s shore in Egypt or the fertile valleys of China, many are the
examples of earth as a building material.The oldest one can be seen in
Egypt, near Luxor, built around 1300 BC: the vaults of the Ramasseum,
in the “rest” of Thebes.
• India also shows very old earthen buildings: Shey palace in Ladakh,
built in the 17th century and Tabo monastery in Spiti Valley – Himachal
Pradesh,built with adobe blocks in 996 AD and which has withstood
1010 Himalayan winters.
• These “world heritage sites” show how earthen architecture has been
use for achieving great and long lasting monuments. But vernacular
architecture worldwide shows also how a local material has been used
to create an endogenous architecture, totally adapted to the local
context – social, economical, technical, climatic, etc.
• Earth architecture and the skill of earth builders disappeared since a
century: from the end of the 19th century till the latter half of the 20th
century.
 - Shallow ones for landscape design, work or play areas, gardens,
• The Egyptian architect Hassan Fathy was the precursor for the etc.treatment
renaissance of earthen architecture in the middle of the 20th century.

BUILDING WITH EARTH IN AUROVILLE

• The creation of the Auroville Earth Institute in 1989, and the
construction of the Visitors’ Centre, started a new era in earthen
architecture. Since then, the value of earth as a building material has
been acknowledged for its economic advantage, as well as its comfort
and quality, which promotes indigenous and sustainable development.
• Today, Auroville can show a wide variety of projects: public buildings,
schools, apartments and individual houses.Most of the projects are
built with compressed stabilised earth blocks (CSEB), as this
technology benefits of half a century of research and development
worldwide.
• Stabilised rammed earth is slowly getting known and a few projects
already implemented this technique.

MANAGEMENT OF RESOURCES
• People in so many different cultures worldwide have used earth to build
their habitat and they managed the resources in such a way that
buildings were totally integrated in nature and they did not degrade
the environment. People were sensitive to Nature and respected it.
• The“modern world” does not have such sensitivity… The Auroville
Earth Institute (AVEI) lays a lot of emphasis on the management of
resources.
• If well managed, earthen buildings can be totally integrated in the
natural environment, as showed in the tradition. But on the opposite
side, mismanagement of resources can lead to the degradation of the
environment. Auroville shows quite a few examples of integrated
management of soil resources:
- Deep ones for rainwater harvesting, wastewater treatment, basement
floors, pools

18
HOUSES
Up to ~ 1990 they were not so many architects and most of the time houses
were built by
people themselves. Since then architects are designing houses and often
people participate, in a way or another to the building process.

THE AUROVILLE EARTH INSTITUTE

• The Auroville Earth Institute was previously named the Auroville
Building Centre/Earth Unit, which had been founded by HUDCO in 1989.
• The Auroville Earth Institute is researching, developing, promoting and
teaching earth-based technologies that are cost and energy effective.
• These technologies are disseminated through training courses,
seminars, workshops, publications and consultancy within and outside
India.

• One of the aims of the Auroville Earth Institute is to give people the
possibility to create and build their habitat themselves, using earth
techniques.
• The Auroville Earth Institute is today the South Asian representative
and Resource Centre for the UNESCO Chair "Earthen Architecture –
Constructive Cultures and Sustainable Development".
• Over the past decade, the endeavour to promote and disseminate raw
earth as a building material for sustainable and cost-effective
development has brought a series of 12 awards: eleven national
awards and one international award.
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APPROPRIATE BUILDING TECHNOLOGIES BASED ON EARTH
• This research aims at making extensive use of stabilised raw earth as
the main building material, there by using a local resource to help
develop technologies that are energy saving,eco-friendly and
sustainable.
• The main research and development is focussed on minimizing the use
of steel, cement and reinforced cement concrete. Note that these
technologies are seen only as tools for creating a safe, comfortable,
progressive and aesthetic architecture.
COMPRESSED STABILISED EARTH BLOCK (CSEB)
• A wide range of equipment for building with earth, the Auram
equipment, has been researched and developed from the very onset by
the Auroville Earth Institute.
• It ranges from a press for compressed stabilised earth blocks, quality
control devices for block making,handling equipment, hand tools,
scaffolding, to rammed earth equipment.
• The press 3000 is today being sold worldwide – mostly in South Asia
and in Africa. A few machines have also been sold in Europe, USA,
Arabic peninsula and China.
• The press 3000 with hollow interlocking moulds was sold in large
quantities to Gujarat-India, for the rehabilitation of the zones affected
by the severe earthquake of January 2001.
• The Auram press 3000 is a multi mould manual press which can fit 16
moulds on it, for producing about 70 different types of blocks, with
various shapes and thicknesses.
20
• CSEB made in Auroville with 5% cement, have an average dry
compressive crushing strength of 50 kg/cm2 (5 Mpa) and a wet
compressive crushing strength of 25 kg/cm2.
The water absorption is around 10%. Country fired bricks have around 35
kg/cm² for the dry compressive strength and 12% water absorption
ARCHITECTS IN VERNACULAR
# Hassan Fathy
Hassan Fathy is one of the few names of 20th century architects
in the Middle East that is also known in the West.His life-long career has
been mainly devoted to an architecture that serves a greater good. Not only
has his interest been in providing affordable housing for the poor but also in
reinstalling pride in the vernacular andtraditional architecture of the Arab
world and mainly his home country of Egypt.
# NUBIAN TECHNIQUE
This technique came from Nubia, from Southern Egypt, hence the
name Nubian. It has been used since ages, as it is testified by the vaults of
the granaries of the Ramasseum, Egypt, which was built by,Ramses II
around 1300 BC.
The Nubian technique was revived and disseminated by the Egyptian
architect Hassan Fathy. We owe him thanks for the worldwide
renaissance, in the 20th century, of earthen architecture and construction
with arches, vaults and domes.
Craterre - the International Centre for Earth Construction, and the
Auroville Earth Institute inherited his spirit and commitment towards the
earth as a building material and what the latter can do for people. The
Nubian technique traditionally needs a back wall to stick the blocks onto.
The vault was built arch after arch and therefore the courses were laid
almost vertically. The binder, about 1-1.5 cm thick, was the silty-clayey soil
from the Nile and the blocks used were adobes, the sun dried bricks. The
unevenness of
the adobes made it necessary to slightly incline the courses, so as to
increase the adhesion by force of gravity.
The Nubian technique was also used for building circular domes, using
a compass, as is shown here after. This technique has the advantage of
allowing one to build vaults and domes without centering. This technique
with vertical courses has a major disadvantage, which is that the earth glue
is very liquid and the blocks are very thin.
courses of the 3.60 m span equilateral vault have reached their maximum
height. Courses should now be laid by steps
The masonry goes on with horizontal steps, as the load transfer passes
into the half dome which is at the end. Forces through the keystone The
forces pass through the keystone of the equilateral vault. The Free
Spanning technique with horizontal courses presents an advantage
compared to the Nubian technique: the glue is sandier and the quantity
of glue is proportionally less, as the blocks are bigger. Therefore, the vault
tends to crack less because there is less shrinkage due to the glue. Very flat
segmental vaults and certains shapes of vaulted structures (i.e. groined
domes) cannot be built with horizontal courses.

FREE SPANNING TECHNIQUE

The free spanning technique is an on going development of the
Nubian technique that the Auroville earth Institute is working on since a few
years. It allows courses to be laid horizontally. This technique combines also
the use of vertical courses, like in the
Nubian technique. Depending on the shape of vaults, structures are built
either with horizontal courses, vertical ones or a combination of both. The
# Vaults and domes built with the Nubian technique
basis of the technique with horizontal courses is not anymore the adhesion
The binder for vaults and domes is like glue and should be more
of the blocks by the earth glue, but the equilibrium of gravity forces of the
clayey than the one for walls in order to stick the blocks properly against
various courses, and their transfer onto the next
each other. Nevertheless, this glue should not be too clayey, as it should not
courses and the masonry in general.
have an excessive shrinkage, which will induce a lot of cracks in the
The vault rises with horizontal courses building a semicircular vault of
structure later on. Note that soil and sand should be sieved with 1 mm
6m span It is essential to study the location of the centres of gravity so that
mesh.
the weight of the masonry never goes beyond the springers. It is needed
• If the mortar for walls (1 cement: 4 soil: 8 sand) gives satisfactory results,
also to develop a certain sense of how the forces behave in the masonry.
the following mix can successfully be used for vaults and domes: 1 cement:
The transfer of loads always takes the shape of catenary curves, and
6 soil: 3 sand.
assumes the most direct way. Limit of stability of the horizontal courses
• If the mortar for walls is 1 cement: 3 soil: 9 sand, meaning that the soil is
Load transfer in the shape of a catenary in an equilateral vault with a half
too clayey, the specification for vaults and domes could be 1 cement: 5 soil:
dome Force as a rampant arch Equilibrium of forces Force as a rampant
4 sand or, if needed, less soil and more sand.
arch Limit of stability of the curved corbel The vault, being built with
• If the mortar for walls is 1 cement: 7 soil: 5 sand, meaning that the soil is
horizontal courses, rises like a corbel which is curved and has courses
too sandy, the specification for vaults and domes could be 1 cement: 7 soil:
inclined at the same angle as the radius of the curve.
2 sand or, if needed, more soil and less sand.
The 6m span semicircular vault cannot be built horizontally anymore,
• If the soil is too sandy, no sand should be added and the mix could be 1
as no force can balance the gravity forces. The construction has to go on
cement: 9 soil.
with vertical courses. Equilateral vault with horizontal courses.The horizontal
21
• If the soil is really too sandy and the mix 1 cement: 9 soil does not give
good results, the cement/soil ratio could be increased to 1cement: 8 soil or
1cement: 7 soil, or even more.
The fluidity of the glue is essential for the adhesion. The fluidity and
thickness of the glue varies according to the work:
#Vaults, cloister and groined domes
- Fluidity: The glue needs to be very liquid. A sample of the glue taken with
the trowel should leave a film of 3-4 mm thick on a trowel placed vertically
- Thickness: The vertical joint, which is binding the various courses of the
vault, should be the minimum thickness.The best would be 1 mm thick and
the maximum should be 2 mm thick.3-4 mm left on the trowel
#Circular domes (Hemispherical, pointed and segmental)
- Fluidity: The glue needs semi liquid like paste. A sample of the glue taken
with the trowel should leave a film of 7-8 mm thick on a trowel placed
vertically.
- Thickness: The corners of the blocks are touching each other at the
intrados edge. As the courses are circular, the side of the joint facing the
intrados has a triangular shape, which has changing proportions when the
dome rises. It is crucial that the intrados corners of the block touch each
other. 7-8 mm left on the trowel
#Vaults built with the free spanning technique
The Free Spanning technique, which uses horizontal courses, is specially
developed for building vaults without support. The binder is like glue. Note
that soil and sand should be sieved with a 1 mm mesh. The mortar
specifications vary as the vault rises:
• The first courses, which are quite flat, need a glue sandier than the one for
walls, in order to reduce the shrinkage when drying.
• When the courses rise, their angle becomes steeper from the horizontal.
Therefore, the blocks tend to slip down and fall. The glue should have more
soil, in order to increase the ratio soil/sand. First courses of the vault
22
• If the mortar for walls (1 cement: 4 soil: 8 sand) gives satisfactory results,
the first courses of the vaults, which is built with horizontal courses, can use
this glue: 1 cement: 4 soil: 8 sand.
• If the mortar for walls is 1 cement: 5 soil: 7 sand, meaning that the soil is
too clayey, the first courses of the vaults, which is built with horizontal, can
use this glue: 1 cement: 3 soil: 9 sand or less soil and more sand, if needed.
• If the mortar for walls is 1 cement: 7 soil: 5 sand, meaning that the soil is
too sandy, the first courses of the vaults, which is built with horizontal
courses, can use this glue: 1 cement: 9 soil: 3 sand or more soil and less
sand, if needed. Higher courses of the vault
The fluidity of the glue is essential when laying the blocks. It should have
the same fluidity as for the vaults built with the Nubian Technique.
• When the courses get steeper and that the blocks start to slip down, the
glue should become more clayey. Add progressively some soil to the glue
and reduce of the same proportion the sand content.
• If the first courses uses a mix of 1 cement: 4 soil: 8 sand, the glue can be
modified as such: 1 cement: 5 soil: 7 sand, or more soil and less sand if
needed.
• When the courses rise further and have a steeper angle, the soil/sand ratio
should be increased progressively. The glue will have at the end the same
specification as the one for vaults with the Nubian technique: 1 cement: 6
soil: 3 sand or more soil and less sand, if needed. Filling steps between
courses. The extrados of an optimized vault, built with horizontal courses,
has steps which should be filled with an earth concrete.
• If the mortar for walls (1 cement: 4 soil: 8 sand) gives satisfactory results,
the mix for the earth concrete can successfully be 1 cement: 2 soil: 3 sand:
4 gravel (1/2” size)
Note for all specifications concerning binders: Types of soil are as different
as human beings. Therefore, the various mixes which have been specified
here are merely indicative and need to be adapted to suit each individual
soil.
#BUILDING ARCHES
 Arches usually need a centring to be built. They may have any
shape and span, but the blocks need a support for being laid. The main
exception is corbelled arches.
Centrings can be made of wood, steel or masonry. Wood and steel centrings
are useful when the same arch has to be built several times. Masonry
centrings are often used to save the cost of a prefabricated centring, as
their cost is mostly the labour which made it.
Wooden and steel centrings can have supports made of wood poles
or steel pipes only if the arch has to be built many times. Most of the time,
the supports are made with brickwork which is laid with a mortar made of
earth and sand.
-Types of centrings
Wooden centring, ~ 5 m span
Steel centring, 90 cm span
Masonry centring, ~ 80 cm span
-Common procedure for all arches
It is essential that the blocks touch each other at the intrados. No mortar is
in between the blocks inside, and outside the joint thickness will depend on
the curvature of the arch. It is essential that the arch rises with
the blocks perpendicular to the centring, so as to get the last blocks parallel
near the apex. Extreme care must be taken over the decentring. The
centring should go down slowly and vertically.
1. Slide the block laterally
2. Check the right angle
3. Build the arch symmetrically
4. Triangular joint of the mortar
5. Pressing the mortar joint
6. Removing wedges and decentring
1)Segmental arches
Depending on the flatness of the arch the procedure will be different.
For arches which are not too flat, the blocks are laid on the side of the
centring in a similar way to thatdescribed above.The last blocks laid on top
of the centring are laid according to the details mentioned hereafter for
veryflat segmental arches.
Roundness of segmental arches
23
2)Corbelled arches built without centring
Corbelled arches were developed because they can be built
without support, by corbelling regularly the horizontal courses of the wall
masonry. The bond pattern is essential and the blocks should cantilever
preferably by 1/4 of the block module with the maximum projection 1/3. For
building such an arch, it is essential to pay attention to the balance of the
masonry when courses rise.
One should evaluate, before the masonry starts to tilt, where the
centre of gravity is of the arch being built.It should not go beyond the limit
of stability, which is the inner side of the pier.Centre of gravity of a corbelled
arch
Arches built with the free spanning technique
A “curved arch” is normally never built free spanning, as it needs a
support for the voussoirs. The following method was developed to build an
arch without centring, so as to close a vault which was built with the Nubian
technique and started at both ends of a room. The Nubian technique needs
a back wall to start sticking the vertical courses onto and the vault is built
arch after arch. At the other end it is nearly impossible to lay the last course
between the vault and the opposite wall.
This technique was developed to start building the vault on both
opposite walls at the same time. It presents the advantage of going faster,
as more masons can work on the same structure. As both halves of the vault
get closer to each other, there will finally be a gap between both, which has
to be closed. The method presented hereafter allows bridging without
support for this gap between both halves of the vault.
1. Start the vault on both sides
2. Check the linearity of the last course
3. Grind a block to adjust its length
4. Apply 2-3 mm of glue on the block
5. Insert the block. Note the mortar on the sides
6. Adjust the block by sliding it vertically
7. Wedge the block with stone chips
8. Grind the keystone to adjust its thickness
9. Pour water on the keystone
10. Insert the keystone after applying glue
11. Hit gently to get the keystone to wedge it
12. Wedge the keystone with stone chips
BUILDING VAULTS
1)Building a vault with the Nubian technique
The back wall should be built first. It can have exactly the shape of
the extrados
of the vault or it can be quadrangular and the extrados of the vault will be
drawn
onto it. A template is needed to ensure the shape of the vault. It can
advantageously be
the future window frame on which are temporarily fixed some spacers to get
the
extrados shape of the vault. The template can also be made of welded Tor
steel, BUILDING DOMES
which can be re-used afterwards for reinforced cement concrete. 1)Circular domes
It is necessary to create a net of string lines between the back wall Circular domes are defined by the rotation of a compass. The lengthof the
and the compass is taken at the outer diameter of the dome, so that the direction of
template. Note that it is better to lay the net of string lines outside in the the block can be adjusted by the angle of the compass. The control of the
masonry. shape is ensured from the inner
The reason is that any mistake in accuracy, with a block laid lower or diameter and thus a cursor or any kind of mark made on the compass is
slipping needed.
down, will not change the linearity of the string line. In certain cases, it is Compass Triangular shape of the mortar (section) Triangular shape of the
sometimes necessary to lay the string lines below the masonry. It is then joint (inside)
indispensable to work with a very high accuracy and to leave always 1 mm
gap between the blocks and the string line.Back wall Window frame as a
template
2)Building a vault with the free spanning technique
Vertical ones, like in the Nubian technique. What is presented here
is only the particular details for laying the courses horizontally.The binder
varies when the vault rises. It starts with the same specification as for
arches and progressively become more clayey. It is essential to check the
balance of the portion of the vault which progressively corbels. Therefore, to
ensure the height of the various courses their cord and span must be
checked, to see if they are according to the calculations. It is essential to
compress the vertical joint very well and to keep it to the minimum, so as to
reduce the shrinkage of the glue and cracks in the vault later on.Compress
the joint

2)Square domes

24
 Square domes are generated by the intersection of two vaults, which
create the groined or cloister domes. The procedure described as follows is
for cloister domes which are built with squinches. A template is required and
it is generally made of a pipe which is bent according to the need. String
lines are pulled at regular intervals, from diagonal to diagonal of the
template. Pipe template and string lines Hearing bones of the joints,
when the squinches meet at the centre Cross alternately the blocks for the
keystones
Right side cover Cross alternately the blocks for the keystones left side
cover
LAURIE BAKER (1914 to 2007)
Laurie Baker is truly the Hassan Fathy of India people say that Baker
has developed his architecture based on Vernacular architecture of Kerela.
LAURIE BAKER IN VERNACULAR
25
Baker learnt the actual way of practicing architecture by observing
how the rural people were building their houses. He understood that these
methods were the cheapest and the most simple. He also observed that
these people did not even employ expert workers, but built them on their
own. These, he came to understand the real relation between materials and
the beings. Consequently, he began to feel that his education and the skills
acquired.He began to build houses by making use of whatever was available
in nature, primarily mud eventually, Baker became the champion of
Using mud, the most sustainable and renewable resource. Mud is
gathered either at the construction site or rom nearby areas, by which
bricks are made. Baker was aware of those using concrete, Baker was aware
of mud’s total recycle-ability. instead of using steel and cement, Baker, used
locally available building materials like mud, brick, stone, terracotta tile &
coconut.
BAKER’S CONSTRUCTION TECHNIQUES
A Charateristic feature of Baker’s work is the jali,a perforted screen
made of Bricks with a surface of tiny regular opening in the wall, producing
intricate patterns of light and shadow. It catches light & air and diffuses
glare while allowing privacy & security combining the function of a window &
a ventilator.
A jali openings encourages air flow,yet the construction of this form of
cross-Ventilation requires.
BAKER’S STYLE
1. Skylight
2. Jalies
3. Traditional roofs
4. Traditional structure
 5. Stteped arches
6. Overhanging
CONSTRUCTION TECHNIQUIES
The first simplest and certainly the oldest system is called “COB” With
only a little water to form a very stiff mud. A row of these cobs of mud are
laid neatly side-by-side preferably somewhat pressed together when
three or four courses have been laid, one above the other, the sides are
smoothe over so that the holes and cracks disappear.
Once you have obtained the feel of the right consistency of mud, this
cob method is a very simpler straight forwards uncomplicated. Openings for
doors, and windows are a problem, which can be solved by using temporary
vertical planks or shuttering.The second method has developed from the
cob wall so as to standar dise or regularise the thickness of the wall. It is
also an attempt to increase the strength of the wall by ramming it. It is
known as the Rammed Earth.
Basically, two parallel planks are held firmly apart by metal rods and
clips or bolts, or by small cross pieces of wood. Stiff mud is thrown in
between these two planks and rammed down with either a wooden or metal
ramrod. When one section is completed and hard, the two boards are moved
along and the process is repeated until the whole plan is completed.
The vertical joints between one rammed section and next are not
vertically one above the other. Otherwise, these vertical joints can later
turn into a large vertical crack! However, there is no doubt at all that the life
26
of rammed earth walls is usually very long and they can carry heavy floors
and roofs and be used for two and even three storey buildings.There are
other local systems where some mud is used in one way or another to assist
other materials to stick together.In many hill and mountain areas the stone is
deliberately and carefully added at the external base of the wall and this
deal with the splashing of rainwater quite effectively.
For example, in many parts of the country small roughstones are
found but it is quite difficult to build a wall of any size or height with
suchpieces. So the stones are often used as fillers to either Cob, Rammed
earth or adobe walls. The vertical joints between one rammed section and
next are not vertically one above the other. Otherwise, these vertical joints
can later turn into a large vertical crack! However, there is no doubt at all
that the life of rammed earth walls is usually very long and they can carry
heavy floors and roofs and be used for two and even three storey buildings.
There are other local systems where some mud is used in one way or
another to assist other materials to stick together.In many hill and mountain
areas the stone is deliberately and carefully added at the external base of
the wall and this deal with the splashing of rainwater quite effectively. For
example, in many parts of the country small roughstones are found but it is
quite difficult to build a wall of any size or height with suchpieces. So the
stones are often used as fillers to either Cob, Rammed earth or adobe walls.
SITTING A MUD HOUSE
CURING MUD
BLOCKS
It can also be said here that for many single and double storey
buildings mud can be used as a mortar for ordinary burnt brick walls and for
stone random rubble walls
If your site is a very exposed one with a frequent strong driving rain then of
course it is better to protect that side of your building with plaster, or with a
veranda, or even construct it from a material like Burnt Brick, Stone, or
Laterite. As we have already pointed out there is no virtue in being fanatical
about mud and trying to do every single item with mud.All forms of mud
work are less prone to cracking if dried slowly, in the shade and not in
strong sun. After mud blocks are made they should be stacked so that air
circulates around the blocksand so that they will not be disturbed or
damaged preferably close to where the building will be constructed.
Geoffrey Bawa (1919–2003)
Geoffrey Bawa was Sri Lanka’s most prolific and
influential architect.
Geoffrey Bawa recieved the prestigious Chairmans Award from the
Aga Khan Award for Architecture for his lifetime achievement.
His ideas have spread across the island, providing a bridge
between the past and the future, a mirror in which ordinary people
can obtain a clearer image of their own evolving culture.

Geoffery Bawa in Architecture

Throughout its long and colourful history, Sri Lanka has been subjected
to strong outside influences from its Indian neighbours, from Arab traders
and from European colonists, and it has always succeeded in translating
these elements into something new but intrinsically Sri Lankan. Bawa has
continued this tradition. His architecture is a subtle blend of modernity and
tradition, East and West, formal and picturesque; he has broken down the
artificial segregation of inside and outside, building and landscape; he has
drawn on tradition to create an architecture that is fitting to its place, and
he has also used his vast knowledge of the modern world to create an
architecture that is of its time.

Since Bawa started out on his career, Sri Lanka’s population has almost
tripled, while its communities have been fractured by bitter political and
ethnic disputes. Although it might be thought that his buildings have had no
direct impact on the lives of ordinary people, Bawa has exerted a
defining influence on the emerging architecture of independent Sri Lanka
and successive generations of younger architects. His ideas have spread
across the island, providing a bridge between the past and future, a mirror
in which ordinary people can obtain a clearer image of their own evolving
culture.

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Geoffrey Bawa shied from discussing his work, preferring it to be
experienced instead. Fundamental to his approach was an empathy for
place and a direct interaction on site. Both life and training shaped his ideas.
A love of natural form, the discipline he learnt in England tempered by
conviviality in elegant surroundings, his cosmopolitanism and a sense of
culture and the past were essential components. Bawa’s attitude to life
imbued his work with a sybaritic ethos, which is ubiquitous in his designs.
PROJECTS IN VERNACULAR
The existing potential of the natural landscape was always accommodated
within and around Bawa’s spaces. He blended them so beautifully that 1) Farm house, Nadhawade, Sindhudurg (Dist),
‘inside’ and ‘outside’ became a continuum. Quintessentially, Geoffrey
Bawa’s architecture produced canvasses for the art of living so unobtrusive Maharashtra, India
that his forms became props which ‘respect, enhance and celebrate the
environment’ and are above all, to be enjoyed.

Shirish Beri & Associates on Farm house at Nadhawade said “The

farm was bought with the idea of creating an ecologically balanced
environment with maximum use and recycling of local materials.

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 The house has an organic quality with a unified interior space instead
of segregated, isolated rooms.”Every requirement was worked out as
activities and not as rooms.
The house was designed to grow around the trees, and integrate them in
the built environment. The inside and outside spaces mingle with each
other. Some times the garden comes inside, or the house extends out in
low-built forms. The use of locally available laterite stones wood, mud
and cow dung besides bringing about economy, lend an unusual
warmth and earthiness to the spaces.
Our own house, farm aid’s quarters, garden, well, pool and services
structure have been located centrally to facilitate better supervision, better
insulation, shade and beauty. The house was constructed in laterite stone
masonry (a locally available porous stone of 26cm X 40cm X 16cm ht.) This
material can be dressed to any size and shape, has good insulationvalue
and brings about a great saving in cement
The foundation is in Deccan trap stone obtained while digging the
swimming pool. The sand was gathered from the streambed, which runs
along the property.The wood used for the structural work is all locally
available jungle wood. The main Osri or portico pillars are beautifully carved
old wooden pillars of 55cm diameter, These were abandoned by local
temple in the process of the renovation when plastered stone pillars were
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constructed. The flooring is cow dung and mud on ground floor
(except toilets and wet areas) and timber on mezzanine. These
materials are natural materials, which are cool in the summer and warm in
the winter. The well compacted cow dung plastered mud floor has good
impact strength.
The bedroom sit out recognizes the natural irrigation canal, which
flows through the site from January to May.The gas plants design was based
on a Chinese’s model, which is more economical and indigenous. The
swimming pool is constructed with minimum construction and costed only
Rs. 2500/-, which comes Rs. 40 / – per sq.m only. The wash out of the pipe is
connected to the irrigation system of the coconuts and areca nut gardens at
the lower level, thus no water is wasted. It acts as a play arena, when the
pool is dry. The farm aid quarters and stores were constructed in he
vernacular manner with laterite pillars in the cement mortar and in situ mud
partition walls. This building cost worked out 1/5th of the general prevailing
building costs then.
The well has been designed as a landscape element with stepped gardens,
and the pump shed is camouflaged by a rockery, a cascade and a lily
pool.The old existing temples with their Deepmalas have been retained with
improved arrival spaces in front.The built environment has a lot of
interrelationship with the natural organic environment also.
The use of the solar cooker, methane gas and wood from the energy
plantations reduce the dependence of external energy resources. The wind
on the farm was not enough for the exploitation.
Our attitudes towards life as a whole are mainly responsible for the
shaping of this symbiotic living experience at Nadhawade.
2)Influence of indigenous structures, forms and culture
on architects.
Kamil Khan Mumtaz a Pakistani, British trained architect, who
has been working in Lahore, Pakistan since late 60s. He has been involved
with Aga Khan Award of Architecture, has also led several architectural
juries. He has made tremendous contributions to architectural education in
Pakistan in his own modest manner. While studying at Architectural
Association in London in early 60s, Kamil was no doubt, fully exposed to the
modernist thinking of that era. In tropical department at AA, Dr.
Konigsburger and Rory Fonseca were there to impart the best knowledge
about designing for comfort in tropical climates. Kamil also worked with
Keith Critchlow and Buckminister Fuller in Ghana for a while.
On his return to Pakistan he started his practice with all the current
design influences and produced some work using modern 20th century
influences. It soon became apparent to him that that all his western training
and appreciation of modernist principals were at odds with the local building
and cultural traditions and to make meaningful architectural progress in
these environments required a reappraisal of all he has learned.
Like Laurie Baker, he was fully conversant with the sustainable
approach to built forms rooted in local traditions. Laurie Baker’s professional
work adhered to his own brand of Quaker humanism. Kamil’s faith in Islam is
influenced by Sufism, a much gentler, tolerant and almost secular approach
despised by the hardcore intolerant Islamic wing causing the current
disquiet throughout the world.
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Kamil Khan Mumtaz was born and grew up on the sub-continent,
surrounded by some of the best examples of traditional craftsmanship,
vernacular and civic architecture from pre-Mogul to British era. His
professional training abroad, in his view, almost put him off course and he
was forced to make some ‘mid-way corrections’ to his professional progress
to return to a point where his work was ’seamlessly’ connected to the
centuries of traditions.
Islam and its rich heritage offers him a framework to bridge the gap
between alien western culture on one side and prevailing lack of continuity
and cultural relevance in local architectural world on the other. He is striving
hard to regain the understanding of the past where religion, culture and
building forms and techniques were in harmony.
I have been aware of his high standards of architectural output for a while,
particularly his interest in indigenous approach, trying to keep alive or
revive the building traditions that continue to suffer and deteriorate in
Pakistan. This is not an easy balance to strike if your clients have differing
expectations and ambitions, which are sufficient reasons for Kamil to
politely decline such projects.
I had the pleasure of meeting Kamil in Lahore a few months ago, when he
very kindly accompanied me to show some of his building projects currently
under construction.
The sensibilities of the architect are moulded by his academic training.
He is sensitised to the role of “function” and of “pure aesthetics” of sensible
form, but not to that of religion as a factor in the design process. Thus it is
only in deference to a valued client’s sensibilities, or as a cultural metaphor
rather than as religious symbol; that the average architect may be
persuaded to incorporate some token reference to traditional forms into his
otherwise “modern” designs.
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I have been able to evoke the delights of discovering the hidden
paradise with internal patios and fountains I have learned to work within the
framework of a new discipline of symmetries, proportions, and rhythms
which reflect the cosmic order and perfect balance underlying the apparent
chaos of the universe An architecture based on appropriate technology will
fail to convey its message unless it also employs a language that is
appropriate and meaningful in the context of a specific culture
…within these same environments the opportunities have also existed for architecture to act as
a catalyst in promoting a meaningful debate which addresses issues which should be central to
the discourse of architecture in these environments: Architecture can play this role by positing
strategies for urban development in the context of high rates of population growth, high rates of
urbanisation, and persistent poverty; by exploring the validity of urban forms and morphologies
which have evolved over the millennia in this particular geographic context; by imaginatively
exploiting available material resources and skills and developing appropriate technologies; by
designing buildings which are responsive to the climate of their region; by developing an
architectural vocabulary which is meaningful to the people and relevant to their culture and
history; by creating relationships of spaces and buildings which are sensitive to prevailing
social values and norms; and by clarifying the issues in the current debate on modernity and
tradition in these societies.

3) PRARTHNA

Architect: Suhasini Ayer

The housing of Prarthna started as a conventional housing
development with an array of Apartment blocks comprising of
different types of Housing units. But after the first 2 blocks it
became clear that a mixed land use of row houses and
apartments would be more appropriate for the needs of
As this was then the unifying element in the housing, one could then freely
Auroville. Auroville is a society of extreme cultural, social and
explore the internal layout of the houses to the needs and lifestyle of the
economic diversity and often the lifestyle of the people are very
occupant.
different to be accommodated within the narrow range of
different housing types of 2 bed/bath or 3 bed/2 bath………….We
needed to explore a more site specific and climatically suitable
principle of housing

Taking this into account the neo-urbanism model of using streets and Like most of the projects done by the Architecture Dept, Auroville Building
semi private green spaces was adapted into the site plan. This was Centre the guiding principles are
enhanced by evolving a building language that was inspired from the • Solar passive design
vernacular forms of costal Tamil Nadu. The concept of using transition • Participatory design process with the end user
spaces that are verandahs, sit outs and terraces as the living spaces with a
cascade of shading roofs in terracotta tiles as the skyline. • Flexibility of functions within spaces
• Low input construction techniques and materials
• Recycling of waste water
• Minimalism of built form

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 necessarily derive from the past, which were developed over many years
and responded to the climate, used materials that were less disturbed our
ecological balance.

It will need many groups of people in many towns and cities, who are
concerned enough to conserve some of the past and to plan the future with
a greater awarenass.

Perhaps one day we will learn to maintain our commercial viability but at
the same time respect the spirit and the qualities of traditional design.

VANISHING VERNACULAR VOCABULARY

The changing face of the domestic architecture of India,It asks
question about why vernacular houses in the city are being
replaced with modern concrete constructions.It then looks at the new
residential areas where the vernacular vocabulary is emerging in a
fragmented way to make a ‘Style’.In the end,it looks at one of the many
houses from the past that are being sold to ‘dismantling contractors’ so that
CONSULION
..the land can become useable again for constructing a multi-storeyed
residential buildings. The vernacular dwelling is the unconscious expression of a people’s
cultue. More than the architecture of secular or religious institutions,
The vernacular house is a small part-palaces, deorhis, kotlas, monuments,
houses mirror the needs, desires, and living habits of a time because they
mosques, tombs and from the present development-modern shopping
are the direct result of the interaction between people and their
complexes, commercial buildings, administrative buildings and large
environment.
institutional buildings. Each house was from a different locality with varied
surroundings.Each house had differences in the elements of the house. The unity of construction and landscape were lost. Mostly today’s
Some had one courtyard,some two and some none. The balconies of the urban,residential buildings activities do not repect the architecture values or
houses were also different.the construction techniques and materials also practices of the past .Also lacking is a feeling for harmony and proportion
varied subtly.
But now as “the Earth Institute of Auroville” change the techniques in
What does it mean to share one’s concern? It is to share, what we know vernacular architecture.
about the richness of this architecture with the others.to share our
knowledge of the building materials and their advantages, about how new
architecture can evolve from this, that new ways of building must

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