TRACING THE LEGACY OF THRIPUNITHURA:

SHOWCASING THE HISTORICAL AND

ARCHITECTURAL HERITAGE

THESIS REPORT
Submitted by

NIMISHA GAYATHRI TA
(18056030)

to

Mahatma Gandhi University

in partial fulfillment of the requirements for the award
of
Bachelor’s degree in Architecture

School of Architecture
Mookambika Technical Campus

Ambika Nagar, Mannathur P.O, Muvattupuzha

SEPTEMBER 2023
TRACING THE LEGACY OF THRIPUNITHURA:
SHOWCASING THE HISTORICAL AND
ARCHITECTURAL HERITAGE

THESIS REPORT
Submitted by

NIMISHA GAYATHRI TA
(18056030)

to

Mahatma Gandhi University

in partial fulfillment of the requirements for the award
of
Bachelor’s degree in Architecture

School of Architecture
Mookambika Technical Campus

Ambika Nagar, Mannathur P.O, Muvattupuzha

SEPTEMBER 2023
 1

DECLARATION

I undersigned hereby declare that the project report “Tracing the Legacy of

Thripunithura: Showcasing the Historical and Architectural

Heritage.”, submitted for partial fulfillment of the requirements for the award of
the degree of Bachelor of Architecture of the Mahatma Gandhi University is a
bonafide work done by me under the supervision of Ar. Thirunathan M. This
submission represents my ideas in my own words and where ideas or words of others
have been included; I have adequately and accurately cited and referenced the
original sources. I also declare that I have adhered to the academic honesty and
integrity ethics and have not misrepresented or fabricated any data, idea, fact, or
source in my submission. I understand that any violation of the above will be a cause
for disciplinary action by the institute and/or the University and can also evoke penal
action from the sources which have thus not been properly cited or from whom
proper permission has not been obtained. This report has not been previously formed
as the basis for the award of any degree, diploma, or similar title of any other
University.

Place: Ernakulam

Date: 11/09/2023 Nimisha Gayathri TA

 2

ACKNOWLEDGEMENT

First of all, I would like to express my gratitude to Almighty God for enabling me to
complete this report on “Tracing the Legacy of Thripunithura: Showcasing the
Historical and Architectural Heritage.”.

I would like to show gratitude to my thesis guide, Ar. Aashna Jeevan. Without her
assistance and dedicated involvement in every step throughout the process, this paper
would have never been accomplished. I would like to thank you very much for your
support and understanding.

Furthermore,I would also like to acknowledge with much appreciation for the crucial
role of my thesis coordinator, Ar. Anil Kumar for his continuous support. Moreover,
I would like to thank and appreciate all the faculties of School Of Architecture
Mookambika Technical Campus.

Most importantly, none of this could have happened without my family.So I would
like to thank my family and my friends for their intense support and for having had
hours of informal discussions and showing interest in my thesis.This thesis stands as
a testament to your unconditional love and encouragement.

Nimisha Gayathri TA
 3

CONTENTS

CHAPTER 1 - SYNOPSIS .........................................................................................5

1.1. INTRODUCTION ......................................................................................5
CHAPTER 2 - : RESEARCH ..................................................................................10
2.1. DATA COLLECTION .............................................................................10
2.2. LITERATURE CASE STUDY ................................................................17
2.3. LIVE CASE STUDY ............................................................................... 26
2.4. DOCUMENTATION ............................................................................... 30
2.5. COMPARITIVE ANALYSIS ..................................................................41
CHAPTER 3 - SITE ................................................................................................. 47
3.1. SITE STUDY ........................................................................................... 47
CHAPTER 4 - DESIGN BRIEF ..............................................................................56
4.1. DESIGN APPROACH ............................................................................. 56
CHAPTER 5 - CONCEPT .......................................................................................57
5.1. CONCEPT ................................................................................................57
5.2. CONCEPT DEVELOPMENT ................................................................. 57
CHAPTER 6 - DESIGN ANALYSIS ......................................................................58
6.1. PROXIMITY & BUBBLE DIAGRAM ...................................................58
6.2. ZONING ...................................................................................................58
CHAPTER 7 - SPECIAL STUDY .......................................................................... 59
CHAPTER 8 - ARCHITECTURAL DRAWINGS ............................................... 63
CHAPTER 9 - SERVICE DRAWINGS .................................................................64
CHAPTER 10 - CONCLUSION ............................................................................. 65
CHAPTER 11 - BIBILOGRAPHY .........................................................................66
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TABLE OF FIGURE

Figure 1 old palace (times of india) .....................................................................6

Figure 2 puthen palace (heritage tale) .................................................................. 6
Figure 3 site plan (google map) ............................................................................8
Figure 4 old kerala (yumpu) .............................................................................. 10
Figure 5 kmbr .................................................................................................... 12
Figure 6 differently abled(time savers) ............................................................. 14
Figure 7 stair ( time saver) ................................................................................ 14
Figure 8 library(time saver) ...............................................................................15
Figure 9 dining ( time savers) ............................................................................16
Figure 10 parking (neuferts) ..............................................................................16
Figure 11 hastha shilpa (manipal the talk network) ........................................... 17
Figure 12 building views (laiibharii) .................................................................19
Figure 13 building views(laiibharii) .................. Error! Bookmark not defined.
Figure 14 building views (laiibharii) .................. Error! Bookmark not defined.
Figure 15 old bastakia (rsearch gate) ................................................................. 22
Figure 16 new master plan (maps dubai) .......................................................... 22
Figure 17 wind tower (visual.ly) ........................................................................ 23
Figure 18 master plan ........................................................................................ 27
Figure 19 documented elevation ....................................................................... 31
Figure 20 refelected ceiling plan ........................................................................ 31
Figure 21 views .................................................................................................. 32
Figure 22 documented elevation ....................................................................... 34
Figure 23 roof plsn ............................................................................................ 36
Figure 24 documented section ...........................................................................36
Figure 25 views ................................................................................................. 40
Figure 26 site plan ............................................................................................. 49
Figure 27 nearby heritage building (meiste rvarma) ......................................... 51
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CHAPTER 1 - SYNOPSIS

1.1. INTRODUCTION

Thripunithura, located 8 km from city centre, is a residential suburb of Cochin with

well-known famous for its prominence in religious history. Thripunithura is know as
the city of palace.Thripunithura houses the administrative office of the Maharaja of
Cochin- The Hill Palace and temples including the capital of former Kingdom of
Cochin- Sree Poornathrayeesa temple. The descendants of Cochin Royal family who
still live here, mostly of an older age group.Thripunithura showcases the major
cultural heritage and traditions of Kerala.Thripunithura is a historically significant
region in Kochi that served as the seat of power for the erstwhile kingdom of Kochi.
It is renowned for its cultural and architectural heritage, reflecting the influences of
various dynasties and communities that have left their mark on the region. many
historic buildings and neighborhoods here face the threat of destruction due to
uncontrolled development. Tripunithura,has been bearing the brunt of Kochi’s
overflowing population. This has resulted in indiscriminate pulling down of ancient
structures despite the Regional Town and Country Planning office listing heritage
sites in this area, along with the others in the district. The town, especially the area
within the fort and those lying immediately outside it, was once where most of the
palaces stood. Today, high-rises dominate the skyline; many of the heritage
structures have been lost forever.Palaces, which belonged to the royal family, are
being converted to apartments and flats that are available at a premium price. To lure
clients, these buildings are named 'palace houses' or 'royal residences'.
 6

Figure 1 old palace (times of india)

Figure 2puthen palace (heritage tale)

1.1.1. BRIEF RESEARCH ON THRIPUNITHURA

Thripunithura showcases the major cultural heritage and traditions of Kerala. The
history of Sree Poornathrayeesa temple dates back to 10th century of Christian era
and 722 AD marks the construction of Karingachira church. The initiation of Dutch
East India Company and transfer of power to the Dutch occurred in 17th century.
Shakthan Thampuran is a significant ruler who worked against corruption. Most of
the rulers of Thripunithura was enthusiasts of fine arts, art and architecture. The
Kalikotta Palace was constructed in dedication towards arts and culture, and its
performance. The lifestyle and culture of the people is bound around Sree
Poornathrayeesa temple, and projects history evidently even at this present time.
Athachamayam is a procession festival happening 10 days prior to onam showcasing
most of the traditional art forms of Kerala. The essence of cultural arts, traditional
performance arts, The town is abode to several historical monuments related to the
reign started from the late eighteenth century after a prolonged phase of transition
that the ancestral family of the royalty underwent since the medieval period. It is
believed that the kingdom came to existence in twelfth century AD, The long and
complex history of this lineage runs parallel to the colonial history of Malabar and
Kochi regions under the Portuguese, Dutch and the British rulers. The history of the
kingdom of Kochi through the centuries up to the moment of Indian independence,
the architectural and spatial peculiarities of the town of Thripunithura planned
around the Poornathrayeesa temple in the nineteenth century. especially its inner fort
area was the seat of the Cochin royal family for many centuries. While isolated due
this royal exclusivity, cross-cul- tural links and trade with the Portuguese, Dutch and
British lent a unique identity to its built heritage.

AD 1405 The 12th century AD saw the rise and growth of Perumbadappu
Swaroopam (Kochi State) following the fall of the later Chera Kingdom. The decline
 7

of Kodungallur port and the constant fear of the Samoothiri (Zamorin), the Kings of
Kozhikode, made Perumbadappu Swaroopam shift the capital from Mahodayapuram
to Kochi in AD 1405.At the end of 14th century due to flood the kondugalur was
fully demolished or vanished so the trade and harbour activities are moved to
mattancherry and fort Kochi.The Arab, Chinese, Jews started trading in fortkochi and
people from india also started buying their products like spice and pulse from Kochi
region.

AD 1500
Jews from Kodungallur and Konkanis from Goa came and
settled here.During 15th century the Portuguese first conquer
goa,next to Goa they conquer kochi which is located in
Malabar coast because of the increase of the trade, quality and
growth of the spice and pulse which they need for their country.
Around the 15th to 16th century they ruled kochi during that
time they constructed many churches to spread Christianity.

AD 1662 The Dutch killed the Raja of Kochi in a battle and the
first Dutch colony was established. On 20th March 1663, the
first formal treaty was signed between the newly appointed
Raja of Kochi and the Dutch East India Company. In the
course of the battle, The Portuguese fort was reduced to one
third of its size and all churches and convents except St.
Francis Church were demolished.

AD 1668 The Dutch Fort was built over the Portuguese Fort
and subsequently Bolghatty Palace, the Clock Tower etc. were
built. Under Dutch rule, Kochi grew as a larger port. The
grading system introduced for export products by the Dutch are followed even today.

AD 1795 The British took over Kochi from the Dutch during the time of King Rama
Varma Shakthan Thampuran and in AD 1804 the Kochi rulers shifted to Ernakulam.
The market and associated settlements at Ernakulam enjoyed great prosperity.

AD 1920 Dredging of the port and formation of Willingdon Island were taken up
under the design and direction of Sir Robert Bristow. In AD 1940 the major rail road
connection was introduced. Kochi was declared as a major port by the Government
of India
 8

Figure 3site plan (google map)

•Statue jn - 1935.
•Kalikotta palace -17th century
•Amma thampuran kovilakam - remodelling 1864
•Edoop place - 1890
•Manimalika - 1750
•Sree poornathrayeesa temple - 10th century
•Andhakara canal - used for trade before
19th century.

•Tourism: Thripunithura is a popular tourist destination in Kochi, and this can help to
promote cultural engagement and tourism in the area. By architectural intervention
can create opportunities for tourists to explore the heritage sites in the area and learn
about the history and culture of the region.
•Thripunithura used to be the seat of royal powers of Kochi. Thripunithura town has
many heritage features like the Hill palace, the fort, ‘Poornathrayeeswara’ temple
and the other temples, smaller palaces and ‘malika’s, churches.The temple forms the
focal point of the city. Many palaces in and around the town and Kochi city continue
to carry memories of the rich tradition and history of the place.
 9

1.1.2. AIM

To rebuilt historical heritage sites, with the aim of educating future generations on
the significance of our history and architecture.

1.1.3. OBJECTIVES

•To showcase the cultural importance of Thripunithura's heritage and promote its
significance to the local community and tourists.
°To identify and document the existing heritage structures in Thripunithura and their
historic significance.
•To propose architectural interventions that can help promote cultural engagement
and heritage conservation.

1.1.4. METHODOLOGY

It involves a comprehensive study of the historical and architectural heritage of old

Thripunithura and kochi during 15th,16th & 18th century, including its cultural
significance and current status. The study will also examine the challenges in
conserving and preserving these structures and analyze best practices from similar
contexts worldwide.

1.1.5. LIMITATION

All the features of historic architecture are not depict as well, only doing the historic
research.
Whether one or two structures of historic and heritage Buildings are focused.
Since the old material cannot be obtained, new materials will be used to bring the
textures back to the old ones.
 10

CHAPTER 2 - : RESEARCH

2.1. DATA COLLECTION

2.1.1. Thripunithura Heritage Zone

This living fossil of Royal glory has an important place in the history of Kerala. It
was the capital of the Kingdom of Cochin from 1755 onwards.
The main area covers the following major heritage features like the Fort area, Hill
Palace, Temples, Palaces, Malikas, Churches, Christian settlement, Tamil Brahmin
settlement and Konkini settlement.
Some important points about city planning in Thripunithura
The temple forms the focal point of the city. The growth of the city started from
around the temple. The main spine, the heart of the Fort, passes through the temple in
the east-west direction starting from the east arch and ending at the west arch. The
main spine runs from the west Irumpanam iron bridge to the east Statue junction
through the temple. The east is guarded by arch. The spine forms the main element of
the city. The fort is surrounded by water on 3 sides. The west arch has an iron bridge
in front over the river. The east-west axis road is the Kings way. The city has come
up in such a way that the commercial units are all around the temple.

2.1.2. Orgin of Kochi Royal Family

Figure 4 old kerala (yumpu)

Keralolpathi states: "The last and the famous Perumal
king Cheraman Perumal ruled Kerala for 36 years. He
left for Mecca by ship with some Muslims who arrived at
Kodungallur (Cranganore) port and converted to Islam.
Before leaving for Mecca, he divided his kingdom
between his sons and nephews. This division is dated to
A.D. 345, but the more likely date of the division is early
12th Century, which has greater historical credibility.
The second Chera dynasty called the Kulashekhara
Samrajyam ruled from A.D. 800 to A.D.1102. The last
king of the dynasty was Raja Rama Varma.
Kulashekhara Perumal's sister married a Namboothiri of
the Perumpadapu Illom near Ponnani. Shortly before
Raja Rama Varma Kulashekhara Perumal's death he
divided his kingdom between his sons and his one
nephew (the Namboothiri's son), Veera Kerala Varma.
The part of the kingdom given to his sons was called
Venad Perumpadapu and that given to his nephew was called Perumpadapu
Swaroopam, named after the boy's father's family. The Venad Swaroopam was
bestowed the greater honour of Kulashekharaperumal while the Perumpadapu
 11

Swaroopam had the lesser honour of being the Koviladhikari. The Perumpadapu
Swaroopam encompassed the 34 rajyas from Gokarnam in the North to Kanyakumari
(Cape Comorin) in the South. They were based at Chitrakudam in Perumpadappu
Village till the end of the 13th century.

2.1.3. Before Portuguese

From the beginning of the 12th Century AD to the end of the 13th Century AD the
seat of Perumbadappu Swaroopam was located in Chitrakoodam Perumbadappu
village in Vanneri, near Ponnani. The Kings had their residence in Mahodayapuram,
near the port of Kodungallur (Crangannore).
In AD 1341 a terrible flood led to the destruction of Kodungallur port and created the
island of Puthuvaippu (Vypin) forming a natural harbour offering a better alternative
to the ancient port of Kodungallur. This small port town of Kochangadi or 'little port
town' fell into the hands of the Perumbadappu Swaroopam through the marriage
alliance with the Edapally Sworoopam, one of the smaller royal families.
In AD 1405, the threat from the Samoothiri forced the royal family of Perumbadappu
to move their capital from Mahodayapuram to Kochi. The Portuguese commander
Cabral came to Kochi in AD 1500 and started trade relations. In AD 1549 Portuguese
plundered the Palluruthi temple and that affected the relationship between
Portuguese and the royal family. Later on in AD 1555 Portuguese constructed a
palace and gifted it to Raja Veera Kerala Varma. This Palace, after extensive
renovations by the Dutch, came to be known as the Dutch Palace or Mattancherry
Palace of today.

2.1.4. Occupancy of building

Grounp D -Assembly

2.1.5. Coverage and floor area ratio-

F.A.R= Total floor area on the floors

Plot area
Maximum Permissible Coverage (percentage of plot area) - 40
Maximum permissible F.A.R without additional fee - 1.50
Maximum permissible F.A.R with additional fee - 2.50

2.1.6. Rainwater harvesting

The minimam capacity of the storage tank -

Group D 50 liters/sqm of total floor area
 12

2.1.7. Clearance from Overhead Electric Lines

Figure 5 kmbr

2.1.8. Sanitation facility

Water Closet - 1 per 200 males or part thereof and 1 per 100 females or part thereof.
Urinals - 1 per 50 person or part thereof.
Wash Basin - 1 for every 200 males and 1 for every 200 females

2.1.9. Setback

Front(in metre) - 7.5

Rear(in metre) - 3
Side(in metre)- 3 & 5

Staircases
(1) Any building having more than one floor shall be provided with a staircase unless
each such floor is independently accessible from ground.
(a) minimum width of stair shall be 120 centimeters,
(b) minimum width of tread shall be 30 centimeters,
(c) maximum height of riser shall be 15 centimeters
(d) minimum height of handrail shall be 90 centimeters
Fire escape staircase
(1)Fire escape staircase shall be provided for Non-residential occupancies exceeding
two storeys above ground level
(2) Width of fire escape staircase shall not be less than one metre
(3) Tread shall not be less than 25 centimetres
(4) Riser shall not exceed 19 centimetres and the number of risers shall not exceed 16
per flight of stairs
(5) Height of handrail of a fire escape staircase shall not be less than 100 centimetres
and not more than 120 centimetres.
(6) The spacing between the balustrades should be less than 15 centimetres.
 13

(7) The use of spiral staircase shall be limited to buildings up to 10 metres in height.
Spiral staircase shall not be less than 150 centimetres in diameter and shall be
designed to give adequate head room.
(8) Fire escape stairs shall have straight flight for
building exceeding 10 metres height
(9) Entrance to fire escape stair shall be separated and as far as possible remote from
other staircase(s) if any.
(10) If the staircase provided for the building up to three storeys satisfies the
provisions of fire escape stair also, no separate fire escape stair is needed.

2.1.10. Ramps

Ramps, if provided as a substitute for stairways, shall be laid with a slope not
exceeding 1
in 10.
Travel distance to emergency exit.-
(1) Emergency exits shall be located in such a way that the travel distance on each
floor shall not exceed 30 metres for every occupant.

2.1.11. INTACH Charter guidelines

Retain visual identity

In a globalising world, where visual spaces are rapidly becoming homogenised, it is
necessary to retain the specific visual identity of a place created by the presence of
unprotected architectural heritage and sites. Yet, this image should not be preserved
in the manner of legally protected monuments, but must accommodate the
imperatives of change in making the heritage relevant in contemporary society. The
objective must be to integrate unprotected heritage and sites into daily social life by
balancing their needs so that neither overshadows the other.
The visual cacophony created by advertisement boards, signage, hanging electric
cables, air conditioning units, dish antennas, etc. must be carefully controlled to
enhance the visual character of the architectural heritage and site. Additions of street
furniture, pavement material, lighting, signage, etc. can add to the experience and
appreciation of the heritage.
In this respect the objectives of conservation can mediate even new buildings or
neighbourhoods by requiring them to make reference to the old by employing
elements, methods and devices characterising the architectural heritage of the area so
that the new is linked with the old.
Restoration/ Replication/ Rebuilding
Restoration is an appropriate conservation strategy to reinstate the integrity or
complete the fractured ‘whole’ of the architectural heritage/ site. It must aim to
convey the meaning of the heritage in the most effective manner. It may include
reassembling of displaced and dismembered components of the structure and
 14

conjectural building or replacement of missing or severely deteriorated parts of the

fabric. Invariably, restoration work must be preceded and followed by
comprehensive documentation in order to base interventions on informed
understanding of the resource and its context, and in conformity with contemporary
practices of local craftspeople.
In consonance with traditional ideals, replication can be accepted as an appropriate
strategy not only to conserve unprotected historic buildings, but especially if such
replication encourages historic ways of building.
At the urban level, the objective of rebuilding historic structures should be to
enhance the visual and experiential quality of the built environment, thereby
providing a local distinctiveness to contest the homogenising influence of
globalisation.

2.1.12. DIFFERENTLT ABLED

Figure 6 differently abled(time savers)

2.1.13. STAIR

Figure 7 stair ( time saver)

 15

2.1.14. LIBRARY

Figure 8 library(time saver)

2.1.15. RESTAURANT
 16

Figure 9 dining ( time savers)

2.1.16. PARKING FACILITIES

Figure 10 parking (neuferts)

 17

2.2. LITERATURE CASE STUDY

2.2.1. HASTHA SHILPA HERITAGE VILLAGE

INTRODUCTION

Figure 11hastha shilpa (manipal the talk network)

THE HERITAGE VILLAGE project was born out of an intense concern of Hasta
Shilpa Trust of Manipal for the restoration and conservation of centuries-old
vernacular structures of architectural merit, aesthetic interest and craft importance
and also for preservation of traditional objects of art and craft of Karnataka state. The
whole concept is based on that art, craft and architectural traditions are integral to our
cultural continuity. The whole crisis lies in the fact that when a society loses its sense
of identity with its roots, and therefore its pride in itself, it is deprived of a sense of
judgement of values.
Over the last decade, the Trust has relocated through the process of restoration 26
structures of immense architectural merit and fine craftsmanship. The whole exercise
of relocation of a traditional building involves several processes like documentation
of the concerned structure through measured drawings and visuals, coding of each
component of the structure prior to its dismantling and restoration of the damaged
portions of the structure before its restructuring in the Village.

SITE LOCATION

Hasta shilpa heritage village is located about one km away from tiger circle in
manipal, the university town in udupi district in the coastal region of karnataka state.
 18

The site is located stretches 6 acres to the east of Manipal lake and to the south of
planetarium.

It vividly showcases the influence of culture, localization, rulers, socio- economic

status and religious practices. `Most of the buildings have been recreated "as-is" with
precise engineering measurements through a process called "Documentation".
Project Initiator : Vijayanath Shenoy
Engineers : Red Earth, Manipal
Site Area : 6 acres
Total built up area : 3 acres
Construction Time : 12 years
Cost of project : 1.4crores

VEGETATION

The site remains hidden from the outside due to the varied tree species present in the
site,the of the site is lined with trees which creates vista at every node and junction,
thus giving the feel of a village expedition.

TOPOGRAPHY

The ground was red laterite earth with lots of ups and downs and the structures were
stuck into the mountainous site forming a beautiful amalgamation of a traditional
village. The overall site slopes down towards the eastern direction, where the
Manipal lake is present.
 19

MASTER PLAN

•The pathways were irregular in pattern depicting the village pathways and the
pathways were not paved.
•The pathways near the crafts centre was paved with brick to ensure artisans to work
in open environment when necessary
•The newly constructed structures were also done with locally available materials
like laterite, stone,wood,mud etc...
•The blocks were not placed with respect to any of their original site environment
due to space restrictions.
•All the entries were facing the street and the rear door also opens into the back
street .
•The building materials used varies on each type of building, vernacular building
materials and techniques were followed since all the structures were old buildings.

Figure 12 building views (laiibharii)

n Udupi taluk. It was planned in such a way as to facilitate and merge the dual
purpose of its function as a workplace and residence.
•Building was aligned facing the lake in hasta shilpa village tO denote the real
context of the structure.
era. The museum is one of India's largest and most unique, with a vast space filled
with rare exhibits.
 20

ANALYSIS

•Hastha shilpa forms an unique environment to conserve and protect the art and
Architecture of Karnataka just bringing out the rich culture of their past Hastha
shilpa gives an idea about the prominent styles of art and architecture prevailed in
early parts of karnataka .
•Hastha shilpa presently serves as a gateway for many historians, scholars and
researches to visit the complex learn and analyse the vernacular architecture of
Karnataka and history.
•The planning is very cosy and composed
•This place serves as a platform for many artisans to practice their arts and keep the
arts alive however the artisans didn't have any accommodation in the complex.
•This heritage complex is very sensitive that more crowd cant be handled in this
place due to he intricacy in design.

INFERENCE

•This pedestrian path resembles the main bullock cart lane of villages with buildings
on either side,
•These lanes is further branched into smaller lanes on either side denoting the
pedestrian bve-lane of villages with hazars on either side, this can create a feeling
walking through of old historic street.
•It started by collecting pieces and scraps of historic sites as they were displaced and
demolished, assembling them at his site.
•All the houses here are a reconstruction of older structures representing their own
history and story ,one can easily be transported to those times, getting glimpses of
what constituted life.
•It stands for restoration, conservation, preservation and promotion of India’s fast-
vanishing architectural heritage and material culture within the larger framework of
the arts and culture for future generation.
 21

2.2.2. AL BASTAKIA DUBAI

The district of Bastakia in Dubai lies on the southern side of the creek. It is the last
coherent group of traditional buildings and wind tower houses in the United Arab
Emirates. Al Bastakia was under threat of demolition and dilapidation in the second
half of the twentieth century when pressures of development lead people who were
living in Bastakia to leave their houses for modern ones in search for new modes of
comfort. In 1995 a project for revitalization of Historic Bastakia was carried out by
Architectural Heritage Department at Dubai Municipality to revive the historic fabric
and to restore its beautiful courthouses. The Revitalization of Historic Bastakia
Project aims at preserving the architectural heritage of historic Dubai especially the
wind tower houses together with its urban fabric which is considered to be one of
good examples that represents traditional architectural in UAE. The main purpose set
up by the Architectural Heritage Department is to implement a comprehensive
program for rehabilitation of Bastakia through adaptive reuse for its wind tower
courthouses.

SITE LOCATION

The district of Bastakia in Dubai lies on the southern side of the creek. It is the last
coherent group of traditional buildings and wind tower houses in the United Arab
Emirates. Al Bastakia was under threat of demolition and dilapidation in the second
half of the twentieth century when pressures of development lead people who were
living in Bastakia to leave their houses for modern ones in search for new modes of
comfort. In 1995 a project for revitalization of Historic Bastakia was carried out by
Architectural Heritage Department at Dubai Municipality to revive the historic fabric
and to restore its beautiful courthouses. The Revitalization of Historic Bastakia
Project aims at preserving the architectural heritage of historic Dubai especially the
wind tower houses together with its urban fabric which is considered to be one of
good examples that represents traditional architectural in UAE. The main purpose set
up by the Architectural Heritage Department is to implement a comprehensive
program for rehabilitation of Bastakia through adaptive reuse for its wind tower
 22

courthouses.

Figure 15old bastakia (rsearch gate)

Figure 16 new master plan (maps dubai)

The Wind Tower

The wind tower has become a symbol of traditional Emirates architecture.this

ingeniously designed wind catcher was introduced from Iran at the end of the 90 to
century beside its particular purpose of bringing domestic comfort in hostile climates
the winds tower was also a social expression reflecting the economic and cultural
stratus of the head of the family according to the wind towers height decoration and
their number around the house.
 23

CONSTRUCTION MATERIAL

Figure 17wind tower (visual.ly)

Masonry buildings were constructed from
different basic materials according to the
region from coral bonded with sand-lime
mortar in coastal area to rock bonded with mud
in mountain territories. These materials
contribute to a better temperature installation
creating a 'thermal lag'. This means a cycle
were the cooler overnight temperature are
presented in the walls during the day while the
walls remain that heat after sunset,leaving the
rooms warmer all through the overnight
cooling period.

Coral Stones
Coral was used in its dried form leaving it in the sun
for several weeks to reduce it salt content it was
considered a very good building material but it was
not used extensively because of the high cost. Due to
its cellular composition and lightness coral has good
thermal insulation properties making it idol for the
construction of the wind tower

Mountain Stones

Infant housing was constructed from tightly layered out stone which was plastered
over with mud.

Mud Bricks

Cast in wooden moulds or formed by hand.the day-based mud bricks

were mixed with chaff.whucg acted as a binding agent.

Plasters

Gypsum, lime, mud or clay were used to bond the difference stones or
bricks which creates the walls.the plaster was also applied in layers
once the structure was ready .to improve the temperature insulation and
also obtained a smooth finish. The flat roofs were finished with layers
 24

of plaster over the trunk beam and palm layers to create a solid structure.

•Since the authorities were in favour of saving the neigbourhood from total
demolition and loss, the idea of conserving the whole area was very popular.
•The first restoration project was that of Beit Sheikh Saeed in Shindagha,
implemented during the period 1984-1986.
•This came after a large number of old derelict buildings were demolished to pave
way for modern buildings such as the Diwan complex or ruler's quarter, adjacent to
theBastakia area
• During the nextdecade as consultants gained more experience,conservation work
shifted
from single building restoration projects to urban conservation.Amongst the most
important projects undertaken in Dubai, was theconservation of the Bastakia district.
•Adaptive reuse of the restored structures was the next action taken in Al Bastakia.
The authorities believed that a well-balanced mixture of different uses such as for
heritage, tourism, culture and residential can be successful in revitalising an area. As
a result, art galleries, a centre for cultural understanding, a restaurant and a museum
of old coins are nowadays part of Al Bastakia. These new uses currently attract a
large number of visitors, and contribute to the revitalisation of the area.
•Restoration attempts were directed towards the re-creation of the buildings' original
appearance through the use of local building materials and basic construction
techniques which mix adob and coral stones
•The project is notable because it succeeded to protect the historic area of Dubai that
exhibits an important interchange of cultures and influences based on the Persian
Enlightenment reflected in intense use of wind tower (Barjil) in courtyard houses
which was adapted to response to the harsh climate in the Gulf Area.
•The project also demonstrates the dedication and commitment of Dubai
Municipality to protect the architectural heritage in UAE as key element of cultural
identity. The value of the project comes from being a good example on early efforts
for revitalization of historic quarters in the UAE. It serves as an educational case for
different sectors of population starting from youth, students, researchers and
professionals involved in cultural heritage.
•For people of Dubai, Al Bastakia is of a great cultural and historic significance. No
other comparable grouping survive (as opposed to single preserved buildings),
nowhere else shows the city as it used to be " the Greek and the Souk ".
 25

INFERENCE

•Conservation approaches applied in Al Bastakia appear to use a mix of preservation,

reconstruction and rehabilitation. Although these are done differently, they aim to
contribute to
saving the remaining UAE architectural and urban heritage. This is being encouraged
by an increase in tourism for Dubai.
•The reconstruction of Al Bastakia in the UAE involved reviving traditional
architecture, which had a dual benefit of showcasing the country's rich heritage and
enhancing the living standards of the people.
•Despite Al Bastakia being very small historic areas in the fast growing cities of
Dubai they remain a main source of identity and pride for the local inhabitants and
authorities. it have suffered from squatting combined with lack of maintenance and
repair; this led to their rapid deterioration and decay.
•Al Bastakia is used primarily as a cultural and tourist destination, given the type of
new activities that have been established - cu tural centres and art galleries.
•Al Bastakia painstakingly recreated every single structure and ornamental element
in a historic period style by utilizing various chemical treatments and specialized
techniques. The end result is a meticulously crafted replica that closely resembles the
original architecture and design.
 26

2.3. LIVE CASE STUDY

2.3.1. DAKSHINACHITRA HERITAGE MUSEUM

•Dakshinachitra is an exciting cross cultural living museum of art, architecture,

lifestyles, crafts and performing arts of south India.
•One can explore 17 heritage houses, amble along recreated streetscapes, exploring
contextual exhibitions, interacting with typical village artisans and witnessing folk
performances set in an authentic ambience. Dakshinachitra literally means - "a
picture of the south"
•Spread over a huge expansive land of 10 acres.
•It is a heritage village, a place where contemporary art, music and dance forms of
the south finds its manifestation into a journey of discovery and self-learning.
•The sprawling ten acres campus is divided into four prominent states of the south-
Kerala, Tamil Nadu, Karnataka and Andhra Pradesh further emphasising on their
respective culture in terms of house architecture that is re-modelled district wise-
brahmin house,potters house,merchant house etc...textile and handicrafts found in
temples,art exhibitions and more, other activities at the centre include performing
arts, music,research and educational programs with workshops and heritage trips
which connect the neighbouring villages at the centre.
•Architectural spaces such as courtyards, verandas along with elements like jali and
pitched roofs speak a language of time invoking a rustic character in the buildings.

SITE LOCATION

The museum occupies ten acres overlooking the Bay of Bengal, at muttukadu, 25 km
south of central chennai, on the east coast road to mamallapuram,Tamil Nadu, India.

Location : Muthukadu, Tamil Nadu, India. Client : Madras Craft Foundation

Architect : Ar. Laurie Baker Site Area : 10 Acres
Ar. Benny Kuriakose Built-up Area: 3 Acres
 27

SITE & CONTEXTUAK RESPNSE

The concept was an evolution of understanding the traditional elements integrated in

a contemporary context while sensitively approaching factors like climate, location,
and availability of materials.
Laurie Baker planned to represent architecture of each southern state as a
village with its small streets and walkways. Baker did not want to have
grand buildings in the campus. He thought that ‘this place’ should deal with Arts and
Crafts of ordinary people.
He pursued his philosophy of ‘Small is beautiful’. Benny Kuriakose, the Architect
who carried out the work later, recalls in one of his articles that Laurie Baker said;
“the idea is to abandon the big exhibition pavilion system entirely.
He brought in a touch of contemporary style to the main entrance block which sets as
an example for visitors to understand the ways in which traditional elements can be
used in the present-day architecture

Figure 18 master plan

.CLIMATE

•Muttukadu has a Vrelatively higher temperature.

• Rainfall is moderately lower.
•Wind speed with an average speed of 8 Km/h; Wind direction being from South
West .
•Semi-Humid Region
Higher precipitation ranged during the Winter months, mainly during October and
November.
 28

Traditional crafts persons and folk artists work and perform in the reconstructe
period settings of 19th century streets, homes and workshop-spaces in the Tamil
Nadu and Kerala sections.
Whichever section one visits one has a live view of the culture of the communities in
the areas.
Through an exhibition on Tamil culture or a 150 year old agriculturist house from the
fertile delta region of Thanjavur or a potter's house from Tiruvallur with its
terracotta exhibition.

ENTRANCE

•The entry to Dakshinachitra is very cozy and

small like entering South Indian Home.
•The various play with brick at the entrance
compound wall façade etc. Bore witness to the
brick master in the design.
•There were
the
Archetypal
chocolate pillars, thatched roofs, and richly
carved doors, which effectively restrict the view
into the interiors, thus leaving the imagination to
the visitors.
•The inside art is well worth hiding, once you
enter the village the world is entirely different
from the urban setting outside.
•Unlike other public spaces which has a big entrance this one has a very small
entrance to attract the visitors to come inside and explore

WATERBODY

The artificial pond runs from the

oat along the Tamil Nadu
section, Kerala complex and
artisans complex. The flow of
water bodies are bounded with
stones.
Wooden bridges run above the
water bodies connecting the children’s play area and the Tamil Nadu section.
 29

These water bodies help in creating a micro climate because of wind direction.
of the wind direction

VEGETATION

Trees are seen in dense Anear the parking

area, guest houses, Kerala section and
Karnataka section. They are also seen in
other parts of site.
Palm trees, coconut trees and neem trees
were mainly found here.
The trees play a very important role in blending all the four states together, there is
so much greenery, specially along the pathway connecting the four of them together.
It helps in the serene transition of built up and open spaces.

RELATIONSHIP OF OPEN & BUILT AREA

•Proportion is one of the main features of

various masses or spaces.
•The open spaces are designed in a way and are
in proportion such that the activities can be
performed in that spaces. There are many
proportioning systems used in the design which
help to identify the visual relationships between
the open and built up spaces.
•Landscaping is done in a natural layout of the site to suit its uses and produce
aesthetic pleasure.
•Centralised, linear and clustered layout patterns can be seen in the picture.
•Clustered pattern relies on the physical proximity as it does not originate from the
rigid geometrical concept.
•The form of the clustered pattern is flexible and can accept growth and change
readily without affecting its character.

CIRCULATION & ZONING

•All pedestrian paths were paved by

stones with trees on either side. The
pedestrian flow was clearly demarcated
from the paths used for commercial
purpose.
•The pedestrian flow gets branched out from the entrance
to various state’s house.
•The vehicular flow is restricted at the entry plaza itself.
 30

OPEN AIR FOLK PERFORMANCE

•Open air folk performance area was like first place we see after entering the
Dakshinachitra.
•Live performances by various local artists will be held daily, providing
entertainment for all.

INFERENCE

•Dakshinachitra forms an unique environment to express architecture as a piece of

our culture, history and folk arts..
•This gives a prominent idea on the native south Indian architecture
•Site planning has enabled the artisans community to live and blend.
•This is a best example to understand the workmanship possessed by artisans and
builders in early time.
•This serves as a learning hub for the young generation to know the past, conserve it
and grow effectively for future.
•The well-designed master plan includes zoning based on four different states,
providing visitors with the experience of traveling through each state.
•The well-planned design ensures that visitors don't feel fatigued and can easily
explore the 10-acre property without any discomfort.
•Inspires the tourists to visit the respective place from where these buildings have
placed and to explore their native lands.
•Serves as a rich heritage complex which proudly implores the lost glory of art and
architecture of south India and throws an insight into people to conserve the past.
•This complex has uplifted various artisans who were in a dreadful state due to
change in lifestyle which has economically uplifted them and also promoted the art
forms.
•The construction was with locally available material and hence the maintenance was
quite easy and economically viable
•The buildings were efficiently planned based on the climatic of Chennai viz:
orientation, materials etc.. but still depicting each state in a most apt way by retaining
the most essential elements.

2.4. DOCUMENTATION

2.4.1. PARADESI SYNAGOGUE

The Jewish synagogue was built in 1568,

almost 1500 years after the beginning of the Jewish connection with Kerala. It was
built on the land, adjacent to the Mattancherry Palace,
given by the erstwhile king of Cochin.

The synagogue, the oldest in the Commonwealth, was

built by the Jewish community of Cochin. In 1662, it
 31

was destroyed by the Portguese and then reconstructed, two years later, by the Dutch.

Figure 19 documented elevation

• Paradesi Synagogue is the sole functioning Jewish prayer house in Kerala, India,
and the entire Commonwealth.
• It comprises a unique collection of white-washed and colorful thick-walled
chunams.
• A narrow gallery overlooks the double-height prayer hall and the women's seating
area, directly above the azara.
• Original wooden carvings and architectural details, including columns supporting
the gallery guardrail and a centered bowed second tebah, remain intact.
•The synagogue's marvelous construction is evident in its splendid pillars and overall
design.

Figure 20refelected ceiling plan

•The synagogue sanctuary is a two-story structure with a thick concrete roof.

Its walls are constructed of laterite stone, covered with chunam veneer, and feature
periodic windows and openings.
 32

•The roof design includes a steeply pitched gabled roof on the east side and a hipped
roof on the west, adorned with flat-profiled clay tiles supported by a local wood
framing system.
•The sanctuary building consists of three distinct spaces: the azara, the sanctuary
itself, and the women's gallery.
•The synagogue's floor is a remarkable
feature, adorned with hand-painted blue
willow-patterned ceramic tiles from
Canton, China, brought by Ezekiel
Rahabi in the 18th century.
•Each tile boasts a unique design,
captivating the admiration of visitors.

Figure 21views
 33

2.4.2. BASTION BUNGALOW

Bastion Bungalow, situated on River Road in Fort Kochi, was built in 1667.
The Portuguese built Fort Immanuel during the early decades of the 16th century.
When the Dutch captured Kochi in 1663, they started destroying the fort and reduced
 34

it to almost one third its size. Originally, the fort had seven bastions. Of these, the
Stormberg bastion was later converted to the Bastion Bungalow.
The Bungalow built around the circular structure of the bastion is a beautiful
structure. Even when the British destroyed the walls of the fort during their invasion
in 1806, they left the building untouched.

Figure 22 documented elevation

•Built in the Indo-European style of architecture, it was named Bastion Bungalow by
the British and served as a residence-cum-office for government officials.
• The northern and western outer portion of the Bastian Bungalow looks exactly like
a Bastion. The Bungalow on top of the Bastion is built in European style with large
rooms and high roof ceiling.
• Sculptures made by 10 artists from Kerala are on display on the grounds of the
bungalow.
•The bungalow also has a tunnel in its basement which is closed to the public as the
destination of the tunnel remains unexplored and unclear.
• Two canons from the colonial period are preserved on the balcony of the Bastion
Bungalow.
 35

Fort Immanuel was initially constructed by the Portuguese in the early 16th century.
After the Dutch takeover of Kochi in 1663, they began dismantling the fort, reducing
it to about one-third of its original size.
The original fort featured seven bastions, with the Stormberg bastion being later
transformed into the Bastion Bungalow.
The Bungalow was built around the circular structure of the former bastion and is
admired for its architectural beauty.
Even during the British invasion of 1806, where they demolished the fort's walls, the
Bastion Bungalow remained untouched.
The seaside of the building features compound walls with buttresses and an east-side
bastion.
It offers an ideal vantage point for ships approaching from the sea.
Numerous windows on this side allow a substantial amount of sea breeze to flow into
the building.
 36

Figure 23 roof plsn

The seaside of the building features compound walls with buttresses and an east-side
bastion.
It offers an ideal vantage point for ships approaching from the sea.
Numerous windows on this side allow a substantial amount of sea breeze to flow into
the building.

Figure 24 documented section

The section is through the porch till a small pathway around the Bungalow lateral
brick is used for plastering .heights of rooms are in different levels. underground is
filled with mub.
The ceiling is made of wood.
 37

s.

2.4.3. HILL PALACE

 38

• Hill Palace, also known as Kanakakkunnu Palace, served as the royal seat for the
Cochin rulers.
• It is situated on a hillock to the east of Thripunithura.
• This grand royal mansion became the official residence of Cochin rulers in 1855.
• Historical evidence suggests that the oldest building in the palace complex was
constructed during the rule of Ravi Varma, who reigned from 1853 to 1864.
• The palace complex comprises 49 buildings, showcasing the indigenous
architectural traditions of Kerala.
• The total area of the palace complex covers 51.75 acres, with a combined plinth
area of 13,000 square feet.

• Hill Palace, a colonial-style building, was commissioned by the Kochi Raja and
constructed by the British.
• The complex consists of various blocks, including Poomukham, Akathalam
(Internal Hall), Homappura (Poojaroom), Madappally (Royal Kitchen), Oottupura
(Dining Hall), Hanuman Temple, Thevarappura, Kulappura Malika, Vilampupura,
and Valiya Oottupura (Big Dining Hall).

•"Ettukettu" translates to "eight halls," and it comprises two courtyards, each

surrounded by four adjoining rooms.
• The old palace is nestled against the hillside and is concealed by trees.
• The estate features winding paths, including extensive landscaped gardens.
 39

• Walking from the vibrant and bustling new palace to the tranquil and shaded
ettukettu feels like crossing both a geographical and temporal divide.

• The Nalukuettu, featuring two nadumittams or courtyards, along with the adjoining
Oottupura, was built in 1855.
•The northern block of the main complex was designed by European Engineers and
completed in 1898 during the reign of Maharaja Rama Varma (1895-1914).
• Rama Varma also oversaw the construction of the Cabinet Hall and its adjacent
structure in the central block.
• The Cabinet Hall boasts a unique lift imported from England, Victorian tiles with
floral designs on its outer wall, and a metallic ornamental ceiling showcasing
exceptional craftsmanship.
•Glanced Italian marble tiles line the corridors, while ceramic tiles adorn the Royal
bedroom, capturing the attention of
 40

visitors.

Figure 25 views
 41

2.5. COMPARITIVE ANALYSIS

2.5.1. LOCATION & SITE SURROUNDINGS

LITERATURE CASE STUDY

HASTHA SHILPA
•Manipal, Karnataka
•It is situated in amidst lush greenery and serene
surroundings.
It has a beautiful view of the Western Ghats. The
site surrounding the village is peaceful and
provides a perfect setting for visitors to immerse
themselves in the traditional and cultural heritage
of the region.

AL BASTHAKIYA
•UAE, Duba
•The site is surrounded by narrow alleyways and
traditional wind-tower houses that date back to the
19th century.
The district is also close to the Dubai Creek, which
was a hub for trade and transportation in the region.
Overall, the location and surroundings of Al Bastakia
offer visitors a glimpse into Dubai's rich history and
cultural heritage.

LIVE CASE STUDY

DHAKSHINACHITHRA
•Muthukadu , Chennai
•It is a small village on the East Coast Road (ECR) in
Tamil Nadu, India. The site surrounding the museum
is beautiful and peaceful, with lush greenery

INFERENCE

•It shoul be located in an area that is of cultural and historical significance, and has
the potential to attract tourists and visitors.
•Since it is related to historical and heritage topics, it is important that the location
of the site has significant historical value.
 42

2.5.2. SITE APPROACH AND ENTRY

LITERATURE CASE STUDY

HASTHA SHILPA

•It is difficult to reach the site.

•The approach to Hastha Shilpa Heritage Village
is through a winding road that leads to the
entrance gate.
•The entire site is spread over several acres and is
surrounded by hills and forests, providing a
tranquil and picturesque setting.
It have the single entry and exit to the site

AL BASTHAKIYA
•It does not have any physical boundaries, and the entire
street has been restored or rebuilt to preserve the rich
architectural heritage of historic Dubai.
•visitors can experience a cohesive and immersive
environment that provides insight into the daily life and
culture of Dubai's past.
The area is easily accessible to tourists by car or by
using the Dubai Metro,

LIVE CASE STUDY

DHAKSHINACHITHRA
•It is located approximately 33 kilometers away from the
central area, which may make it a bit challenging to reach.
•It have single entry from main road for entry and exit, also
have separate sevice entry.

INFERENCE

•The location should be easily accessible, visible and well-connected to

transportation networks.
•The approach should be designed in a way that it complements the heritage and
historical significance of the site, and encourages visitors to appreciate and engage
with the cultural and architectural aspects of the area.
•The entry and exit of the site should be clear and easily accessible. and separate
entry should be provided for service.
 43

2.5.3. ZONING

LITERATURE CASE STUDY

HASTHA SHILPA
•The oat can be approached through
the village or directly from the
entrance the idea is to open the oat for
the public in the evening with
disturbing the village.
•The entire site is accessible to both
locals and tourists.

AL BASTHAKIYA

Al Bastakia, a historic district in Dubai, preserved its

architectural heritage by rebuilding the existing
street to resemble the old one with traditional
structures. Zoning was not done according to modern
techniques but rather to maintain the historic
character. The aim was to give visitors a glimpse
into life in Dubai before modern development.

LIVE CASE STUDY

DHAKSHINACHITHRA
Dakshinachitra is divided into different
zones based on the culture and heritage of
the four southern Indian states: Tamil Nadu,
Kerala, Karnataka, and Andhra Pradesh.
This allows visitors to experience the
museum as if they are traveling through
these states and exploring their unique
customs, traditions, and way of life.

INFERENCE

The zoning should be designed in a way that provides a seamless and intuitive flow
of movevment for visitors while ensuring that the functions of each area are clearly
defined and separated from each other.
 44

2.5.4. CIRCULATION

LITERATURE CASE STUDY

HASTHA SHILPA

The circulation on Hastha Shilpa

Heritage Village is designed to be
pedestrian-friendly with various
footpaths and walkways connecting
the different zones and structures
within the site. The pathways are
made of natural materials like
gravel and stone, and are lined with trees and plants to create a green and relaxing
environment. The circulation is designed to be intuitive and easy to navigate,
allowing visitors to explore the site and its various exhibits at their own pace.
Additionally, there are signs and maps throughout the site to help visitors find their
way around.

AL BASTHAKIYA
Al Bastakia features narrow alleyways that are designed to create a sense of intimacy
and to encourage walking. Cars are not allowed to enter the district, which further
enhances the pedestrian experience. Visitors can explore the area on foot, taking in
the historic wind-tower houses, museums, and art galleries at a leisurely pace. The
district's layout encourages visitors to wander and discover the various hidden gems,
including cafes and restaurants that serve traditional Emirati cuisine. The circulation
on Al Bastakia is therefore designed to create an immersive and engaging experience
for visitors.

LIVE CASE STUDY

DHAKSHINACHITHRA
•All pedestrian paths were paved by stones with
trees on either side. The pedestrian flow was
clearly demarcated from the paths used for
commercial purpose.
•The pedestrian flow gets branched out from the
entrance
to various state’s house.
•The vehicular flow is restricted at the entry
plaza itself.

INFERENCE

The circulation of the site should be designed in a way that provides easy access to
all areas while also enhancing the overall experience for visitors. The layout of the
circulation paths should be intuitive and clearly defined, with well-designed signage
 45

to guide visitors. The circulation should also be designed to accommodate people

with disabilities and ensure easy access for all. In addition, the circulation should be
designed in a way that promotes safety and security for all visitors.

2.5.5. VEGETATION

LITERATURE CASE STUDY

HASTHA SHILPA

•Hasta Shilpa Heritage Village has lush green surroundings with an abundance of
vegetation.
•The site has been landscaped with various species of trees, plants, and shrubs to
complement the historical buildings and create a serene atmosphere.
•The vegetation also serves as a natural screen, providing privacy to the various
zones of the site.

LIVE CASE STUDY

DHAKSHINACHITHRA
The trees play a very important role in
blending all the four states together, there
is so much greenery, specially along the
pathway connecting the four of them
together. It helps in the serene transition
of built up and open spaces

INFERENCE

The vegetation on the site should be carefully planned and selected to complement
the historical and cultural significance of the area. Native plant species that were
commonly found in the region during the historic period could be used to create a
sense of authenticity and connection to the past. The vegetation should also be
designed in a way that enhances the overall aesthetic of the site, providing a visually
pleasing experience for visitors.

2.5.6. OPEN & BUILT SPACE RELATION

LITERATURE CASE STUDY

HASTHA SHILPA
•There is a strong relationship between the built and
open spaces. The built spaces are carefully designed
and placed in a way that they complement the
surrounding open spaces.
 46

•Having a higher proportion of open space to built space can create a more village-
like atmosphere and reduce crowding.
•The open spaces provide a natural and peaceful environment for visitors to explore.

AL BASTHAKIYA
Compared to other areas, the proportion of open space i is
relatively low due to the district's focus on preserving its
historic built environment. successfully integrated small
courtyards, public squares, and other outdoor areas into its
urban fabric, providing visitors and residents with areas for
socializing and relaxation. The balance between built and
open spaces creates a unique and dynamic environment that
showcases the district's cultural and historical significance.

LIVE CASE STUDY

DHAKSHINACHITHRA
•Proportion is one of the main features of
various masses or spaces.
•The open spaces are designed in a way and are
in proportion such that the activities can be
performed in that spaces. There are many
proportioning systems used in the design which
help to identify the visual relationships between
the open and built up spaces.

INFERENCE

•The relation between built and open spaces is an important aspect of design,
especially in the context of heritage buildings.
•The open spaces around the building can enhance the visual appeal of the structure
and provide a pleasant environment for visitors.
•it can also increase the overalll user experience.
 47

CHAPTER 3 - SITE

3.1. SITE STUDY

3.1.1. LOCATION

•Thripunithura is a prominent historical and

residential region in the city of cochin in Kerala,
located about 7km from city centre. Thripunithura
was the capital kingdom of cochin. The descendants
of the Kochi royal family still live here. The hill
palace situated in Thripunithura was the place of
maharaja of cochin, the ruler of kingdom of cochin.
•In the 18th century, Thripunithura became a prominent center of trade and
commerce, as it was strategically
located on the banks of the Vembanad Lake,The town was also known for its
thriving marketplaces and bazaars, which attracted merchants and traders from all
over the region.
•In the 19th century, Thripunithura was under the rule of the Kingdom of Cochin and
served as the seat of the Maharajas and other royal officials, playing a key role in the
administration and governance of the kingdom
•The town is home to several temples and other religious sites, many of which date
back several centuries.In recent times, Thripunithura has undergone rapid
urbanization and development, leading to concerns about the preservation of its
cultural and architectural heritage.

3.1.2. ACCESS

•Gandhi square bus stop - 400m

•Private bus stand - 850m
•Tripunithura Railway station - 2km
•Metro station - 2.3km
•Cochin international airport - 32km
 48

3.1.3. CLIMATE

•The climate here is tropical.

There is significant rainfall in most months of the year.
The short dry season has little effect on the overall climate.The average annual
temperature is 26.0 °C |78.8 °F.
•Precipitation here is about 2611 mm | 102.8 inch per year.
•The driest month is January, with 12 mm | 0.5 inch of rain. With an average of 524
mm |20.6 inch, the most precipitation falls in June.
•March is the warmest month of the year. The temperature in March averages
28.3 °C |82.9 °F. July has the lowest average temperature of the year. It is
24.6 °C | 76.4 °F
•There is a difference of 546 mm | 21 inch of precipitation between the driest and
wettest months. The variation in annual temperature is around 2.8 °C | 5.0 °F.

3.1.4. SITE HISTORY

From the maps it is understood that how the land has been gone under development
in past years to concrete fields consisting both residential and commercial blocks.
Also water bodies has been converted or levelled up to land fields. Development
around temple region had been rapidly increased for commercial purposes, also
construction towards city outskirts has also expanded.
 49

3.1.5. SITE PLAN

Figure 26 site plan

3.1.6. SITE FACTORS

SITE FACTORS
SOIL TYPE-Laterite soil also have sediments.

TOPOGRAPHY
•Low mid land and plain area with natural drain towards the
canal.
•Densily vegetated on north & north-west side.
•10m wide main road.

WATER LEVEL
•Water table level varies from 3 to 15m from ground level.

UTILITIES
•KSEB Electric supply
•No water source
•No sewer or drainage.

FLOOD HISTORY
•No water clogging on site. water level only rises upto canal level.
 50

SENSORY FACTOR
•No bad smell from canal.
•Have good flow of water..
•Strong fencing on the sides to prevent waste
dumping from the road.

3.1.7. NEARBY HERITAGE BUILDING

There is a sense of
old world charm
when see the
Vadakkekotta
Vaathil, the
centuries-old royal
arch, at the
entrance of the
palace town, where
the descendants of
the Cochin Royal
Family still reside.
most of the heritage
building are facing
the threat of
demolition due to
the lack of
maintanence, aslo it is find to bea heavy burden and some buildings are converted as
shops selling herbal medicines, bamboo vases,market etc.
. Palaces, which belonged to the royal family, are being converted to apartments and
flats that are available at a premium price.
Inner fort area near the temple, once the stronghold of the royal family, is only half a
square kilometre and within that area 20-25 flats have come up recently and it is
promoted as the a royal place after breaking the royal, heritage structures itself.
Around 80% of the palaces are inhabited by members of the royal family and only 10
are well maintained
 51

Figure 27 nearby heritage building (meiste rvarma)

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3.1.8. SITE VIEWS

3.1.9. DEMOGRAPHY

•Based on the survey, it appears that the

majority of visitors to the site fall into the
adult and middle-aged age groups.
•This demographic is likely to be more
interested in learning about the history of
their locality.
• older adults who have lived in
the area for an extended period
and have a strong connection to its
heritage are also likely to show interest.
• the site has the potential to attract
younger visitors who can gain insight
into the history and culture of their city. Hence, the site has the potential to generate
local interest across all age groups.

3.1.10. ACCESS

10m wide mini bypass road - easy access is

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possible from maradu,petta and tripunithura.

The point where Andhakarathodu meets Chambakkara canal, located less than a
kilometre from the Thripunithura bus stand, has potential to host a Water metro
terminal which connects vembanat lake

3.1.11. DRAIN

Natural drain towards the canal

3.1.12. CIRCULATION

The restoration of the Andhakara Thodu walkway,

coupled with the initiative to make the canal
navigable for small boats and create a walkway
along its sides, has transformed the area into a
popular tourist destination,drawing in a significant
increase to our site.

3.1.13. VEGETATION

•The northwestern section of the site is

abundant with lush vegetation,
•The northeastern area has comparatively
sparse vegetation.
-The dense vegetation on the northern side of
the site provides ample shade from the sun.

3.1.14. SENSORY

•Relatively quite place.

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•only noise from main road and residence.

-plant trees to buffer the noise from road.
•since the residential area around the site is not higher than 10m no views where
blocked.

3.1.15. POINT OF INTEREST ON SITE

•The western and southern sides of the site

offer a perfect vantage point to enjoy the
scenic view of the canal. Additionally, the
local winds in the area are ideal and help
regulate the temperature on the site.
•The canal's steady flow of water ensures
that there are no unpleasant odors emanating
from it.
•Moreover, with direct access to the main
rod, the site is easily accessible and likely to attract more tourists.

DESIGN GUIDLINES

3.1.16. SWOT

STRENGHT
•Historically siginificat place with near by historic building within 3km radius.
 55

•Strategic Location: The canal is located in Thripunithura, a region that is well-

connected to other parts of the city and has good accessibility for tourists.
•The site experiences a significant amount of wind.
•silent and calm neighbourhood.
•The site boasts excellent views from three of its surrounding sides, and it also
provides a spectacular view of the canal.
•Cultural Diversity: The site is known for its diverse cultural heritage, and it can
help showcase this diversity through its design and activities.

WEAKNESS
•No water source.
•No drainage or sewer.
•The canal may require regular maintenance

OPPORTUNITY
•Tourism potential: The Andhakara Canal is located in a popular tourist destination,
and there is potential to leverage its historical significance to attract more visitors to
the area. This could include developing heritage trails or offering guided tours.
•Environmental benefits: Rehabilitating the canal could have environmental benefits,
such as improving water quality and promoting biodiversity in the surrounding
ecosystem.
•Planing more trees & green area with contextual response to provide shade.

THREAT
•Limited availability of skilled labor: Finding skilled labor for the reconstruction of
the site may be challenging, which could impact the quality and pace of the project.
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CHAPTER 4 - DESIGN BRIEF

4.1. DESIGN APPROACH

•Preservation and restoration: Preservation of historical and architectural elements of
the heritage building. Conduct thorough research and documentation to identify the
original design features, materials, and construction techniques used in the building.
Employ appropriate methods to rebuilt and revive the deteriorated elements, ensuring
their authenticity and historical accuracy.

•Adaptive reuse: Emphasize the adaptive reuse of the rebuilted heritage building to
give it a new purpose and ensure its relevance in the present context. Explore
opportunities to repurpose the building, such as transforming it into a heritage center,
museum, cultural hub, or community space that showcases the history and traditions
of Thripunithura.

•Integration of diff amenities: While preserving the historical character of the

building, incorporate modern amenities and facilities to enhance the visitor
experience. This could include interactive exhibits, audiovisual installations,
educational spaces.

•Sensitivity to the surrounding context: Consider the surrounding context of

Thripunithura and its historical significance when developing your design. Ensure
that the design complements the existing architectural fabric of the area, respects the
scale and character of neighboring buildings, and maintains a harmonious
relationship with the natural and cultural landscape.

•Engagement and community involvement: Involve the local community, heritage

experts, and stakeholders in the design process to ensure their input and create a
sense of ownership and pride. Incorporate spaces for community engagement,
workshops, and training programs that encourage active participation and promote a
deeper understanding of the heritage & traditions of Thripunithura.
 57

CHAPTER 5 - CONCEPT

5.1. CONCEPT

5.2. CONCEPT DEVELOPMENT

 58

CHAPTER 6 - DESIGN ANALYSIS

6.1. PROXIMITY & BUBBLE DIAGRAM

6.2. ZONING
 59

CHAPTER 7 - SPECIAL STUDY

Exploring Sustainable Alternatives:

Coconut Tree as a Viable Building Material for Architectural Elements
•The pursuit of sustainable and cost-effective building materials is paramount.
•Traditional hardwoods like teak, prized for their versatility and durability, have
become increasingly expensive and less accessible.
•This challenge has spurred interest in alternative materials that are both
environmentally friendly and economically viable.
•One promising alternative is the coconut tree, abundant in tropical regions and
historically used for various purposes, including shelter.

Properties of Stem
•It have unique anatomy, with scattered vascular
fibre bundles, a yellowish ground tissue, and
storage cells.
Density decreases toward the center of the stem
and along its heigh
These features create a non-uniform distribution
of physical properties across the stem, with
density decreasing towards the center and height.

potential uses of different stem parts.

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Preferred jointing and construction techniques

Dowelled joint

• Dowelled joints are versatile and

commonly used in frame corners and box
corners.

• When working with coconut wood,

achieving sufficient strength requires
adjusting glue to high viscosity.

• Multiple glue applications, especially in cross-grain wood areas, prevent excessive glue
absorption (starved glue line).• Care is needed for dowel holes, especially those with a high
cross-grain wood portion, which depends on hole position.• Jointing surfaces in the cross-
grain wood region must be free of raised vascular bundles to ensure a tight fit.• Dowel
spacing distances below 120 mm for optimal results.

Butt-dowelled frame corner

Longitudinally profiled components are particularly suitable for mitred corner joints

Tongue and groove joint

•Tongue and groove (t & g) joints are easy to machine.•For coconut wood, use an
inserted tongue to prevent splintering.•Similar to dowelled joints, pay attention to
glue adjustment, application rate, and joint fit.

Harvesting and transport

Palms should be felled as close to the ground as possible.Reducing stump size helps
minimize the risk of rhinoceros beetle infestation.
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Sawing pattern

Boards from outer, harder parts must be separated from those in the softer
core.Frequent log turning during sawing optimizes dense material recovery.

SEASONING

It reduces water content, minimizes movement, and enhances mechanical

properties.Coconut palm wood has high initial moisture content (60% to 230%).Air-
drying under roofing to about 24% moisture content is recommended before kiln-
drying.Coconut wood is susceptible to fungi, mould, and insects during air-
seasoning.Dip treatment before stacking is important.No significant difference
between radial and tangential shrinkage.HD and MD coconut wood have moderate
shrinkage, while LD may develop cell collapse.Dry coconut wood requires higher
cutting force and produces more dust.

Moisture content assessment

Moisture content indicates water in wood relative to its dry weight.It includes free
water, capillary water, and chemically bound water.Influenced by factors like
ambient temperature and relative humidity.-To ensure consistent kiln-drying results
and prevent seasoning defects, it's crucial to group boards by density during the
process. Adding weight on top of the stack can prevent bowing or springing, and this
can be accomplished using locally manufactured clamps and springs.

Stacking
 62

PRESERVATION METHOD

Charring

The simplest method applied, which does not require any preservative is the charring
of timber. However, it only provides termporary protection.lt is particularly applied
for cheaper timber in ground contact.

Dip treatment

To safeguard timber during

seasoning, dip boards in
preservative solution post-
sawing. Tank can be made from
cut oil drums or a lined wooden
box. Position it between resaw and seasoning sheds for efficient workflow. Ensure
sawdust-free boards, soak for at least a minute, and periodically renew the solution
for effectiveness.

Brushing/spraying

The timber to be treated can be soaked in

a 3 – 5 % solution for up to 8 hours
(depending on use and thickness).
Soaking provides better protection than
brushing or spraying

Hot & Cold Bath

Use two stainless steel tubs, one with a heating source, to treat timber. Submerge
timber in preservative and heat for 2-3 hours at 100°C, then transfer to the cold tub
for 8-24 hours. Ensure complete immersion.

Pressure Treatment

Use a pressure plant with a cylinder, gauges, pumps, and storage tank to efficiently
force preservative into wood. Two common processes are full-cell (Bethell) and
empty-cell (Rueping). Ensure coconut wood moisture content is below 30%.
 63

CHAPTER 8 - ARCHITECTURAL DRAWINGS

 64

CHAPTER 9 - SERVICE DRAWINGS

 65

CHAPTER 10 - CONCLUSION

In the pursuit of unraveling the rich tapestry of Thripunithura's historical and

architectural heritage, this thesis project has embarked on a journey through time and
space. We have ventured into the heart of this ancient town, exploring its streets,
structures, and stories, with an unwavering commitment to preserving its legacy.

Our odyssey began with an exploration of Thripunithura's historical roots, delving

into the annals of time to uncover its multifaceted past. We traced the footsteps of
rulers, architects, and artisans whose contributions have shaped this town into a
living museum of history.

Through meticulous research and documentation, we have breathed life into

Thripunithura's architectural marvels. From the intricate woodwork of palaces to the
timeless elegance of temples, we have celebrated the craftsmanship of those who
toiled to create these enduring masterpieces.

Moreover, our project has emphasized the importance of safeguarding and

conserving this invaluable heritage. We have highlighted the need for thoughtful
restoration and adaptive reuse, ensuring that these architectural treasures continue to
serve and inspire future generations.

In an age where rapid modernization often eclipses the past, our thesis project serves
as a beacon of remembrance. It is a testament to the belief that the echoes of history
can guide our steps into the future. Thripunithura's legacy is not confined to the
pages of books; it lives in the very stones and timbers of its structures.

As we conclude this chapter of our exploration, we are reminded that the legacy of
Thripunithura is not static; it is a living entity, continually evolving as it is passed
from one generation to the next. It is our collective responsibility to protect, cherish,
and narrate the story of this remarkable town.

In the end, this thesis project is more than a scholarly endeavor; it is a pledge to
honor the past and celebrate the enduring spirit of Thripunithura. Through our
research, we have unveiled the past, but it is the duty of the present and the privilege
of the future to ensure that Thripunithura's heritage continues to thrive and inspire."
 66

CHAPTER 11 - BIBILOGRAPHY

https://www.newindianexpress.com/states/kerala/2014/jul/21/Tap-Cultural-Wealth-
of-Tripunithura-638188.html
https://www.indiaheritagewalks.org/royals-and-heritage-walk-tripunithura
https://timesofindia.indiatimes.com/city/kochi/heritage-sites-in-a-state-of-complete-
neglect/articleshow/60853865.cms
https://www.archistart.net/wp-content/uploads/2016/09/ATA2020-7be96-scaled.jpg
https://www.yumpu.com/en/document/view/18922763/destination-attractiveness-of-
kerala-as-an-international-tourist-
https://www.sahapedia.org/thripunithura-and-the-history-of-the-kingdom-of-kochi
http://www.intach.org/about-charter-
https://www.youtube.com/watch?app=desktop&v=2IM3mx_2EHc
guidelines.php#:~:text=This%20Charter%20recommends%20that%20buildings,exa
mple%2C%20ASI's%20Works%20Manual
https://homegrown.co.in/homegrown-explore/the-hasta-shilpa-heritage-village-in-
manipal-is-preserving-the-culture-of-a-bygone-era
https://laiibharii.co.in/2021/01/10/hastakala-heritage-village/
https://pt.maps-dubai.com/
https://www.researchgate.net/figure/Map-for-the-historic-centre-of-Birzeit-State-of-
Conservation-Report-2015_fig3_327262967
https://www.fao.org/3/ag335e/AG335E02.htm
https://www.dakshinachitra.net/