Dissertation Report Mridul Bhatia

Vernacular Architecture of South India.
2019
VERNACULAR ARCHITECTURE OF SOUTH INDIA
B. Arch. Dissertation
by
MRIDUL BHATIA
(15001006037)
DEPARTMENT OF ARCHITECTURE
DEENBANDHU CHHOTU RAM
UNIVERSITY OF SCIENCE & TECHNOLOGY, MURTHAL
(SONIPAT), HARYANA – 131039 (INDIA)
NOVEMBER, 2019
DISSERTATION 9TH SEM. (JULY-DECEMBER 2019) 1

DISSERTATION 9TH SEM. (JULY-DECEMBER 2019) Page 2
VERNACULAR ARCHITECTURE OF SOUTH INDIA
A DISSERTATION
Submitted in partial fulfilment of the

requirements for Ninth Semester of the degree
of
BACHELOR OF ARCHITECTURE
by
MRIDUL BHATIA
DEPARTMENT OF ARCHITECTURE
DEENBANDHU CHHOTU RAM
UNIVERSITY OF SCIENCE & TECHNOLOGY, MURTHAL
(SONIPAT), HARYANA – 131039 (INDIA)
NOVEMBER, 2019
i
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DISSERTATION 9 SEM. (JULY-DECEMBER 2019) Page 4
© DEPARTMENT OF ARCHITECTURE,
D. C. R. UNIVERSITY OF SCIENCE & TECHNOLOGY, MURTHAL, SONIPAT - 2019
ALL RIGHTS RESERVED

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D. C. R. UNIVERSITY OF SCIENCE &
TECHNOLOGY MURTHAL
CANDIDATE’S DECLARATION
I hereby certify that the work which is being presented in the thesis entitled
“Vernacular Architecture of South India.” in partial fulfillment of the requirements
for qualifying Ninth Semester of the Degree of Bachelors of Architecture and submitted
in the Department of Architecture of the Deenbandhu Chhotu Ram University of
Science & Technology, Murthal is an authentic record of my own work carried out
during a period from July 2019 to November 2019 under the supervision of Ar. Sneh,
Assistant Professor, Department of Architecture, Deenbandhu Chhotu Ram University
of Science & Technology, Murthal.
The matter presented in the thesis has not been submitted by me for the award of
any other degree of this or any other Institute.
(MRIDUL BHATIA)
15001006037
This is to certify that the above statement made by the candidate is correct to the best of
our knowledge.
(Prof. Neha Yadav) (Ar. Sneh)

Supervisor Dissertation Coordinator
Date:
Place:
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TECHNOLOGY MURTHAL
STATEMENT OF SOURCES
I hereby declare that I, MRIDUL BHATIA, Roll Number 15001006037 the sole author
of this Dissertation, titles, “Vernacular Architecture of South India.” And that no
part of this Dissertation, in part or full, has been submitted for the award of a Degree or
Diploma to any other University or Institution. I certify that, to the best of my
knowledge, my Dissertation does not infringe upon anyone’s copyright nor violates any
proprietary rights. Further, any ideas, techniques, quotations, or any other material,
published or otherwise, drawn from the work of other people and included in my
dissertation, have been fully acknowledged in accordance with standard referencing
practices. I agree that I have been informed by the Dissertation Coordinators about the
legal consequences of infringing copyright of any work and therefore in case any
content of this report or research work is found to be infringing copyright of any work,
then the University, Department, or any of its faculties and staff shall not be liable for
any legal action and that I shall be solely responsible for such actions and the
consequences thereon.
Full signature of student

MRIDUL BHATIA
ROLL NO. 15001006037
B.Arch. 9th Semester, Section – A
December 2019
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DISSERTATION 9TH SEM. (JULY-DECEMBER 2019) vi
vi
TECHNOLOGY MURTHAL
CERTIFICATE
Certifies that this Dissertation titled “Vernacular Architecture of South India.” is the
bonafide work of MRIDUL BHATIA, Roll Number 15001006037, who carried out the
work under my supervision. Certified further that to the best of my knowledge the work
reported herein does not form part of any other Dissertation on the basis of which a
degree or award was conferred on an earlier occasion on this or any other candidate.
Ar. Sneh Prof. (Dr.) Ajay Monga

Dissertation Coordinator Department Chairperson
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DISSERTATION 9TH SEM. (JULY-DECEMBER 2019) viii

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ABSTRACT
Title: [Vernacular Architecture of South India]

Description: The expression "Vernacular Architecture" as a rule alludes to the casual
structure of structures through conventional structure strategies by nearby developers
without utilizing the administrations of an expert draftsman. Vernacular Architecture is
tied in with utilizing locally accessible materials for development. It is the most across
the board type of building.
Vernacular Architecture is progressively turning into a subject of significant intrigue not
exclusively to architecture scholars, yet additionally to originators and technologists for
such a significant number of valid justifications. It has now gotten exceptionally
evident, that albeit innovative headway carries current human progress to our networks,
it likewise quickens the vanishing of not just the style of life which has been created
over a range of numerous hundreds of years, yet in addition of the very veins of social
personality which are so fundamental for the endurance of any general public. The
invasion of present day innovation has looted our networks of the development abilities
and earth delicate structure of their abodes. "Current Architecture" is turning out to be
increasingly more ecologically threatening not exclusively to individuals, yet in addition
to the encompassing indigenous habitat, remembering the unnecessary utilization of
vitality for cooling structures. That is the reason we need to return to vernacular
architecture to perceive how we can rescue the vernacular standards and utilize them in
practical architecture. There has been a pivot following quite a while of earth
antagonistic materials and awful architecture to maintainable structure materials and
development strategies.
Keywords: Architecture, Vernacular Architecture, South India, South Indian
Architecture, Traditional Architecture, Local materials.
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ACKNOWLEDGEMENTS
I would like to express my gratitude and thanks to the following people who contributed
and inspired me through my research.
 Prof. Neha Yadav as my dissertation Supervisor and Coordinator Ar. Sneh
who continually and convincingly conveyed a spirit of adventure in regard to
research and an excitement in regard to teaching. Without their guidance and
persistent help, this dissertation would not have been possible.
 My parents, my friends Sonakshi Agarwal, Karthi Vasudevan, Basant, Chirag
Bhatia, Manan Verma, Rishabh Jangra and my brother Kartik Bhatia for
constantly motivating me.
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DEDICATION
To my Parents, for the sacrifices you’ve made for the betterment of my future and
inspiritment for me to excel in my studies. Thank you for your love and undivided and
irrevocable support throughout the peregrination of my life and believing in me that I
can reach my goals.
To our brother, sister, mentor, friends, and classmates who shared their words of advice
and encouragement to finish this study.
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DISSERTATION 9TH SEM. (JULY-DECEMBER 2019) xiv
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TABLE OF CONTENTS
ABSTRACT
ACKNOWLEDGEMENT
DEDICATION
LIST OF FIGURES
CHAPTER 1: SYNOPSIS............................................................................................................1
1.1 Introduction......................................................................................................................................................1
1.2 Problem Statement.........................................................................................................................................1
1.3 Aim.....................................................................................................................................................................1
1.4 Objectives.........................................................................................................................................................2
1.5 Relevance and Validity................................................................................................................................2
1.6 Scope..................................................................................................................................................................3
1.7 Limitations.......................................................................................................................................................3
1.8 Methodology....................................................................................................................................................4
CHAPTER 2: LITERATURE STUDY......................................................................................................5
2.1 Architecture......................................................................................................................................................5
2.1.1. Orientation and Planning.................................................................................................................5
2.1.2. Influence of Climate..........................................................................................................................6
2.1.3. Roofing..................................................................................................................................................7
2.1.4. Flooring.................................................................................................................................................7
2.2 Materials...........................................................................................................................................................8
2.2.1 Timber.....................................................................................................................................................8
2.2.2 Granite....................................................................................................................................................9
2.2.3 Laterite....................................................................................................................................................10
2.2.4 Clay..........................................................................................................................................................10
2.2.5 Adobe......................................................................................................................................................11
2.2.6 Fly Ash / Sand Lime / Gypsum Bricks.........................................................................................12
2.2.7 Compressed Earth Blocks.................................................................................................................13
2.2.8 Micro Concrete Roofing Tiles.........................................................................................................13
2.3 Types of Buildings.........................................................................................................................................14
2.3.1 Residential.............................................................................................................................................14
2.3.1.1 Women Spaces.......................................................................................................................17
2.3.1.2 Tharavad – Spatial Configuration...............................................................17
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2.3.2 Temples………………………………………………………………………………….18
2.3.2.1 Details…………………………………………………………….19
CHAPTER 3: CASE STUDY ……………………………………………………..21
3.1 Dakshinchitra Museum, Chennai………………………………………………………….21
3.1.1 Kerela houses…………………………………………………………………………..22
3.1.2 Karnataka Houses…………………………………………………………………….23
3.1.3 Tamil Nadu Houses…………………………………………………………………...24
3.1.4 Andhra Pradesh houses……………………………………………………………….25
3.2 Padmanabhapuram Palace, Kerela………………………………………………………...26
3.2.1 Built Space……………………………………………………………………………...27
3.2.2 Structure and Materials……………………………………………………………….28
3.3 Meenakshi Temple, Madurai……………………………………………………………….30
3.3.1 History…………………………………………………………………………………...32
3.3.2 Temple Structure………………………………………………………………………33
3.3.3 Materials…………………………………………………………………………………36
CHAPTER 4: COMPARATIVE ANALYSIS……………………………………………37
CHAPTER 6: CONCLUSION……………………………………………………………….38
CHAPTER 7: SOURCES AND COLLATION OF DATA…………………………..39
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LIST OF FIGURES
Figure 1 Traditional Plan of a South Indian house 5
Figure 2 Orientation as per Astrology at cardinal points 5
Figure 3 South India gets heavy rainfall during monsoon season 6
Figure 4 Sloped Roof in a house in Chennai 7
Figure 5 Flooring in a Village home (left) and in an urban home (right) 8
Figure 6 Timber 8
Figure 7 Timber used in columns, roof and handrails 9
Figure 8 Raw Granite Stone 9
Figure 9 Laterite stone (top left) and Laterite used in construction 10
Figure 10 Raw clay (left) and burnt clay bricks (right) 11
Figure 11 Adobe Blocks 11
Figure 12 Fly Ash Bricks 12
Figure 13 Sand Lime Blocks 12
Figure 14 Gypsum Blocks 12
Figure 15 Compressed Earth Blocks 13
Figure 16 Micro-Concrete Roofing Tiles 13
Figure 17 Typical south Indian home with a courtyard 14
Figure 18 Traditional temple with exquisite carvings 14
Figure 19 Three types of Chala 15
Figure 20 Ekasala 16
Figure 22 Nalukettu 16
Figure 23 Nair Tharavad in Kerela 17
Figure 24 Evolution of Temple Planning 18
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Figure 25 Traditional planning of temples as per Astronomical beliefs 19
Figure 26 Site Plan of Dakshinchitra Museum, Chennai, India 21
Figure 27 Kerela Houses 22
Figure 28 Traditional Karnataka Houses 23
Figure 29 Tamil Nadu Houses 24
Figure 30 Traditional Andhra Pradesh Houses 25
Figure 31 Padmanabhapuram Palace, Kerela 26
Figure 32 Sectional view of the Site Complex 27
Figure 33 Plan of Padmanabhapuram Palace 27
Figure 34 Built Space 28
Figure 35 Section of the Palace 29
Figure 36 Meenakshi Temple Complex, Madurai 30
Figure 37 Aerial View of the Complex 31
Figure 38 Temple Wall Painting Depicting its Founding Legend 32
Figure 39 Plan of Temple as per a 1911 Sketch 33
Figure 40 The Thousand Pillar Hall 35
Figure 41 Detailed carvings of idols on gopurams painted in bright colors 36
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CHAPTER 1: SYNOPSIS
1.1 Introduction
Vernacular architecture will in general progress after sometime as an opportunity to

reflect the natural, social and recorded setting in which it exists. It has been consistently
ousted as unpleasant and foul, yet also, it includes its criticalness in the present
structure. Vernacular architecture is a zone of architecture speculation that surveys the
structures made by the observational designers with no intervention of master makers. It
was created in the manner as it mirrors nature, social, imaginative, money related and
important setting in which it exists. This architecture still expect an occupation in
architecture and structure, especially in neighborhood area. Less troublesome than what
the advancement of the time is prepared for keeping up and portrayed by modest
materials and plainly utilitarian arrangement which uses essential commonplace
structures and materials at a particular spot and time. It will in general be typical and to
mirror the regular day to day existence and experience of individuals inside a culture or
area and it is frequently called a "conventional" or "customary" manufactured condition.
1.2 Problem Statement
Native connection is an essential part of the architecture. It enhances the vibe and
allows a person to interact and connect with its surroundings well. The quantitative and
qualitative parameters of vernacular architecture are inter-related, so as a designer it is
very important to be aware of them before designing a space.
 The climatic conditions prevailing and their impact on parameters.
 Specifications required for visual environmental quality.
 The types of methods and materials to be used and their availability.
1.3 Aim
The aim of this dissertation is to study

 The traditional styles of construction in South India.
 The use of locally available materials.

1.4 Objectives
Objectives to be studied in the study are :

 Adopting traditional design measures to be implemented for proper use of
resources and to achieve sustainability.
 Adopting the parameters identified
 Adopting native approach in the design
 Adopting the standards and norms for enhanced designs.
1.5 Relevance and Validity
Vernacular architecture is portrayed by its dependence on needs, development materials

and customs explicit to its specific region. It is a sort of engineering which is indigenous
to a particular time and place and not recreated from somewhere else. Generally,
vernacular design has consolidated the aptitudes and mastery of neighborhood
manufacturers instead of officially prepared draftsmen.
The advancement of vernacular design focuses on the capacities that the structure type
is required to perform. The plan at that point for the most part develops after some time,
getting increasingly refined and custom fitted to the settings in which it exists,
including:
 The availability of resources, skilled workforce, and so on.

 Local technology.
 Climate: The amount of sunshine, humidity, rain, wind, temperature profiles,
and so on.
 Local culture: The way of life of the occupiers greatly influences
the building form. This can include the size of families, the way the building is used,
social conditions, local customs, religious values, and so on.
 Environment: Whether it is located near water, woodland, desert or mountainous
terrain, and so on.
 Historical influences.
The benefits of vernacular architecture include:

 Taking advantage of local materials and resources, meaning that they are
relatively energy efficient and sustainable.
 Providing a vital connection between humans and the environment in which they
live.
 They can be designed specifically with the local climatic conditions in mind, and
often perform well.
1.6 Scope
It is incorrect to design a place without considering the regional connection of the

structure with its environment. As we know that India is a developing country so
modern techniques and materials have long overtaken the local materials and traditional
building techniques which were earlier used in erecting a structure. So the scope of the
project is to try to find out ways to design a space that creates a positive impact
emotionally and creates a connection with the region it is being built in.
This study will focus on the southern region of India. Through this research my efforts
will be to shed light on vernacular i.e. local architecture of South India.
1.7 Limitations
 This study is based on architectural aspects only, where only designing would
be considered and not structural technicalities.
 This study would be limited to the types of materials and various building styles.
 This study would suggest what your space should look like.
 This study would be applicable in the region of South India only.

1.8 Methodology

CHAPTER 2: LITERATURE STUDY
2.1 Architecture
South Indian architecture is a sort of engineering style that is found in southern district
of India and all the compositional marvels of south stands apart to be extreme tributes
for the old vishwakarma sthapathis of Kerala. This style of engineering is exceptional in
India, it is known as Dravidian design which is typically polished in many pieces of
south India. The engineering of south India has been impacted by Dravidian and Indian
Vedic compositional science (Vastu sastra) more than two thousand years.
2.1.1 Orientation and Planning
Generally, vernacular structures will be in square or square shape in plan and arranged
towards the cardinal focuses. The explanation is, it will control the climatic components
like breeze, sunlight based radiation and so forth., with the inactive sun based methods.
This specific Wada is having the self observer plan with the focal open yard. Halls
around the yard go about as a progress space between the open and shut spaces. These

spaces are comprehensively partitioned into private space and open space with the
thought of security and protection. Wada additionally has auxiliary patio where the
dairy cattle's shed is kept.
2.1.2 Influence of Climate
South India has a warm moist atmosphere. The precipitation is overwhelming from
south west and north east rainstorm. To repel the downpour and sun structure the
dividers the tops of the structure descend exceptionally low. They have verandah all
round the structure shielding the outer dividers from sun and downpour. The width of
the verandah shifts from 2 ft. to 12ft. In rooms were individuals invest the vast majority
of their2 Traditional
Figure energy during
Plan of day theIndian
a South window
house. openings
Figure 1 were gotten
Orientation at Astrology
as per ground at level generally
cardinal points.
the windows were little so that there was just curbed light inside or had timber jalis to
give diffused light without glare. They additionally have an inside patio for better
progression of air.

2.1.3 Roofing
The furrowed rooftop pitched at edges between 30 degree to 40 degree. The rooftop are
unpredictably cut peaks distending from the rooftop with overhangs upheld by wooden
sections. The rooftop is refabricated that is various individuals are fixed on the ground
and gathered at the top. No nails are utilized. The rooftop is kept in position by
interlocking with the gap in the rafters. Dividers made of timber or earth and top of
coconut leaves or tiles are normal in numerous pieces of Kerala. Basically the rooftop
outline was bolstered on the columns on dividers raised on a plinth raised starting from
the earliest stage security against soddenness and bugs in the tropical atmosphere.
Figure 4 Sloped Roof in a house in Chennai.
2.1.4 Flooring

The most widely recognized sort of deck was that of beaten earth cleaned with dairy
animals compost at standard interims. Dark hued customary ground surface utilized in
the more costly structures is finished with the blend of lime, sand, coconut shell, white
of egg, jaggery, coconut water and other vegetable concentrates. The smoothness was
accomplished by cleaning the floor with a specific assortment of banana. Stone deck,
wooden ground surface, consumed dirt block flooring are likewise prominent styles of
ground surface done utilizing normally accessible materials.
Figure 5 Flooring in a Village home (left) and in an urban home (right).
2.2 Materials
Vernacular Architecture is all about using locally available materials for construction.
The most common materials to be used are:
2.2.1 Timber
Timber remains the prime auxiliary material inexhaustibly accessible in South India, in
numerous assortments from bamboo to teak and rosewood. The dexterous decision of
timber, sly get together and sensitive cutting of wood work for segments, dividers and
rooftops outlines are the one of a kind qualities of Southern design, utilizing precise
attack of joints. It is one of the most as often as possible accessible and common yet
local structure materials. Of the different preferences, it is non-lethal, doesn't release
concoction fume into the structure and is protected to deal with and contact. It is very
simple to work with, inexhaustible, an excellent separator and promptly accessible.
Figure 6 Timber
Figure 7 Timber used in columns, roof and handrails.
2.2.2 Granite
The accessibility of granite - a solid and tough structure stone is limited mostly to the
good highlands and insignificantly to some hilly zones.
Figure 8 Raw Granite Stone
2.2.3 Laterite

Laterite stone be that as it may, is liberally found. Delicate laterite accessible at shallow
profundity can be effectively cut, dressed and utilized as building squares. It is a
neighborhood stone that gets more grounded and tough with introduction to the climate.
Figure 9 Laterite stone (top left) and Laterite used in construction
2.2.4 Clay
It is utilized for structures practical, conventional structures. These structures are of 2

kinds: one when the dividers are made legitimately with the mud blend and the other
being dividers worked by stacking air - dried structure squares called mud blocks. Earth
is utilized in numerous structures - for walling, in filling the timber floors

and making bricks and tiles after firing in kilns, tempered with admixtures.
2.2.5 Adobe
It is a characteristic structure development material that is produced using earth, sand,

water, and a sort of stringy or natural material (sticks, straw or fertilizer), generally
formed into blocks utilizing molds and dried in the sun.
Figure 10 Raw clay (left) and burnt clay bricks (right)
2.2.6 Fly Ash / Sand Lime / Gypsum bricks

They are utilized for private lodging dividers and every single other kind of building
development just as limit dividers. They are condition cordial, great quality, dry rapidly
and have diminished water assimilation and shrinkage.
Figure 12 Fly ash bricks
Figure 13 Sand lime blocks

2.2.7 Compressed Earth block
Energy effective, eco-accommodating with great surface completion. It is a financially

savvy material with goof warm protection.
2.2.8 Micro Concrete roofing tiles
MCR tiles are a practical and incredibly flexible roofing material. MCR tiles can be
utilized to make alluring rooftops on estate houses, ranch houses, structures and gazebos
and furthermore utilized in expressway developments. In locales with overwhelming
precipitation, these tiles are utilized finally for cladding material as it offers both
waterproofing and tasteful intrigue. It has been utilized expansively in financially savvy
lodging plans, poultry homesteads, eateries and working environments.
Figure 15 Compressed Earth block
Figure 16 Micro-concrete Roofing tiles
2.3 Types of Buildings

Traditional south Indian architecture is the Vastu vidhya, it is derived from the Stapatya
Veda of Adharva Veda and deals with two types of architecture:
 Residential Architecture (Manusyalaya) under functional architecture
 Temples coming under conceptual architecture..
2.3.1 Residential
A house in South is all things considered called Veedu. The Veedu offers safe house to
joint family or tharavad. The joint family structure (tharavad- - association system)
hence progresses the custom of living in an epic shelter or estate (veedu- - object of
house).
Figure The term
18 Typical south is Dravidian
indian home withand is used
a courtyard in Figure
specific bits of Tamil
17 Traditional temple Nadu and carvings
with exquisit North
Srilanka for a wide scope of private building, yet generally the people of Kerala will
insinuate their veedu as tharavad.
There are various terms of house for different tribes according to social status and
profession. The house of:
 Pariah - CHERI
 The agrestic slave – Cheraman - CHALA.
 Blacksmith, the goldsmith,
 The carpenter, the weaver - KUDI
 Temple servants reside – VARIYAM / PISHARAM
 The ordinary Nayars - VEEDU / BHAVANAM
 Nayar’s authority -IDAM.

 Raja lives in a KOVILAKKAM / KOTTARAM
There are five types of traditional domestic architecture or Veedu in Kerala, namely:
 The pitiful humble house, obscure by any structure treatise of Kerala, has a place
with normal people and innate individuals/adivasis (cheri, chala, kudi, variyam
or pisharam or pumatham).
 The Ekasala, an I-formed single rectangular corridor house, has a place with
ranchers or white collar class non-ranchers.
 The Nalukettu, a courtyard house, belongs to the landlords.
Figure 19 Three types of Chala.
 The extraordinary chateau Ettuketu and Patinjarukettu (twofold ettukettu) or a
lot greater structures, have a place with exceptionally rich proprietors.
 Everyday person houses are straightforward customary houses dispersed
inexhaustibly in the urban communities and towns.
Actually, the neighborhood term of house - veedu - implies home and means no
significant auxiliary course of action. Traditional Indian design recognizes a concentric
course of action of structures and a nonexclusive spatial structure of the sala or corridor.
The Ekasala is a single hall house,
 Dvisala a two-corridor house, trisala a three-lobby house, and catusala a four-
lobby house/patio house.

 The Nalukettu is the main nearby term for house that suggests auxiliary
significance since it is related with the catusala. There are no nearby terms for
dvisala, trisala and ekasala, they are essentially called veedu.
Figure 20 Three types of Ekasala
Figure 21 Nalukettu
2.3.1.1 Women Spaces

Ladies were viewed as sub-par compared to men and they were not permitted to go into
the primary yard with the exception of their marriage and at death.
 In houses with one patio back spaces were added by kitchen.
 Accesses to main pooja room and to one or two bedrooms were only through a
back door.
 The additions in the last century show a slow moving towards modern times.
 Houses with more than one patio were manufactured and extended absent a lot
of imperative as the ceremonial principles applied uniquely to the primary yard.
2.3.1.2 Tharavad- Spatial configuration
It is self contained and introvert complex of buildings each enclosing an open to sky
courtyard.
 The central courtyard is the focal point of the house
 The main rooms are located on the western wing
 Rooms on the northern side are used for cooking
 The rooms on the southern sides are used for the daily household activities
 Soak pyramidal rooftops with a 45 degree pitch, profound shades, concealed
verandas and cross ventilation are a reaction to serious sun, overwhelming
precipitation and moistness.
Figure 22 Nair Tharavad in Kerela
2.3.2 Temples

Temples in Kerala used to be brought in before times as mukkalvattom. Later they came
to be called ambalam or kshetram or some of the time bone.
 Sanctuary building in South isn't equivalent to that of various territories in India.

As it were, coordinated by the geography of the area that has a lot of forests
favored with the bounties of the rainstorm, the structure of the havens in Kerala
is specific.
 The asylums have srikovil as its standard focus, which regularly stays in east-
west turn and the course of action may be square, rectangular, indirect, round
ground plan.
Figure 23 Evolution of Temple planning

Figure 24 Traditional planning of temples as per Astronomical beliefs.
2.3.2.1 Details
 The Kuttambalam or the theater corridor of the Keralite sanctuary is found either
as a piece of the internal prakara, on the south east corner confronting north, or
as a different lobby outside the deepest prakaram, either looking into the
sanctuary or confronting north. This has a phase, raised from the remainder of
the floor, and a behind the stage territory. This is the site of the presentation of
Kathakali or Chakkiyar koothu presentations. Hence the kuttambalam assumes a
job in teaching guests on the rich legends of the Indian social texture.
 The rooftops are steep and pointed, and secured with copper sheets. The Kerala
rooftop takes after those found in the Himalayan locales and those in East Asia.
 The state of the rooftop is as per the arrangement of the sanctum underneath.
With a round arrangement, one sees a tapered rooftop, while with a square
arrangement the rooftop is pyramidal.
 The rooftop is built with wood and is secured with copper plates. The majority
of the sanctuaries seen in Kerala today, have experienced a few periods of
redesign, given the transient idea of the development materials.

 The superstructure as a prominent model, shows a precise utilization of
indigenous crude materials like timber and tiles to go with the atmosphere
conditions.
 Dominant part of sanctuaries have their bases worked of stone, the dividers
made both of wood, blocks and stucco, or laterite; the inclining superstructure
made of wooden boards, tiles or sheet metal on timber outlines, are embraced to
suit the high precipitation of the locale.
CHAPTER 3: CASE STUDY
3.1 Dakshinchitra Museum, Chennai

It started as a push to bring the concealed abundance of south India to light - to set up an
organization to commend heap societies of the various individuals of south India. In a
zone when the old and conventional are powerless and tested, this core of a thought set
off a social voyage. Laurie Baker - the famous planner generous gave his support of the
establishment. The spatial conceptualization at Dakshinchitra and his structure systems
and procedure inhale his way of thinking of engaging bricklayers and specialties
individuals in the structure procedure. It is a feature of conventional engineering of
South India. The engineering of every one of the states to be specific, Tamil Nadu,
Karnataka, Kerala and Andhra Pradesh has been deliberately migrated to this site. The
voyage to comprehend the each culture, way of life, calling and engineering is
obviously noticeable through the structure of every district.
Figure 25 Site Plan of Dakshinchitra Museum, Chennai, India

3.1.1 Kerela Houses
The design condition and culture of Kerala remain in checked differentiation to that of
Tamil Nadu. Kerala is honored with inexhaustible water, verdant woods and rich
grounds. In contrast to the Tamilian, the Keralite likes to live disconnected from
neighbors in a plot of land, with security and excellent tropical vegetation. In Kerala
houses, strategy, structure and materials are fundamentally the equivalent for all class
and monetary levels. Just size are expansion of the more structures to a compound
isolates the rich from poor people. Inside Kerala there is an unmistakable division of
style of design between Malabar in northern Kerala and Travancore in Southern Kerala.
In Southern Kerala, wood was the essential structure materials and homes remained
fundamentally single put away until the finish of the nineteenth century. The most
unmistakable visual type of Kerala design is the long, soak slanting rooftop worked to
secure the house dividers and to withstand substantial rainstorm.
Figure 26 Kerela Houses
3.1.2 Karnataka Houses

The design of Karnataka is as differed as its topography, with its verdant beach front
territory toward the west; the lavishly lush slopes of Chikmangalore and Shimoga, the
bamboo woods and manors of the fruitful ranch place that is known for the south, the
semi bone-dry zones of the east and focal regions and the immense stony, dry regions of
the north. The name of one of the principle regions, Gulbarga, is said to have originated
from Kalbargi, which implies stony land or a stack of stones. Where the Deccan level
joins the Nilgris in the southwestern locale of the state, timber is in wealth. Stone is the
significant structure material for the greater part of the North Karnataka. Mortar is
conventionally mud. A significant component of Northern Karnataka rural homes is the
consideration of a space for their bovines and goats inside the home itself.
Figure 27 Traditional Karnataka Houses

3.1.3 Tamil Nadu Houses
It has a long sandy seacoast and a tremendous span of semi-bone-dry fields, when
secured with scour backwoods, grass and forests of bamboo. Water was rare and wells
per town were not many in numbers. Families grouped together, to be near one another
and to the wellspring of water. Wood was never in plenitude, however was utilized for
sections and pillars. Rafters and harvesters were for the most part of bamboo. The pride
of each house was the front entryway and this was cut and enriched to be as inviting and
promising as could be. Trees were felled from close by, ideally from the house
ownener’s claimed compound. The town set principles where trees could and couldn't
be felled.
The woodworkers made the bullock trucks and the furrows and every one of that was
vital for agribusiness and house working in the town. They were helped by the
metalworkers who made the pivots and the nails, the locks for the entryways and the
unique apparatuses for the trucks. The potters made the earthenware material tiles floors
were regularly made of slammed mud, completed with the red oxide, covering are cow
waste slurry. Dividers were made of sun dried or prepared block or mud which were
additionally normally treated with the cow excrement slurry, which warded off the
transport with its sterile properties. Most tamil houses have an inward patio which is
utilized for drying grains, shelling units and for small occassions. There is a raised
verandah or little zone in the front of the house, called a tinnai.
Figure 28 Tamil Nadu Houses
3.1.4 Andhra Pradesh Houses

It comprises of three locale districts. The Rayalseema region is a piece of the Deccan
level and generally comprises of dry and stony land. Cuddapah, a dark record utilized
for deck racking and in any event, material, gets its name from the town of Cuddapah
from where it is nined. Stone and mud are the principle building materials around there.
That is the most pervasive roofing materials. The Nizam's area or Telangana contains
Adilabad and so on. The Muslim principle of the realms here affected the building
structure. Farming people group worked with the current materials in basic structures,
which are advantageous to their way of life, for the insurance of their domesticated
animals, for capacity and for security. The aptitudes of the developers and artworks
individuals are prove in the careful workmanship of stone structures.
Figure 29 Traditional Andhra Pradesh Houses
3.2 PADMANABHAPURAM PALACE, KERELA.

The most perfect case of the vernacular designing of Kerala is the Padmanabhapuram
palace intricate, situated in Thuckalay of Tamil Nadu, exceptionally adjoining the
Kerala fringe. Established by the royal family of Travancore, the underlying structures
of the perplexing date from 1400s, with different structures included gradually after
some time. It is probably the best case of wooden design that has come to symbolize the
vernacular engineering of Kerala. The royal residence complex is a gem - a captivating
play of volumes, scale, spatial arranging and yards, all of which have a solid
fundamental cohesiveness. The spaces move from the general population spaces on the
fringe to the more private spaces as one moves towards the center, reflected through
varieties in scale and extent, delivering exceptionally intriguing spaces.
Figure 30 Padmanabhapuram Palace, Kerela.
3.2.1 Built Space
The passageway to the complex is from the west, through a proper form of the
'Padipura' or the passageway door, which is regular in all the customary abodes of
Kerala. The focal locus of the whole structure is the Mother's royal residence or the
'Thai Kottaram', around which the various spaces are sorted out. There are discrete
corridors for spectators and social affairs, an enormous ballroom, sustaining lobbies of
different sizes, kitchen, habitations for the lord and different dignitaries, weapons store,
shower houses, workplaces and even a sanctuary.
There is additionally a 4 storeyed 'Upprika Malika' in the complex, built during the
1740s, which is a demonstration of the mechanical advancement around then. A multi
year old check tower in the royal residence stands observer to the walk of time is still
Figure 31 Sectional view of the site complex
now in great working condition. Despite the fact that there is not a single formal even
spatial format in sight in that capacity, there lies a solid association standard, which
makes
Figure 32 Plan of Padmanabhapuram Palace

a cognizant and bringing together entirety. The different assembled spaces are
interlinked and got to through a progression of patios and open spaces which shift
volumetrically and in scale contingent on the degree of protection required, frequently,
being private in nature.
Figure 33 Built Space
3.2.2 Structure and Materials
The rooftop structures are the most overwhelming component in the entire complex,
which through their brilliant juxtaposition makes a noteworthy visual arrangement – a
regularly changing play of light, shadow and mass. The sections are for the most part in
wood and stone and bolster the wooden rooftop structure, which has been planned
innovatively to be utilitarian just as stylish. There are severe principles and ordinances
set down in the old structure study of Vastu Shastra, with respect to the utilization of
wood, procedures of joints, points of rooftop structures and so on, which have been
strictly pursued over the different periods during which the complex was assembled.
The walls are typically made in laterite or block and put over with lime. There are non-
auxiliary wooden screens called jaalis, which have the capacity of permitting in light
and ventilation while guaranteeing the protection of the privacy of individual inside.
The separated light makes an emotional play of light and shadow in the insides and
guarantees a cool and agreeable climate inside, away from the bursting sun. The

concealed insides are cool, which is an immediate subordinate of the climatological
need to counter the warm sticky tropical atmosphere. Without a doubt, one of the most
huge parts of the structure’s design is the delicate treatment of the light and shadows to
make a healthy agreeable feeling inside, one that concentrates on inside, calming,
mitigating and contemplating..
The flooring is one of a kind and is dark in shading, holding a mirror like clean even
now after such a significant number of hundreds of years. It is said that the flooring was
finished utilizing a blend of various materials like burnt coconut shells, egg whites,
plant juices and so forth.
Figure 34 Section of the palace

3.3 MEENAKSHI TEMPLE, MADURAI.
Meenakshi Amman Temple, otherwise called Minakshi-Sundareshwara Temple, is one

of the most seasoned and most significant sanctuaries in India. Situated in the city of
Madurai, the sanctuary has an extraordinary fanciful and chronicled hugeness. It is
accepted that Lord Shiva expected the type of Sundareswarar (the attractive one) and
wedded Parvati (Meenakshi) at the site where the sanctuary is at present found. Famous
for its astounding design, Meenakshi Temple was assigned as one of the marvels of the
world, yet couldn't make it into the rundown of 'Seven Wonders of the World'. Be that
as it may, the sanctuary is unquestionably one of the 'Marvels of India'. It is likewise
one of the principle attractions of South India with a large number of enthusiasts
thronging it consistently. During the 'Tirukalyanam Festival,' which happens over a time
of 10 days, the sanctuary draws in excess of a million aficionados. In spite of numerous
individuals visiting it consistently, the sanctuary is well-kept up and was named the
'Best Swachh Iconic Place' (cleanest iconic spot) in India.
Figure 35 Meenakshi Temple complex, Madurai

Figure 36 Aerial view of the complex
3.3.1 History
The historical backdrop of Meenakshi Temple goes back to the first century C.E with
researchers guaranteeing it to be as old as the city itself. It is said that Kulashekarar
Pandyan, a ruler who governed over the Pandyan tradition, constructed the sanctuary
according to the guidelines given in his fantasy by Lord Shiva. A couple of strict
writings that have a place with the first to fourth century C.E talk about the sanctuary
and depict it as the focal structure of the city. Writings going back to the mid sixth
century, depict the sanctuary as a spot where researchers met to examine significant
themes. The sanctuary as it stands today, be that as it may, was remade all through
the sixteenth century as it was obliterated by the Muslim trespassers.
During the fourteenth century C.E, Malik Kafur, an commander of Delhi Sultanate,
drove his military into most pieces of southern India and plundered numerous
sanctuaries including the popular Meenakshi Temple. Assets, for example, gold,
silver and valuable pearls were taken to Delhi. Since sanctuaries in those days had
wealth of assets, the majority of the sanctuaries were annihilated and were left in
ruins. At the point when the Vijayanagar Empire took over Madurai in the wake of
overcoming the Muslim Sultanate, the sanctuary was reconstructed and revived. The
sanctuary was additionally extended during the late sixteenth century and mid
seventeenth century by Vishwanatha Nayakar, a lord of the Nayaka line. As
indicated by analysts, while revamping the sanctuary, the leaders of Nayaka line
pursued the structural style of 'Silpa Shastras.' 'Silpa Shastras' are a lot of design laws
found in the antiquated writings.
The sanctuary was by and by extended by Thirumalai Nayak who administered over
Madurai from 1623 to 1655. During his rule, many 'Mandapams' (pillared lobbies)
Figure 37 Temple wall painting depicting its founding legend

were built.
The sanctuary was then extended by numerous later Nayaka rulers before the
appearance of the British East India Company.
The sanctuary was by and by debased and parts of it were crushed during the British
Rule. In 1959, the reclamation work was begun by Tamil Hindus by gathering gifts
and by teaming up with history specialists and designers. The sanctuary was totally
re-established in 1995.
3.3.2 Temple Structure
The temple possesses an enormous territory in the core of Madurai as it spreads more
than 14 sections of land. The sanctuary is encased with enormous dividers, which
were worked in light of the intrusions. The whole structure, when seen from above,
speaks to a mandala. A mandala is a structure worked by the laws of evenness and
loci. There are different places of worship worked inside the sanctuary complex.
Aside from the two fundamental sanctums, which are committed to Sundareswarar
and Meenakshi, the sanctuary has places of worship devoted to different gods like
Ganesha and Murugan. The sanctuary additionally houses goddesses Lakshmi,
Rukmini, and Saraswati.
The sanctuary likewise has a blessed lake named 'Porthamarai Kulam.' The term
'Potramarai Kulam' is an exacting interpretation of 'lake with a golden lotus.' The
structure of a golden lotus is set at the
Figure 38 Plan of temple as per a 1911 sketch

focal point of the lake. It is said that Lord Shiva favored this lake and announced that
no marine life would develop in it. In the Tamil legends, the lake is accepted to be an
evaluator for checking on the value of any new writing.
The sanctuary has four principle transcending passages (gopurams) that appear to be
indistinguishable from one another. Aside from the four 'gopurams,' the sanctuary

likewise houses numerous other 'gopurams' that fill in as entryways to various hallowed
places. The sanctuary has an aggregate of 14 transcending passages. Every last one of
them is a multi-story structure and shows a large number of fanciful stories and a few
different models. The major 'gopurams' of the sanctuary are recorded underneath:
 Kadaka Gopuram – This towering gateway leads to the main shrine that
houses Goddess Meenakshi. The gateway was rebuilt by Tumpichi Nayakkar
during the mid-16th century. The ‘gopuram’ has five storeys.
 Sundareswarar Shrine Gopuram – This is the most established 'gopuram' of

the sanctuary and was worked by Kulasekara Pandya. The 'gopuram' fills in as
an entryway to the Sundareswarar (Lord Shiva) sanctuary.
 Chitra Gopuram – Built by Maravarman Sundara Pandyan II, the gopuram

depicts the religious and secular essence of Hinduism.
 Nadukkattu Gopuram – Additionally called as the 'Idaikattu Gopuram,' this

door prompts the Ganesha place of worship. The portal is put directly in the
middle of the two principle altars.
 Mottai Gopuram – This 'gopuram' has less stucco pictures when contrasted
with different portals. Curiously, 'Mottai gopuram' had no rooftop for about
three centuries.
 Nayaka Gopuram – This 'gopuram' was worked by Visvappa Nayakkar around

1530. The 'gopuram' is incredibly like another passage called 'Palahai Gopuram.'
The temple also has numerous pillared halls called ‘Mandapams.’ These halls were
built by various kings and emperors and they serve as resting places for pilgrims and
devotees. Some of the most important ‘mandapams’ are given below:
 Ayirakkal Mandapam – It truly means 'lobby with thousand columns.' The

corridor, which was worked by Ariyanatha Mudaliar, is a genuine scene as it is
upheld by 985 columns. Every single column is etched wonderfully and has
pictures of Yali, a legendary creature.

 Kilikoondu Mandapam – This 'mandapam' was initially worked to house
several parrots. The parrots that were kept there in confines were prepared to
state 'Meenakshi'. The lobby, which is alongside the Meenakshi hallowed place,
has models of characters from Mahabharata.
 Ashta Shakthi Mandapam – This lobby houses the models of eight goddesses.
Worked by two sovereigns, the corridor is put in the middle of the principle
'gopuram' and the door that prompts the Meenakshi sanctum.
 Nayaka Mandapam – 'Nayaka Mandapam' was worked by Chinnappa

Nayakkar. The corridor is upheld by 100 columns and houses a Nataraja statue.
Figure 39 The thousand pillar hall

3.3.3 Material
Meenakshi temple is 600 years old and the prominent building material used back then
was granite and marble stone. Majority of the structure is built with granite and marble
but other prominent materials used in the structure are Conglomerate slate and sand
lime as binding material.
Figure 40 Detailed carvings of idols on gopurams painted in bright colors
CHAPTER 4: COMPARATIVE ANALYSIS

CHAPTER 5: CONCLUSION
The adjustments in culture and design are complementary. The effect of one has affects
on the other. India's rich social legacy is disappearing because of the impact of
urbanization and globalization. So as to ensure and preserve our rich social and design
legacy the components of vernacular architecture ought to be joined in the
contemporary arranging and design. The arrangement ought to be made to consolidate
vernacular design and customary information in the strategies. The approach creators,
organizers and planners ought to think about this in their work for advancement of
society.
The study finishes up by learning and valuing the standards of vernacular design and
coordinating them with the contemporary information and innovation. Personal
satisfaction is improved through great compositional structure which reacts to the
necessities and wishes of clients and utilization of normal materials and great urban plan
which permits production of green spaces and decrease of clamor and contamination.
With the world advancing, everyone and everything is transforming, it is imperative to
stay aware of the tides of time. Be that as it may, staying aware of the cutting edge time
doesn't mean overlooking our past and conventions. Customary Architecture utilizing
the indigenous, vernacular materials and development strategies keeps our conventions
alive as well as adds to the economy and condition. Vernacular engineering is
additionally practical design since it utilizes regular, effectively accessible materials.

CHAPTER 6: SOURCES AND COLLATION OF DATA
1. https://www.dakshinachitra.net/
2. https://en.wikipedia.org/wiki/DakshinaChitra
3. https://en.wikipedia.org/wiki/Padmanabhapuram_Palace
4. https://whc.unesco.org/en/tentativelists/5897/
5. http://arkistudentscorner.blogspot.com/2012/01/padmanabhapuram-
palace.html
6. https://en.wikipedia.org/wiki/Meenakshi_Temple
7. https://www.culturalindia.net/indian-temples/meenakshi-temple.html
8. https://en.wikipedia.org/wiki/Architecture_of_Kerala
9. https://www.slideshare.net/faseehun/kerala-architecture
10. https://en.wikipedia.org/wiki/Architecture_of_Karnataka
11. https://en.wikipedia.org/wiki/Architecture_of_Tamil_Nadu
12. https://en.wikipedia.org/wiki/Culture_of_Andhra_Pradesh
13. https://www.sahapedia.org/native-roofing-systems-of-south-india-
processes-and-material-heritage
14. https://en.wikipedia.org/wiki/Indian_vernacular_architecture
15. https://www.slideshare.net/nss_akhil4347/vernacular-architecture-
kerala-79537715
16. https://kshi888.wordpress.com/2012/07/24/vernacular-architecture-
of-south-india/

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Vernacular Architecture of South India.

VERNACULAR ARCHITECTURE OF SOUTH INDIA

DISSERTATION 9TH SEM. (JULY-DECEMBER 2019) 1

Submitted in partial fulfilment of the

DISSERTATION 9TH SEM. (JULY-DECEMBER 2019) Page 5

DISSERTATION 9TH SEM. (JULY-DECEMBER 2019) Page 6

(Prof. Neha Yadav) (Ar. Sneh)

DISSERTATION 9TH SEM. (JULY-DECEMBER 2019) iii

Full signature of student

Ar. Sneh Prof. (Dr.) Ajay Monga

DISSERTATION 9TH SEM. (JULY-DECEMBER 2019) viii

Title: [Vernacular Architecture of South India]

DISSERTATION 9TH SEM. (JULY-DECEMBER 2019) 16

CHAPTER 7: SOURCES AND COLLATION OF DATA…………………………..39

DISSERTATION 9TH SEM. (JULY-DECEMBER 2019) 17

Figure 1 Traditional Plan of a South Indian house 5

Figure 2 Orientation as per Astrology at cardinal points 5

Figure 3 South India gets heavy rainfall during monsoon season 6

Figure 4 Sloped Roof in a house in Chennai 7

Figure 5 Flooring in a Village home (left) and in an urban home (right) 8

Figure 7 Timber used in columns, roof and handrails 9

Figure 8 Raw Granite Stone 9

Figure 9 Laterite stone (top left) and Laterite used in construction 10

Figure 10 Raw clay (left) and burnt clay bricks (right) 11

Figure 11 Adobe Blocks 11

Figure 12 Fly Ash Bricks 12

Figure 13 Sand Lime Blocks 12

Figure 14 Gypsum Blocks 12

Figure 15 Compressed Earth Blocks 13

Figure 16 Micro-Concrete Roofing Tiles 13

Figure 17 Typical south Indian home with a courtyard 14

Figure 18 Traditional temple with exquisite carvings 14

Figure 19 Three types of Chala 15

Figure 23 Nair Tharavad in Kerela 17

Figure 24 Evolution of Temple Planning 18

Figure 26 Site Plan of Dakshinchitra Museum, Chennai, India 21

Figure 27 Kerela Houses 22

Figure 28 Traditional Karnataka Houses 23

Figure 29 Tamil Nadu Houses 24

Figure 30 Traditional Andhra Pradesh Houses 25

Figure 31 Padmanabhapuram Palace, Kerela 26

Figure 32 Sectional view of the Site Complex 27

Figure 33 Plan of Padmanabhapuram Palace 27

Figure 34 Built Space 28

Figure 35 Section of the Palace 29

Figure 36 Meenakshi Temple Complex, Madurai 30

Figure 37 Aerial View of the Complex 31

Figure 38 Temple Wall Painting Depicting its Founding Legend 32

Figure 39 Plan of Temple as per a 1911 Sketch 33

Figure 40 The Thousand Pillar Hall 35

Figure 41 Detailed carvings of idols on gopurams painted in bright colors 36

DISSERTATION 9TH SEM. (JULY-DECEMBER 2019) 19

Vernacular architecture will in general progress after sometime as an opportunity to

The aim of this dissertation is to study

DISSERTATION 9TH SEM. (JULY-DECEMBER 2019) 1

Objectives to be studied in the study are :

1.5 Relevance and Validity

Vernacular architecture is portrayed by its dependence on needs, development materials

 The availability of resources, skilled workforce, and so on.

The benefits of vernacular architecture include:

DISSERTATION 9TH SEM. (JULY-DECEMBER 2019) 2

It is incorrect to design a place without considering the regional connection of the

DISSERTATION 9TH SEM. (JULY-DECEMBER 2019) 3