-Research Paper

CROSS CULTURE INFLUENCE AND EVOLUTION OF

RESIDENTIAL UNITS IN JAIPUR

By

Preethi Jangam (222015501009)

Affiliation
GITAM School of
Architecture
 CROSS CULTURE INFLUENCE AND EVOLUTION OF
RESIDENTIAL UNITS IN JAIPUR

Preethi Jangam
GITAM School of
Architecture

ABSTRACT:
Jaipur also known as the Pink City of India, has a rich architectural heritage and
when it comes to culture it holds the old Rajasthani touch in everything. In this paper will
analyze the evolution of residential units in Jaipur, by exploring how cross-culture influences
have evolved and shaped the living spaces of its residents, by studying and analyzing the
evolution in terms of style or use of material, etc. Here we will get an understanding of how
these diverse influences have been adapted and integrated into the design of Jaipur homes.

KEYWORDS:
Indo-Islamic Architecture, Urban Morphology, Rajput Housing.
Design, Colonial Influence, Cross-Culture Influence.
INTRODUCTION

PLAN OF JAIPUR

Jaipur stands out among pre-modern Indian cities for its organized layout, divided into six
sectors by wide streets. These sectors, further subdivided by gridded streets, encompass a
central palace quarter, including the Hawa Mahal palace complex and Nahargarh Fort. Jantar
Mantar observatory adds to its UNESCO World Heritage status. Being part of the Golden
Triangle tourist circuit, Jaipur attracts tourists from across the globe.

This dissertation explores the evolution of home design in Jaipur, examining literature and
case studies spanning from the 18th century to the present day. Focusing on landmarks like
the City Palace (Amber Fort), traditional dwellings, and modern housing apartments, it seeks
to understand how homes have transformed over time to meet the needs of Jaipur's residents.

LITERATURE STUDY
The indigenous concept of palace architecture often involves a strategic layout, gradually
increasing security from the outer public areas to the private chambers of the king and his
family. This layout is sometimes depicted as concentric zones with boundary walls. For
instance, an eighteenth-century painting in the Chandra Mahal illustrates a design reminiscent
of the temple at Srirangam, featuring seven walls with gate towers, creating a sequence of
gates.
Alternatively, palaces may have a linear arrangement of courtyards, as seen in the Jaipur
Palace. Despite this linear layout, visitors progress towards a protected center, passing
through a sequence of gates, such as the SirehDeorhi, NaqqarwalKaDarwaza, and Udai pol,
each with its significance and function.
The palace's vertical design also follows a seven-fold scheme, with seven stories in the
Chandra Mahal, reflecting traditional beliefs. Each storey serves different purposes, from
audience halls to private chambers, and is adorned with distinct architectural features like
coloured glasswork and intricate designs.
Moreover, the palace includes practical elements like latrines, supplied with hot and cold
water, and tunnels, used for movement and escape during sieges. The Amber Palace tunnel,
for instance, connects to Jaigarh Fort and is accessible from various palace areas.
This architecture, with its symbolic and functional elements, reflects the enduring Rajput
palace traditions found across the region, showcasing a blend of beauty, tradition, and
practicality.

RESEARCH METHODOLOGY
 History
 Case Study
 Documentation of Jaipur
 Photographic documentation

HISTORY
 Jaipur serves as the capital and largest city of the Indian state of Rajasthan.
 Founded on November 18, 1727, by Maharaja Sawai Jai Singh II, the ruler of Amber,
the city derived its name from him.
 Jaipur is renowned as the "Pink City" and often referred to as the "Paris of India."
 The city stands out among pre-modern Indian cities due to the remarkable width and
regularity of its streets, which are organized into six sectors separated by broad streets
measuring 34 meters (111 feet) in width.
 The urban layout comprises gridded streets that further divide the city into quarters.
Five of these quarters encompass the east, south, and west sides of a central palace
quarter, with an additional quarter located immediately to the east.
 The Palace quarter encompasses a vast palace complex, including the iconic Hawa
Mahal, formal gardens, and a small lake.
 Nahargarh Fort, once the residence of King Sawai Jai Singh II, is another notable
landmark in Jaipur.
 Historically, the Jaipur region was part of the Matsya Kingdom.
 The modern city of Jaipur was established in 1727 by Maharaja Ram Seo Master II of
Amber, who reigned from 1699 to 1744.
 Initially, the capital was situated in Amber, located 11 kilometres from Jaipur.
However, due to population growth and water scarcity, the decision was made to
relocate the capital.
 Jaipur was founded based on the principles of Vastu Shastra and other classical
treatises.
 Maharaja Sawai Jai Singh II undertook efforts to enhance the city's security following
conflicts with the Marathas.
ARCHITECTURE

 Jaipur's city planning adheres to Indian Vastu Shastra principles, aimed at ensuring
the comfort and prosperity of its citizens.
 Streets and markets in Jaipur are laid out in an East to West and North to South
orientation, following Vedic guidelines. The Eastern gate of the city is named Suraj
(Sun) Pol, while the Western gate is known as Chand (Moon) Pol.
 three gates facing East, West, and North, with the Northern gate, called Zorawar
Singh gate, oriented towards the ancestral capital of Amber. Additionally, several
gates face South.
 Originally, Jaipur was enclosed within walls for protection, although the city has
expanded beyond these walls over time.
 Traditionally, the gates of Jaipur were closed at sunset and opened at sunrise to
regulate entry and exit.
 The layout of Jaipur follows the pattern of an eight-part Mandala, known as the
'Pithapada', reflecting ancient architectural principles.

ORNAMENTATION
 Ornamentation became increasingly lavish in the architectural heritage of the
state.
 The entertainment areas of the family's private wings were expanded, focusing on
larger and more ornate windows overlooking streets or courtyards.
 In the evolution of palace design, gardens were not restricted to internal courtyards
but were also incorporated into external views.
 Water features, inspired by Mughal palaces and gardens, such as canals and fountains,
were integrated into the palace architecture and landscapes for aesthetic appeal and
functionality.

BASIC FEATURES & MATERIALS

 Courtyards were designed to facilitate ventilation within the structure.
 Large windows with low sills were incorporated into the design to maximize natural
light and airflow.
 High ceilings were implemented to enhance comfort levels by promoting air
circulation and creating a sense of spaciousness.
 Stone was the primary construction material, with lime used as a binding
agent.
  Elevation designs often featured prominent stone pillars for structural support and
aesthetic appeal.
 Complete rubble masonry techniques were employed for construction, providing
durability and strength.
 Kota stone flooring was commonly used for its resilience and aesthetic qualities.

AMER
PALACE
LAYOUT

 The fort is divided into four main sections, each with its own entry gate and
courtyard.
 The primary entrance is the Suraj Pole (Sun Gate), leading to the Jaleb Chowk, the
first main courtyard.
 Jaleb Chowk historically served as the site for victory parades, where returning armies
displayed their war bounty. These parades were observed by the royal family women
through latticed windows.
 Due to its significance as the main entry point, the Suraj Pole was exclusively built
and guarded.
 Positioned facing east towards the rising sun, the gate facilitated the entry of royal
cavalcades and dignitaries.
 "Jaleb Chowk" derives from Arabic, meaning a place for soldiers to assemble, and is
one of the four courtyards within the Amer Palace, constructed during Sawai Jai
Singh's reign (1693-1743 AD).
 The Maharaja's bodyguards conducted parades in Jaleb Chowk under the supervision
of the army commander. The Maharaja would inspect the guard's contingent during
these events.
 Additionally, the horse stables were situated in this area, with upper-level rooms
occupied by the guards. 1 Suraj Pol
2 Jaleb Chowk
3 Shiva Devi Temple 4-
Diwan-i-Am
5 Jas/Jai Mandir
6 Ganesh Pol
7 Suk Mandir
8 Baradari
9 Zenana

DESIGN
FIRST COURTYARD
 An impressive stairway leads from the Jaleb Chowk into the main palace grounds.
 Adjacent to the stairway, on the right side, is the Sila Devi temple, where Rajput
Maharajas offered worship from the 16th century until the 1980s when the practice of
animal sacrifice was discontinued.
  The Sila Devi temple is dedicated to the Hindu goddess Kali or Durga, and the main
deity inside the sanctum is accompanied by two silver lions.
 The Ganesh Pol, or Ganesh Gate, named after the Hindu god Lord Ganesh, serves as
the entry point into the private palaces of the Maharajas.
 This three-level structure, adorned with numerous frescoes, was commissioned by
Mirza Raja Jai Singh (1621-1627) and leads to the royal family's private quarters.
 Above the Ganesh Pol is the Suhag Mandir, where the ladies of the royal family
would observe functions held in the Diwan-i-Am through latticed windows.

SECOND COURTYARD
The second courtyard, accessed via the main stairway from the first level courtyard, contains
the Diwan-i-Am or the Public Audience Hall.
The Diwan-i-Am features a double row of columns and is constructed on a raised platform.
It comprises 27 colonnades, each adorned with elephant-shaped capitals and galleries above
them.
As its name suggests, the Raja utilized the Diwan-i-Am to conduct public audiences, where
he would listen to and address petitions from the public

THIRD COURTYARD
 The third courtyard houses the private quarters of the Maharaja, his family,
and attendants.
 Access to this courtyard is through the Ganesh Pol or Ganesh Gate,
adorned with mosaics and sculptures.
  Within the courtyard, two buildings stand opposite each other, separated
by a garden designed in the style of Mughal Gardens.
 The building on the left side of the entrance gate is known as the Jai
Mandir, distinguished by its exquisite embellishment with glass inlaid
panels and multi-mirrored ceilings.
 The mirrors within the Jai Mandir are convex in shape and adorned with
colored foil and paint, creating a glittering effect that would shine brightly
under candlelight during its active use.
 Also referred to as the Sheesh Mahal or Mirror Palace, the mirror mosaics
and coloured glasses within the Jai Mandir were likened to a "glittering
jewel box" in their appearance.

FOURTH CHAMBER

-The fourth courtyard served as the residence for the Zenana, comprising the Royal family
women, including concubines or mistresses.
-Within this courtyard, numerous living rooms provided accommodation for the queens,
facilitating visits by the king with discretion, as all rooms opened into a common corridor,
ensuring anonymity.
-The Zanani Deorhi housed the queen mothers and the Raja's consorts, along with their
female attendants.
-In addition to their living quarters, the queen mothers actively participated in the
construction of temples in Amer town.
-The Jas Mandir, a hall of private audience adorned with floral glass inlays and alabaster
relief work, is also situated within this courtyard.

HAVELIES OF JAIPUR
  Havelis are multi-storied buildings featuring rooms facing an inner courtyard or a
series of courtyards, sometimes as many as seven. Typically constructed of red
sandstone or brick with lime mortar.
 The haveli principle emerged to address the extreme climate and diverse sociocultural
needs.
 Access to havelis is typically through narrow alleys, forming densely built residential
complexes known as mohallas, which also house artisan workshops, temples, or
mosques.
 Each mohalla typically accommodates about 40 to 50 residential plots, fostering a
cohesive social and cultural subgroup.
 Courtyard planning helped maintain interior privacy, with women often secluded to
their own inner part of the house, the zenana, situated in a rear courtyard or upper
floor. High walls, pierced screens (jalis), bamboo blinds (chiks), and curtains (pardas)
ensured privacy.
 Havelis were designed to mitigate the hot climate, offering a range of spaces from
external courts (chowks) and terraces to verandas and inner rooms for different times
of the day and seasons.
 Jharokhas, bay windows with jalis, facilitated airflow and provided views outside,
while bracketed access balconies and overhanging upper stories offered shading and
maximized space.
 Havelis served as status symbols, with size and richness of decoration highly
valued.
 Rooms within the haveli were designed for flexible use, often furnished with soft
furnishings.
 Each haveli typically included a grand reception room for formal visitors and family
celebrations, with some featuring additional reception rooms in the zenana for
women's festivities. Smaller reception rooms were used for business purposes, and
raised platforms (chabutras) served as waiting areas.
DISCUSSION:
Evolution of Home Design: The exploration of home design in Jaipur reveals a fascinating
journey from traditional dwellings to modern housing apartments. By examining landmarks
like the City Palace (Amber Fort) and various architectural styles, the research sheds light on
how homes have adapted over time to meet the changing needs of Jaipur's residents.
Historical Context: Understanding Jaipur's rich history, from its founding by Maharaja Sawai
Jai Singh II in 1727 to its significance as the capital of Rajasthan, provides valuable insights
into the city's architectural evolution. The integration of Vastu Shastra principles and classical
treatises in city planning highlights the cultural significance of architecture in Jaipur.
Architectural Features: The discussion delves into the unique architectural features of Jaipur,
such as its organized layout divided into six sectors by wide streets, reminiscent of pre-
modern Indian cities. The incorporation of elements like courtyards, large windows, high
ceilings, and stone construction reflects a blend of tradition, practicality, and aesthetic appeal.
Palace Architecture: Examining palace architecture reveals strategic layouts designed to
enhance security while maintaining aesthetic appeal. The depiction of concentric zones and
linear arrangements of courtyards showcases the sophistication of Rajput palace traditions,
incorporating symbolic and functional elements for both beauty and practicality.
Havelis of Jaipur: The research explores the role of havelis as multi-storied residential
complexes, addressing the extreme climate and sociocultural needs of Jaipur's inhabitants.
Courtyard planning, architectural elements like jharokhas, and the integration of soft
furnishings reflect the adaptability and status symbolism associated with havelis.
CONCLUSION:
In conclusion, the study of home design in Jaipur provides valuable insights into the city's
architectural heritage and cultural evolution. From the strategic layouts of palaces to the
intricate designs of havelis, Jaipur's architecture reflects a harmonious blend of tradition,
practicality, and aesthetic appeal. By examining historical landmarks, traditional dwellings,
and modern housing apartments, this research contributes to a deeper understanding of how
homes have transformed over time to meet the diverse needs of Jaipur's residents. Moreover,
the exploration of architectural features and cultural influences underscores the significance
of architecture in shaping the identity and heritage of Jaipur as a vibrant city renowned for its
rich cultural heritage and architectural splendor.
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