Jodhpur

BUSHRA ALI TRADITIONAL ARCHITECTURE OF JODHPUR
CONTENTS
AIM ....................................................................................................................................... 3
OBJECTIVE .......................................................................................................................... 3
RATIONALE ......................................................................................................................... 3
SCOPE ................................................................................................................................. 3
LIMITATIONS ....................................................................................................................... 3
1. RESEARCH METHODOLOGY ......................................................................................... 4
2. INTRODUCTION.............................................................................................................. 5
2.1. HISTORY ................................................................................................................... 6
2.2TOPOGRAPHY ............................................................................................................ 7
3. JODHPUR ARCHITECTURE ........................................................................................... 9
3.1 MEHRANGARH FORT .............................................................................................. 11
3.1.1. Moti Mahal - The Pearl Palace ........................................................................... 13
3.1.2. Phool Mahal (Flower Palace) ............................................................................. 15
3.1.3. Sheesh Mahal (Mirror Palace) ............................................................................ 16
3.1.4. Takht Vilas ........................................................................................................ 16
3.2. CLOCK TOWER (ISLAMIC STYLE) ........................................................................ 19
3.3. JASWANT THADA (RAJPUTANA STYLE) ............................................................... 20
3.4. UMAID BHAWAN PALACE ...................................................................................... 22
3.4.1. Palace ................................................................................................................ 23
3.4.2. Hotel .................................................................................................................. 24
.................................................................................................................................... 25
3.4.2. Museum ............................................................................................................. 25
3.5. SPIRIT OF JODHPUR .............................................................................................. 27
3.5.1. Functional and Decorative: ................................................................................. 29
3.5.2. Demands of the Desert ...................................................................................... 30
3.5.3. A Composite Design:.......................................................................................... 30
CONCLUSION ................................................................................................................ 34
REFERENCE: ..................................................................................................................... 35
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FIGURES
S.NO. FIGURE NAME PAGE NO.
1. JODHPUR CITY VIEW 6
2. LOCATION AND CLIMATIC CONDITION 6
3. HISTORIC CITY OF JODHPUR 7
4. PANORAMA OF JODHPUR FROM 2011-09-27 8

5. TOPOGRAPHY AND CONSTRUCTION DETAIL 8
6. ELEVATION MAP 9
7. JAALI OF INDIAN ARCHITECTURA STYLE 10
8. BLUE CITY 11
9. MEHRANGARH FORT 12
10. LOHA POL 12
11. PLAN OF MEHRANGARH FORT 13
12. ELEVATION OF MEHRANGARH FORT 14
13. MOTI MEHAL 15
14. COLUMNS AND ARCHES OF MOTI MEHAL 15
15. INTERIOR OF PHOOL MEHAL 16
16. MIRROR WORK IN INTERIOR 17
17. INDIAN ARCHITECTURE STYLE 17
18. ISLAMIC ARCHITECTURE 18
19. CARVING IN BHAGGI 18
20. TOP VIEW 19
21. CLOCK TOWER,SADAR BAZAR 20
22. CLOCK TOWER 20
23. RAJPUTANA STYLE OF JODHPUR 21
24. CARVING WITH POLISHED STONES 22
25. COURTYARD VIEW 22
26. UMAID BHAVAN ARIAL VIEW 23
27. UMAID BHAVAN PALACE 24
28. GREAT LOBBY IN PALACE 25
29. SWIMMING POOL 25
30. MARWAR HALL 26
31. PAINTING 26
32. HOTEL LOBBY 26
33. INSIDE THE MUSEUM 27
34. SILENT FEATURES OF UMAID BHAVAN 27
35. SPIRIT OF JODHPUR(EXTERIOR VIEW) 28
36. MUMTY LEVEL(CHAJJA) 28
37. PATHWAY 28
38. ENTRANCE 29
39. VERANDAH WITH SEATING ARRANGEMENT 30
40. MAIN ENTRANCE 30
41. ARCHES 31
42. PASSIVE COOLING SYSTEM 31
43. LIVING ROOM 32
44. GAZIBO 32
45. CIRCULAR ENTRANCE 32
46. DRAWING ROOM 33
47. MATERIAL 34
48. GAZIBO WITH PARGOLA 34
49. VERANDAH 34
50. WASHROOM 35
51. PLANS 35
52. BEDROOM 35
53. INTERIOR 35
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TRADITIONAL ARCHITECTURE OF BLUE CITY
AIM
The aim is to study about Indian Architecture so this city has been chosen. Jodhpur, being
one of the most predominant city for study of Indian architecture as well as hot and dry climate
facilitates this research.
Considerable sites:


Mehrangarh Fort

Jasvant Thada

Clock Tower (nayi sadak)

Umaid Bhavan Palace
Spirit of Jodhpur
OBJECTIVE
 To study the traditional architecture prevalent in Jodhpur
 To study the plans and sections of various sites visited
 To relate this information to the prevalent architectural practises in and around
Jodhpur
RATIONALE
Jodhpur is now developing city, i.e. according to tourism, construction of societies according
to the vernacular architecture, combination of local vernacular architecture with various
architecture.
SCOPE
Vernacular architecture of Jodhpur is one of the unique architecture of India which reflects the
Indian culture, and society. So, now the construction of building is according to the vernacular
architecture. It has its own importance.
LIMITATIONS
On covering whole heritage site there are some restriction which I can’t able to cover.
3
1. RESEARCH METHODOLOGY
METHODOLOGY
PRIMARY SOURCES SECONDARY

SOURCES
CASE STUDY
LITERATURE TEACHER AND
OTHER SOURCES
INTERVIEWIN
SITE VISIT
G WITH INTERNET
CITIZENS BOOKS INFORMATION
CENTRE
DATA COLLECTION
ANALYSIS
AND CONCLUSION
4
2. INTRODUCTION
Country India
State Rajasthan
District Jodhpur
Settled 1459
Founded by Rao Jodha of Mandore
Named for Rao Jodha
Government
Area
• Total 289.85 km2 (111.91 sq mi)
Elevation 231 m (758 ft) Figure 1 :JODHPUR CITY VIEW
Population (JULY 2015) SOURCE: http://www.realdatajobs.com/wp-

content/uploads/2016/02/Jodhpur-icon.jpg
• Total 1,320,000
• Rank 43th
• Density 4,600/ km2 (12,000/sq mi)
Jodhpur is the second largest city in the Indian state of Rajasthan. After its population crossed a million,
it has been declared as the second "Metropolitan City" of Rajasthan. It was formerly the seat of a princely
state of the same name, the capital of the kingdom known as Marwar. Jodhpur is a
popular tourist destination, featuring many palaces, fortsand temples, set in the stark landscape of
the Thar Desert.
The city is known as the "Sun City" for the bright, sunny weather it enjoys all the year round. It is also
referred to as the "Blue City" due to the vivid blue-painted houses around the Mehrangarh Fort. It is the
hometown of Meghraj Lohiya, a senior BJP Leader and present Chairman (status of Minister of State) of
Rajasthan Small Industries Corporation Ltd. The old city circles the fort and is bounded by a wall with
several gates. However, the city has expanded greatly outside the wall over the past several decades.
Jodhpur lies near the geographic centre of Rajasthan state, which makes it a convenient base for travel
in a region much
FIGURE 2:LOCATION AND CLIMATIC CONDITION
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2.1. HISTORY
Jodhpur history revolves around the Rathore Clan. Rao Jodha, the chief of the Rathore clan,
is credited with the origin of Jodhpur in India. He founded Jodhpur in 1459. The city is named
after him only. It was previously known as Marwar. The following paragraphs will tell you more
about the past of Jodhpur, Rajasthan.
The Rathores were driven out of their original homeland, Kaunaj, by Afghans. They fled to
Pali, near to the present day Jodhpur. Rathore Siahaji married the sister of a local prince. This
helped the Rathores to establish and strengthen themselves in this region. In some time they
ousted the Pratiharas of Mandore, just 9 km of today's Jodhpur. Initially, Mandore served as
their capital, but, by 1459, Rathores felt a need for a secure capital. This lead to the formation
of Jodhpur, the Sun City, by Rao Jodha.
Figure 3: HISTORIC CITY OF JODHPUR
Source : http://portfolio.cept.ac.in/jodhpur-historic-chowk-navchowkiya/
The Rathores enjoyed good relations with all the Mughals, except Aurangzeb. Maharaja
Jaswant Singh even supported Shahjahan in his struggle for succession. After Aurangzeb's
death, Maharaja Ajit Singh drove out Mughals from Ajmer and added it to Marwar (now
Jodhpur). Under the reign of Maharaja Umed Singh, Jodhpur grew into a fine modern city.
During the British Raj, the state of Jodhpur was the largest in Rajputana, by land area.
Jodhpur prospered under the British Raj. Its merchants, the Marwaris, flourished endlessly.
They came to occupy a dominant position in trade throughout India. In 1947 India became
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independent and the state merged into the union of India. Jodhpur became the second city of
Rajasthan.
FIGURE4: PANORAMA OF JODHPUR FROM 2011-09-27
Source: https://File:Jodhpur_panorama_view-september_2011.jpg
2.2TOPOGRAPHY
This district comes under the arid zone of the Rajasthan state. It covers 11.60 percent of the
total area of arid zone of the state. Some of the area of the great Thar Desert in India also
comes within the district. General slope of the terrain is towards west. Extreme heat in summer
and cold in winter is the characteristic of the desert. Jodhpur is no exception.
Figure 5: TOPOGRAPHY AND CONSTRUCTION DETAIL
Source: http://www.jodhpurindia.net/jodhpur-history
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RIVER
There is no perennial river in the district. However, there are important rivers in the district viz.
Luni River `and Mithri River though their base is saline water. Main sources of irrigation
besides rainwater are dug-wells and tube-wells. The highest-irrigated area in the district is in
Bilara Tehsil followed by Bhoplgarh and Osian tehsil.
SOIL
The soil of the district is classified mainly as sandy and loamy. Bajra (pearl millet) is the major
crop in the Kharif season. Jodhpur has excellent ground water in many parts of the district. In
Rabi, wheat, pulses and a variety of spices like jeera, dhania and red chilli are also grown.
Jodhpur is well known for its red chilli, onion and garlic. It is one of the major production
centres for Guar. The major and important minerals of the district are sandstone and
limestone. Fawn and red coloured sandstone of the district is very popular and found in
abundance. Besides this, building stones, stone slabs and flagstones are mined in the district
on a regular basis. Minerals like quartz and clays of various colours and dolomite are also
available in the district.
FLORA AND FAUNA
On account of the arid climate, a rather negligible percentage of the total reporting area for
the land use in the district is covered by forests. Due to sandy soil only scrub and thorny
bushes of vegetation are found in the forest areas of the district. The main species of trees
are Kumat, Kair, Khejri, Babul, Bir, Jal khara, Pilu etc. Fruit bearing trees are pomegranates
and guavas. The fauna of the district includes jackal, Jungle Cat, Indian Fox, Black Buck,
Chinkara, common hare, etc. The birds commonly found are Baya, koyal, parrot, Vulture,etc.
ELEVATION
Figure 6: ELEVATION MAP
Source: http://www.floodmap.net/Elevation/ElevationMap/?gi=1268865
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3. JODHPUR ARCHITECTURE
Jodhpur is a prominent city of Rajasthan and is a
reservoir of magnificent palaces and majestic forts.
Set in the landscape of the Thar Desert, the city of
Jodhpur is known as the Sun City. It is also referred
to as the Blue City due to the indigo tinge of the
whitewashed houses around the Mehrangarh Fort.
The old city of Jodhpur is surrounded by a stone
wall and the new city is on the other side of the
railway tracks, in the southeastern direction. The
new palace houses the royal family in one half,
while the other half is a high class hotel.
Figure 7 : JAALI OF INDIAN ARCHITECTURA
STYLE
Jodhpur was the capital of the Marwar kingdom till source:http://www.twitsnaps.com/share/photo/32960
the 13th century when the Rathore clan conquered _mehrangarhfortfrontcloseupview8.JPG
it. In 1459, the present city was developed by Rao
Jodha. A branch of this family built Bikaner,
Pokhran and Jaisalmer. Jodhpur was a prominent
nodal city for trade between the east and the west
and is now the second largest city of Rajasthan.
Jodhpur is a home of several new architectural
patterns which has enriched the panorama
of Indian architecture.
The Umaid Bhawan Palace of Jodhpur is noted for
its imposing architectural features. The
construction of the palace was actually aimed as a
public relief and employment project during a long
period of drought. Chittor sandstone has been used
in the construction of this palace which imparts a special effect on it. The architecture of the
palace was designed by a British architect who has rendered an indo saracenic style of
architecture in it. The main features of architecture of Umaid Bhawan palace is beautiful
balconies, green gardens, charming courtyards, and stately rooms. At present the palace has
been converted into a heritage hotel and a royal museum. The Mehrangarh Fort majestically
perched on a rocky mountain, at a height of hundred and twenty meters looks down on the city
below. The architecture of the fort is very impressive and it is one of the largest forts in India. The
fort wall has seven entrances and a number of palaces within, all connected with courtyards. The
structures with their Bengaldar roofs bear a resemblance to the Bikaner Palace and have a strong
influence of Islamic architecture. The only difference is that where Islamic palaces stand
independently, here all the buildings stand in one continuous row.
The Jaswant Thada palace is half-way up the hill, built intricately with white marble and has
elaborate sculptures in the traditional style. Inside is a big hall with a steel frame, built as a
mausoleum for Jaswant Singh II. The exterior with its open platform and flowing water is
especially noteworthy. The Balsamad lake palace of Jodhpur summer palace built in the
European style, with a garden in the Mughal style, facing a man-made lake.
Jodhpur is the second largest city in Rajasthan in India and is also known as the blue city because
the color gives an indigo aura to it with blue colored houses surrounding the Mehrangarh Fort. Also
known as the Sun City due to its perennial sunny weather, it receives sparse rainfall and is located in
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the Thar Desert. Jodhpur is a famous tourist attraction and offers myriad places of interest that have
significant historical importance. It is also famous for its well preserved forts that are adorned with
exquisite intricate carvings and pieces of art. The city is teeming with bazaars and crowded with
tourists and is comparatively more populated than other cities in Rajasthan
Figure 8: BLUE CITY
Source: http://www.indiamarks.com/jodhpur-india-the-blue-city/
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3.1 MEHRANGARH FORT

Rising perpendicular and impregnable
from a rocky hill that itself stands 120m
above Jodhpur’s skyline, Mehrangarh is
one of the most magnificent forts in
India. The battlements are 6m to 36m
high, and as the building materials were
chiselled from the rock on which the fort
stands, the structure merges with its
base. Still run by the Jodhpur royal
family, Mehrangarh is packed with
history and legend. Mehrangarh’s main
entrance is at the northeast gate, Jai Pol
Figure9:MEHRANGARH FORT
. You don’t need a ticket to enter the fort
itself, only the museum section. Source:https://indiavisitonline.files.wordpress.com/2014/
09/jodhpur-mehrangarh-fort.jpg?w=730
It’s about a 300m walk up from the old
city to the entrance, or you can take a winding 5km
autorickshaw ride (around ₹100). The superb
audio guide (available in 11 languages) is included
with the museum ticket, but bring ID or a credit card
as deposit.
Jai Pol was built by Maharaja Man Singh in 1808

following his defeat of invading forces from Jaipur.
Past the museum ticket office and a small cafe, the
16th-century Dodh Kangra Pol was an external
gate before Jai Pol was built, and still bears the
scars of 1808 cannonball hits. Through here, the
main route heads up to the left through the 16th-
century Imritia Pol and then Loha Pol , the fort’s
original entrance, with iron spikes to deter enemy
elephants. Just inside the gate are two sets of
small hand prints, the sati (self-immolation) marks Figure 10: LOHA POL
of royal widows who threw themselves on their Source:https://culturemobile.wordpress.com/
2010/10/20/global-architecture-mehrangarh-
maharajas’ funeral pyres – the last to do so were fort-rajasthan-india/
Maharaja Man Singh’s widows in 1843.
Past Loha Pol you’ll find a restaurant and Suraj Pol , which gives access to the museum. Once
you’ve visited the museum, continue on from here to the panoramic ramparts , which are lined
with impressive antique artillery.
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Also worth exploring is the right turn from Jai Pol, where a path winds down to the Chokelao
Bagh , a restored and gorgeously planted 18th-century Rajput garden (you could lose an
afternoon here lolling under shady trees reading a book), and the Fateh Pol . You can exit
here into the old city quarter of Navchokiya.
Figure 11: PLAN OF MEHRANGARH FORT
Source: https://astonishingindia.net/2014/04/16/forts-of-rajasthan/olympus-digital-camera-290/
Architecture - Mehrangarh Fort stands a hundred feet in splendour on a perpendicular cliff, four
hundred feet above the sky line of Jodhpur. Burnished red sand stone, imposing, invincible and yet with
a strange haunting beauty that beckons . Much has been written about the Citadel of the Sun, for truly,
it is one of the most impressive in all Rajasthan. So colossal are its proportions that Rudyard Kipling
called it “ the work of giants”. Today, it is acknowledged as the finest living example of a Hindu fortress.
Jodha’s fortress was 'Chao Burja' – a fort with four Bastions. The extremities of the original fortress fall
within the limit of the second gate today. Of Jodha’s time itself, very little remains, the fort expanded
beyond his outer gates within fifty years of his death but the spot where this gate stood is known as “
Rao Jodhaji Ka Falsa” ( Jodha’s outer limit of the boundary). In its Janampatri the fort is named
Chintamani, after the Mythological gem worn by lord Ram which supposedly frees the owner of all
worldly worry. Chintamani gave way to Mordhwaj, the flag of the peocock, presumably because the
forts outer parameter suggests the fan like tail of a dancing peacock, It is at some point after this that
the name Mehrangarh began to appear in chronicles and poems. “Mehr” is a Rajasthani word for the
sun and it is not at all unlikely that the Suryavanshi Rathores would name their first citadel in their
mythological ancestor’s honour.
The beauty of Kashmir has often been celebrated in prose and rhyme. However, one of the grandest
sights in India is the fort of Jodhpur, built by titans in Kipling’s unrivalled phrase and lit with the glory of
the morning sun it stands on a bluff over the town like some levia left high and dry by a subsiding flood”.
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The surrounding wall of the fort today is from 6 to 36 Meters high and from 3 to 21 Meters thick,
enclosing an oblong space of about 457 Meters in length by 228 in breadth at its widest part. This
enclosure is almost completely covered by buildings viz. palaces, barracks and magazines. It has two
main entrances at the north east corner and south west extremity. The top of the outer wall on the east
and south-east sides has been formed into wide ramparts for working artillery and on the other sides
the wall is surmounted by a complete chain of battlements, with towers here and there to support heavy
guns. The palace displays stone carving in its arches, windows, balustrades and balconies, which are
both elegant and beautiful in design and finish. The masonry is very solid and substantial through out,
the walls of the fort and palace are of heavy cut stone, well cemented and sometimes pinned together
with iron spikes. To give additional strength to the outer walls, they were in many places strongly
buttressed, and the masonry spiked to the rock on which it rests.
Figure 12:ELEVATION OF MEHRANGARH FORT
Source: http://journeymart.com/de/india/rajasthan/jodhpur/mehrangarh-fort.aspx
Seventeen generations of Rathore Rulers have added temples, palaces and court-yards . Yet nowhere
does a building seem out of place for the blending has been skillfully done, and each addition is in true
spirit to the original architecture. The rugged walls belie the delicate beauty of the palaces within. The
main feature of the fort palace is; more accommodation for women than for men, two thirds of the palace
is taken up by the Zenana ( for ladies). The imbalance is pronounced because the duties of imperial
service caused the rulers and their male relations to spend long periods away from their capital. A major
court of the Jodhpur Zenana is the Moti Mahal Chowk. The north, east and south wings of this court are
decorated with numerous Jharokhas filled with Jali screens and capped by 'bangaldar' eaves, the whole
scheme carved from sandstone and painted white.
3.1.1. Moti Mahal - The Pearl Palace
The Moti Mahal; the Pearl Palace takes it’s name from the quality of the lime plaster used. Mixed with
finely crushed shells, it gives the surfaces of the room a pearl-like luster. Oil lamps glowed from every
alcove. Light bounced off the gold filigree ceiling and reflected the colors of the stained glass windows.
This created a marble-like patina on the walls…The Moti Mahal was where Mehrangarh’s most
important Durbars were held. A Durbar is where the Maharaja met his family, nobles, ministers, officers
and spiritual leaders formally…for matters of state
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Figure13:MOTI MEHAL
Source: https://c2.staticflickr.com/4/3479/3187912621_0dcff78f49_z.jpg?zz=1
Figure14:COLUMNS AND ARCHES OF MOTI MEHAL
Source:https://redscarabtravelandmedia.files.wordpress.com/2012/09/jodhpur-mehrangarh-fort-
opulence_anurag-mallick.jpg
The five deep alcoves running above the doors on the right look like a decorative architectural feature,
but they’re actually secret balconies. And here the Maharaja’s queens would sometimes sit, silently
listening in on court proceedings. This extension of the Maharaja’s ears was often invaluable.
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3.1.2. Phool Mahal (Flower Palace)
Figure 15:INTERIOR OF PHOOL MEHAL
Maharaja Abhaya Singh built the Phool Mahal. It is one of the grandest Mehrangarh Fort period
rooms. It is believed that the Phool Mahal was a private and exclusive chamber of pleasure.
Dancing girls are believed to perform here for the pleasure of the Maharajas. The gold for the
Mahal came from Ahmedabad in Gujarat. The paintings, royal portraits and the ever-popular raga
mala of the Mahal came during the reign of Jaswant Singh II.
The Phul Mahal; The Palace of Flowers was built early on in the eighteenth century, and it’s
as if all the exotic beauty of India was condensed into this one exquisitely breathtaking room.
From the gold ceiling with its ornate floral design to the geometric Jali screens fitted with
stained glass it’s the ultimate in oriental opulence. The Phul Mahal is a room dedicated to the
art of pleasure. In the flickering glow of candlelight reflected from the mirrored ceiling, poets
recited lyrical verse, musicians played melodic ragas and dancers danced till dawn.
15
3.1.3. Sheesh Mahal (Mirror Palace)
Figure 16: MIRROR WORK IN INTERIOR
Source:https://redscarabtravelandmedia.files.wordpress.com/2012/09/j
odhpur-mehrangarh-fort-opulence_anurag-mallick.jpg
Sheesh Mahal, is a fine example of a typical Rajput Sheesh Mahal, very different from the
Mughal, though no doubt originally inspired by that immensely popular Mughal fashion. The
mirror work includes large, regular pieces, rather than an intricate mosaic of tiny fragments;
another difference is the superimposition over the mirror work of brightly painted religious
figures made in plaster.
3.1.4. Takht Vilas
Figure 17 : INDIAN ARCHITECTURE STYLE
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This beautiful room was the private sanctuary of the thirty second Rathore Ruler, Maharaja
Takhat Singh. He died in 1873 and was the last to actually live in Mehrangarh.It was during
Takhat Singh’s reign that the British came to dominate India. And in this bedroom,which was
also used to entertain, we see evidence of their arrival, The Christmas balls hanging from the
wooden rafters are a wonderfully fitting variation to traditionally mirrored Indian ceilings.
Unrelated images cover every inch of the walls. Paintings of European women mingle with
traditional love stories, Hindu Gods and Goddesses, Even the floor is painted.
Figure18:ISLAMIC ARCHITECTURE
Figure 19: CARVING IN BHAGGI
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One can also find the fort’s museum as an interesting way for getting the glimpse of the
priceless antiques of the Rajasthan’s history.The museum houses an exquisite collection of
palanquins, howdahs, royal cradles, miniatures, musical instruments, costumes and furniture.
The ramparts of the fort are home to not only several excellently preserved old cannons but
also offer a breath taking aerial view of the city.
Figure 20: TOP VIEW
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3.2. CLOCK TOWER (ISLAMIC STYLE)
DOME
GATE
Figure 21: CLOCK TOWER,SADAR BAZAR
Source:https://www.makemytrip.com/travel-
guide/dgHolidayActivityCards?entity_id=3545
The century-old clock tower is an old city landmark surrounded by the vibrant sounds, sights
and smells of Sardar Market, which is marked by triple gateways at its northern and southern
ends. The narrow, winding lanes of the old city spread out in all directions from here.
Westward, you plunge into the old city’s commercial heart, with crowded alleys and bazaars
selling vegetables, spices, sweets, silver and handicrafts
Ghanta Ghar, also known as the clock tower of Rajasthan, is in the Indian city of Jodhpur.It
was built by Maharaja Sardar Singh (1880-1911) from whom the market takes it name. In fact,
the tower dominates the entire scenario. It's a 70 mm cinemascope with unknown and faceless
humans in the lead roles for many tourists, most of whom are filming it live
Figure22: CLOCK TOWER
Source: https://www.makemytrip.com/travel-guide/dgHolidayActivityCards?entity_id=3545
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3.3. JASWANT THADA (RAJPUTANA STYLE)

To the left of the Mehrangarh Fort complex is the Jaswant Thada of Jodhpur, Rajasthan. It is
a 19th century royal cenotaph built in commemoration of Maharaja Jaswant Singh II, the 33rd
Rathore ruler of Jodhpur. The son of Maharaja Jaswant Singh, Maharaja Sardar Singh, in the
memory of his father, built the Jaswant Thada. The cenotaph has two more tombs within it.
Near to this are the royal crematorium and three other cenotaphs.
Famous Jaswant Thada in Jodhpur, India is an example of architectural brilliance in India. It

is a white marble memorial, built out of intricately carved sheets of marble. The carving shows
the genius of the sculptors. These stones are extremely thin and polished. As a result, the
outside surface of the monument emits a warm glow when the sunrays fall on its surface.
There is also beautiful marble jali work on the cenotaph. You can have some nice views from
the terrace in front of the cenotaph.
CHATTERIES
WINDOWS
Figure 23: RAJPUTANA STYLE OF JODHPUR
Source:http://www.freepressjournal.in/be-a-jubilant-voyager-at-jodhpur/700432
The cenotaph of Maharaja Jaswant Singh displays portraits of the rulers and Maharajas of
Jodhpur. The main memorial has been built like a temple. To visit the Thada you have to go
through the rocky hills. This also lends a mystic aura to the whole visit. Do make sure to visit
this architectural delight while on a tour to Jodhpur, Rajasthan.
Considered to be one of the architectural landmarks of Jodhpur, Jaswant Thada is

popularly known as the ‘Taj Mahal of Marwar’.
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Figure 24:CARVING WITH POLISHED STONES
Source : http://www.jodhpurindia.net/forts-and-monuments/jaswant-thada.html
The structure is an epitome of a Rajputana style of architecture. Built from intricately

carved marble sheets, the polished stone exudes a warm glow when sunrays fall on it.
The structure also has some beautiful carved marble lattice work.
Figure 25: COURTYARD VIEW
Source : http://travel.india.com/jodhpur/places-to-visit/historical-jaswant-thada/
The main memorial has been built like a temple with beautiful sculptures, frescos, domes
and pillars. The cenotaph also features portraits of the rulers and Maharajas of J odhpur.
Carved gazebos and a multi-tiered garden surround the monument. The cenotaph
complex also houses the royal crematorium and three other cenotaphs. The monument
also houses a memorial to a peacock which flew into a funeral pyre.
From the structure, one also gets to see impressive views of Mehrangarh Fort
21
3.4. UMAID BHAWAN PALACE

Architectural style :Beaux Arts style and a blend of eastern and western architectural style
Architect: Vidyadhar Bhattacharya and and Sir Samuel Swinton Jacob
Structural system : Golden yellow or dun coloured sand stone
Figure 26: UMAID BHAVAN ARIAL VIEW
Source: http://i.ndtvimg.com/i/2016-01/umaid-bhawan-palace-625-300_625x300_41453378193.jpg
Umaid Bhawan Palace, located at Jodhpur in Rajasthan, India, is one of the world's largest
private residences. A part of the palace is managed by Taj Hotels. Named
after Maharaja Umaid Singh, grandfather of the present owner Gaj Singh of the palace, this
edifice has 347 rooms and serves as the principal residence of the erstwhile Jodhpur royal
family. A part of the palace also houses a museum.
Umaid Bhawan Palace was called Chittar Palace during its construction due to use of stones
drawn from the Chittar hill where it is located. Ground for the foundations of the building was
broken on 18 November 1929 by Maharaja Umaid Singh and the construction work was
completed in 1943. The Palace was built to provide employment to thousands of people during
the time of famine.
Recently, Umaid Bhawan Palace was awarded as the World's best hotel at the Traveller's
Choice Award, which was organised by Trip Advisor.
22
Features
The Palace is divided into three functional parts – the residence of the royal family, a luxury Taj
Palace Hotel, and a Museum focusing on the 20th century history of the Jodhpur Royal Family
3.4.1.Palace
Figure27:UMAID BHAVAN
Source: http://www.jodhpurindia.net/forts-and-monuments/umaid-bhavan-palace.html
The entire palace complex built with sandstone and marble is set in an area of 26 acres (11 ha) of
land including 15 acres (6.1 ha) of well tended gardens. The palace, magnificent in its lavish
proportions, consists of a throne chamber, an exclusive private meeting hall, aDurbar Hall to meet
the public, a vaulted banquet hall, private dining halls, a ball room, a library, an indoor swimming
pool and spa, a billiards room, four tennis courts, two unique marble squash courts,[4] and long
passages.
The interior central dome sits above the sky blue inner dome. The inner vaulted dome is a major
attraction in the palace which rises to a height of 103 feet (31 m) in the interior part which is capped
by an outer dome of 43 feet (13 m) height. The entry to the palace has decorations of the Coat of
arms of the Rathore Royal family. The entry leads to the lobby which has polished black
granite flooring. The lounge area has pink sandstone and marble floors
23
Figure 29: SWIMMING POOL

Figure28 :GREAT LOBBY IN PALACE
source:https://www.rajasthantourpackage.co/wp- Source: http://50.28.61.195/~tours2paradise/wp-
content/uploads/2016/01/lobby-taj-umaid-bhawan-palace- content/uploads/2014/12/india_jodhpur_taj-umaid-bhawan-palace-
luxury-hotel-jodhpur-rajasthan.jpg wide-pool.jpg
Maharaja Gaj Singh, known as "bapji", stays in a part of the palace. The architecture of the palace
is described as an amalgam of lndo-Saracenic, Classical Revival and Western Art Deco styles. It
is also said the Maharaja and his architect Lanchester had considered the features
of Buddhist and Hindu edifices such as the Temple Mountain-Palaces of Burmaand Cambodia,
and in particular the Angkor Wat in preparing the layout and design of the palace. The interior of
the palace is in art deco design. The interior decoration is credited to J.S. Norblin, a refuge
from Poland, who created the frescoes in the throne room on the east wing. An architectural
historian commented that "it is the finest example of Indo-deco. The forms are crisp and precise"
3.4.2. Hotel
The hotel wing of the palace is run by the Taj Group of Hotels. It has 70 guest rooms including the
luxurious "Regal and Vice Regal Suites" and the fabulous "Maharaja" and "Maharani suites" with
art deco style decorations, the latter is fitted with a bath tub carved from a single block of pink
marble said to be the only one of its type in India. The Maharani suite also has parquet flooring and
has a terrace which provides scenic views of the garden. The bed room has an attached kitchen
and the furnishing here is in pink and peach colour. The bed is also fitted with an art feature of a
woman sitting on a lion. The Maharaja Suite has manly furnishings in leopard skin, and with black
marble flooring and a curved mirrored dome. Both the rooms are decorated with murals. The
banquet hall of the palace now forms the large restaurant
24
Figure 30: MARWAR HALL
Source:https://www.facebook.com/colorsofrajasthan/photos/a.281174675230470.90274.275827359098535/2811
74861897118/?type=3&theater
Figure 31: Painting Inside Umaid Bhavan Palace depicting a Figure 32: HOTEL LOBBY
Rajput War (probably with the Mughals) with the Mehrangarh
fort in the backdrop Source:http://resources0.news.com.au/images/2013/05/29/
1226652/368792-hotel-lobby.jpg
3.4.2. Museum
The museum has exhibits of stuffed leopards, a very large symbolic flag gifted to Maharaja Jaswant
Singh by Queen Victoria in 1877, an impressive "quirky" collection of clocks in windmill and light
house shapes, and photographs of the elegant art-deco interior of the palace. The classic cars of
the Maharajas are also on display in the garden in front of the museum. Glass, porcelain wares,
memorabilia, and information on the building of the palace are also part of the exhibits. The Darbar
Hall, which is part of the museum, has elegant murals and also substantial number of miniature
25
paintings, armour and an unusual collection of household paraphernalia that was in vogue in the
1930s, which were costly and then not found in India. October to March, during winter season, are
the best months to visit the palace and the museum
Figure 33: INSIDE THE MEUSEUM
Figure34 : SILENT FEATURES OF UMAID BHAVAN
Source:https://www.facebook.com/colorsofrajasthan/photos/a.281174675230470.90274.2758273590
98535/281174721897132/?type=3&theater
26
3.5. SPIRIT OF JODHPUR
Designing a residence in Jodhpur was an interesting journey for Pune-based architects

Manish Banker and Shailesh Untwale of TAO Architecture Pvt Ltd, who set out to capture the
spirit of the desert city in a contemporary idiom. Their design met modern living needs using
local construction techniques and materials, rather than by transporting these from other
areas.
Figure35:: SPIRIT OF JODHPUR(EXTERIOR VIEW)
Figure 36:MUMTY LEVEL(CHAJJA)

Figure 37: PATHWAY
27
Broad verandahs that set rooms away from the exterior walls; recessed glazing only in shaded
areas so that direct sunlight never falls on them; stone jaalis that cut out the intense glare yet
bring in light and ventilation were sketched on the drawing board.
There are small inner courtyards, so there is hardly any direct sunlight even though there is
ample light and fresh air.
‘We went to Jodhpur as students rather than as professionals,’ says Manish Banker of the
initial trip he and Shailesh Untwale made to the desert city in response to Nisha and Satyendra
Johri’s invitation to design a modern residence for them which would connect with the outdoors
and reflect local culture. The architects surveyed the client’s two-acre plot, located in a
residential community surrounded by hills on the outskirts of Jodhpur, and went around the
city studying and absorbing its traditional stone architecture, the exquisite fretted stone window
panels and local crafts.
Figure38:ENTRANCE
Even as they visited Jodhpur’s stunning Mehrangarh Fort, Umaid Bhawan Palace and old
havelis built of stone, the architects noticed some of the newer structures were of stone-clad
RCC, aluminium composite panels and fronted with tinted glass and also the structures that
were a hodgepodge of local design elements. At the end of the trip, inspired by the city’s
vernacular stone construction and building techniques, they thought of designing a sandstone
residence that would, however, make a contemporary statement.
28
Figure39: VERANDAH WITH SEATING ARRANGEMENT.
3.5.1. Functional and Decorative:

While the Johris were initially hesitant about a
stone structure, they soon gave Manish and
Shailesh the go-ahead. The architects were
impressed by the potential of stone as a strong
building material, its ability to absorb and retain
heat unlike concrete, as well as by its decorative
functional elements like carved stone brackets,
jaalis and lattice screens.
‘I have for long been inspired by Ahmedabad-
based architect Nimish Patel’s work stemming
from traditional architecture, indigenous
knowledge and the contextual responsibility of
design decisions. He encouraged me and gave
me the confidence and I decided to go ahead with
planning the residence with exposed sandstone
walls, arches and ceiling as well as using local Figure 40: MAIN ENTERANCE
methods of construction, skills and crafts,’ says
Manish. And to bring in a play of colour and contrast, the architects opted for a combination of
a light peach coloured sandstone with reddish-brown sandstone.
29
3.5.2. Demands of the Desert

Given Jodhpur’s searing summer heat and
the cold winters, designing an eco-friendly
home that would be naturally cool in the
summer was the primary challenge. Once
again, studying local architecture Mahesh
realised there was a way to beat the heat
through design rather than air-conditioning.
Broad verandahs set rooms away from the
exterior walls; recessed glazing only in
shaded areas so that direct sunlight never
falls on them; small inner courtyards so there
is hardly ever any direct sunlight even Figure 41:ARCHES
though there is ample light and fresh air;
stone jaalis that cut out the intense glare yet bring in light and ventilation, were sketched on
the drawing board.
And the most important feature that Manish sketched was the passive cooling system. It
comprises a matrix of three tall cooling towers fitted with a filter, water tanks, louvres and a
mist facility to usher in cool, moist air along with six stack towers. Each has a glass panel on
an angled top to allow the sun to heat the air further, with a moving turbo vent on top to draw
out hot air, to keep the home ventilated, cool and fresh in the summer months.
Figure 42: PASSIVE COOLING SYSTEM
3.5.3. A Composite Design:

Integrating all these elements, the architects designed a 7,911 sq ft residence of four
bedrooms. Broad round arches from the entrance porch to the verandahs, two courtyards,
each with a water fountain, primary common areas of living, dining, kitchen and family spaces
around the courtyards, a charming machaan to enjoy outdoor views and a spacious terrace
with a pyramid-form meditation room. As they wanted to avoid RCC and cement, they went in
for load-bearing walls, which in turn necessitated thicker walls and arches to strengthen them;
after calculations it was decided to go in for one foot thick walls that would be ideal for
absorbing and retaining heat through the day. As the walls are of 100% stone, the conduits
for plumbing and electricity all had to be completely planned beforehand.
30
Figure 43:LIVING ROOM Figure 44: GAZIBO

To cool the interiors further, the ceiling has a gap of 12 inches; upturned terracotta bowls were
placed on the roof for creating an air gap/thermal insulation – a layer of lime mortar, followed
by a slab of stone and china mosaic chips on top of the slab to deflect sunlight. The cooling
towers were placed within the house, while the stack towers stand at the periphery to ensure
a continuous flow of air through the home. Rain water harvesting measures, in the form of
channels edging the residence and spouts, ensure the water flows to a large underground
tank.
Pune-based architect Prof S L Kolhatkar, an
expert in environmental studies, guided the
team in respect of technical data related to
designing in response to the climatic
conditions such as the thickness of walls,
and the height and size of the cooling
towers. Except for the foundation, no cement
was used in the construction. ‘Traditional
structures have been built with minimum or
no mortar. Lime would be filtered and mixed
with sand and used for setting the stones,
which themselves would be set in an
interlocking system. Lime mortar, in fact,
strengthens over time. That is why the old
forts are so strong. For the Johri residence, Figure 45: CIRCULAR ENTRANCE
lime and sand was used for making the
mortar; jaggery was mixed for plasticity and it
has worked very well,’ says Manish.
Delight in Details:
Synthetic and processed materials like
plywood, particle board and veneers were
consciously avoided, and real wood was used
for furniture, panel doors, flooring in the
bedrooms to keep them warm in the winter and
as a ceiling element to integrate the electrical
services. Peach coloured marble from
Makrana has been used on the living room
floors to keep the spaces cool in summer, and
‘lakha’ red granite features in the kitchen work
surfaces and utility areas. While the stone Figure 46: DRAWING ROOM
31
walls precluded the need for plaster and paint, the bathrooms
have eco-friendly lime plaster walls with an organic pigmented
blue – a colour synonymous with Jodhpur’s traditional homes.
Small design details reflect Manish’s approach of focusing on
the construction of decoration rather than decorating
construction. The towers were built with red sandstone and
the rest of the residence with white sandstone for a play of
colours. The cooling towers have small openings to allow for
insulation for the water tanks and these are fitted with coloured
glass, creating striking light effects in the evenings. CFL and
LED light fixtures are used in the entire house; lights at the
base of the arches create a lovely effect at evening as they
highlight the curving lines of the stonework. Round openings
at a low level in the towers offer an easy place to sit, offer
views of the outside and when lit, add a touch of drama. The
furniture, lamps, upholstery and soft furnishings are locally
crafted – the entrance has an old carved solid wood door,
wooden interior doors are fitted with coloured glass panes to
bring in diffused light, and coloured glass lamps add colour to Figure47: MATERIAL
the otherwise soft colour scheme.
With just four bedrooms, the spacious home has many informal, common and interactive
areas, making for a sense of space and for the family to be together. A constant flow of moist
air keeps the home naturally cooled, while light filters through the lattice stone panels casting
fretted long and short shadows throughout the day, almost like a moving canvas. Stirring the
curiosity of onlookers and bringing much fulfilment to the Johri family, the residence reaffirms
the timeless wisdom, strength and adaptability of traditional Indian architecture.
Given Jodhpur’s searing summer heat and the cold winters, designing an eco-friendly home
that would be naturally cool in the summer was the primary challenge.
‘The residence has exposed sandstone walls,
arches and ceiling. Local methods of
construction, local skills and crafts have been
used.’
‘I have for long been inspired by Ahmedabad-

based architect Nimish Patel’s work stemming
from traditional architecture, indigenous
knowledge and the contextual responsibility of
design decisions.’
‘Lime and sand was used for making the mortar;
jaggery was mixed for plasticity and it has worked
very well.’ Figure 48: GAZIBO WITH PARABOLA
To avoid RCC and cement, load-bearing walls were used, which in turn necessitated thicker
walls and arches to strengthen them; after calculations it was decided to go in for one foot
thick walls that would be ideal for absorbing and retaining heat through the day thus keeping
the place cool. As the walls are of stone, the conduits for plumbing and electricity all had to be
completely planned beforehand.
The furniture, lamps, upholstery and soft furnishings are locally crafted.
32
Figure 49: VERANDAH Figure 50:WASHROOM
The 7,911 sq ft residence of four bedrooms is graced with broad round arches from the
entrance porch to broad verandahs, two courtyards (each with a water fountain), primary
common areas of living, dining, kitchen and family spaces around the courtyards. The
sandstone residence makes a contemporary design statement.
Figure 51 :PLANS
The architects were impressed by the potential of stone as a

strong building material, its ability to absorb and retain heat
(rather than radiate heat like concrete) as well as by the
decorative functional elements like carved stone brackets,
stone jaalis and lattice screens.
Small details reflect the architects’ approach of focusing on
the construction of decoration, rather than decorating Figure52: BEDROOM
construction.
Synthetic and processed materials like plywood, particle

board and veneers were consciously avoided, and real wood
used for furniture, panel doors, flooring (in the bedrooms to
keep the floors warm in the winter) and as a ceiling element
to integrate the electrical services.
Figure 53:INTERIOR
33
CONCLUSION
“We are not makers of history, we are made by history”-Martin Luther King, Jr.
Jodhpur is a well-known place that has been serving as a strong pillar of Indian history till date.
It has been praised for its beauty across the globe.
The city is located in desert area, where extreme temperature exists in summer. It goes up to
47 c as in winter’s goes 3c spite of these climate area on the very comfortable for living and
working. Instead there is settlements on hills also.
Since it comprising numerous type architecture style hence there is its own architecture style
and importance. Nowadays, there is lots of constructions of hotels, societies which adapted
modern facilities, modern architecture in combination of their vernacular architecture.Mainly
the buildings in Jodhpur are green buildings. As my research, Jodhpur is also a good mobility
city. For this, many plans are passed for transport system.
In future, Jodhpur will become more beautiful and ideally reflects the Indian architecture and
the Indian culture city.
34
REFERENCES:
1. http://www.terragalleria.com/asia/india/jodhpur/picture.indi38804.html
2. https://www.lonelyplanet.com/india/rajasthan/jodhpur/sights/landmarks-
monuments/clock-tower
3. http://www.insideoutside.in/inside-outside/issue-magazine/2113/spirit-jodhpur-brinda-
gilll#sthash.5IJ0c1Wf.dpuf
4. Source:https://www.makemytrip.com/travel-
guide/dgHolidayActivityCards?entity_id=3545
5. http://www.indiatravelite.com/fort&palaces/mehrangarhmuseumtrust.htm
6. Source: http://www.indiamarks.com/jodhpur-india-the-blue-city/
7. http://portfolio.cept.ac.in/jodhpur-historic-chowk-navchowkiya/
8. https://www.lonelyplanet.com/india/rajasthan/jodhpur/sights/landmarks-
monuments/clock-tower
9. http://www.jodhpurindia.net/jodhpur-history.html
10. http://www.insideoutside.in/inside-outside/issue-magazine/2113/spirit-jodhpur-brinda-
gilll
11. https://www.lonelyplanet.com/india/rajasthan/jodhpur/sights/castles-palaces-
mansions/umaid-bhawan-palace
12. http://www.jodhpurindia.net/forts-and-monuments/umaid-bhavan-palace.html
13. http://www.jodhpurindia.net/forts-and-monuments/jaswant-thada.html
14. http://portfolio.cept.ac.in/wp-content/uploads/2014/06/Oia-Topography-Foundation-
and-Soil-Type.jpg
15. https://www.facebook.com/colorsofrajasthan/photos/a.281174675230470.90274.275
827359098535/281174721897132/?type=3&theater
16. books :Jodhpur’s Umaid Bhavan, Writer Aman Nath, Ann Newton Holmes & Fred R
Holmes, Amit Pasricha
17. the tradition of indian architecture, Writer G.H.R. Tillotson
BIBLIOGRAPHY
Secondary data is from taken from internet ,Jamia libraries, books and last and most
important my guiding teachers.
Primary data is taken from visiting Jodhpu and interacting with peoples and workers
who areworks in construction company.
35

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BUSHRA ALI TRADITIONAL ARCHITECTURE OF JODHPUR

4. PANORAMA OF JODHPUR FROM 2011-09-27 8

TRADITIONAL ARCHITECTURE OF BLUE CITY

PRIMARY SOURCES SECONDARY

Population (JULY 2015) SOURCE: http://www.realdatajobs.com/wp-

FIGURE 2:LOCATION AND CLIMATIC CONDITION

Figure 3: HISTORIC CITY OF JODHPUR

FIGURE4: PANORAMA OF JODHPUR FROM 2011-09-27

Figure 5: TOPOGRAPHY AND CONSTRUCTION DETAIL

FLORA AND FAUNA

Figure 6: ELEVATION MAP

Figure 8: BLUE CITY

3.1 MEHRANGARH FORT

Jai Pol was built by Maharaja Man Singh in 1808

Figure 11: PLAN OF MEHRANGARH FORT

Figure 12:ELEVATION OF MEHRANGARH FORT

3.1.1. Moti Mahal - The Pearl Palace

Figure14:COLUMNS AND ARCHES OF MOTI MEHAL

3.1.2. Phool Mahal (Flower Palace)

Figure 15:INTERIOR OF PHOOL MEHAL

3.1.3. Sheesh Mahal (Mirror Palace)

Figure 16: MIRROR WORK IN INTERIOR

3.1.4. Takht Vilas

Figure 17 : INDIAN ARCHITECTURE STYLE

Figure 19: CARVING IN BHAGGI

Figure 20: TOP VIEW

3.2. CLOCK TOWER (ISLAMIC STYLE)

Figure 21: CLOCK TOWER,SADAR BAZAR

Figure22: CLOCK TOWER

3.3. JASWANT THADA (RAJPUTANA STYLE)

Famous Jaswant Thada in Jodhpur, India is an example of architectural brilliance in India. It

Figure 23: RAJPUTANA STYLE OF JODHPUR

Considered to be one of the architectural landmarks of Jodhpur, Jaswant Thada is

Figure 24:CARVING WITH POLISHED STONES

The structure is an epitome of a Rajputana style of architecture. Built from intricately

Figure 25: COURTYARD VIEW

3.4. UMAID BHAWAN PALACE

Figure 26: UMAID BHAVAN ARIAL VIEW

Figure 29: SWIMMING POOL

Figure 30: MARWAR HALL

Figure 33: INSIDE THE MEUSEUM

Figure34 : SILENT FEATURES OF UMAID BHAVAN

3.5. SPIRIT OF JODHPUR

Designing a residence in Jodhpur was an interesting journey for Pune-based architects

Figure35:: SPIRIT OF JODHPUR(EXTERIOR VIEW)

Figure 36:MUMTY LEVEL(CHAJJA)

Figure39: VERANDAH WITH SEATING ARRANGEMENT.

3.5.1. Functional and Decorative:

3.5.2. Demands of the Desert

Figure 42: PASSIVE COOLING SYSTEM

3.5.3. A Composite Design:

Figure 43:LIVING ROOM Figure 44: GAZIBO

‘I have for long been inspired by Ahmedabad-

Figure 49: VERANDAH Figure 50:WASHROOM

The architects were impressed by the potential of stone as a

Synthetic and processed materials like plywood, particle

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