ARCHITECTURAL ELEMENTS OF RAJASTHAN

Both in India and abroad, several concepts dealing with architectural spaces havetheir roots in
some abstract notions. Spaces oscillate between 'nothingness' and something universal. It is
also observed that mythical and mythological beliefs have a share in influencing such
thinking. 

This study does not explore those notions or question such perceptions. Its purpose is to
examine manifest architectural spaces that have a strong underlying base with a wide spatial
and temporal spread.

 This can be seen in the replication of the essential forms in various parts of the country as
well as the thematic continuity generated by similarity of skills and commonality of beliefs.
Some of these spatial configurations and their formal expressions have crystallised into
widely accepted architectural spaces.

INTRODUCTION:
In Indian architecture there are features like pavilions, courtyards,   terraces, as well as
threshold and realm accentuating transition.  All these come together to articulate the space.
To these new room are also added. These structure can also be a part of temple, palaces, ghat
and institutional buildings.  These features show the simultaneous  existence versatility and
anonymity. In essence, the meaning emerges from the context and the manner of its
application. 

Indian architecture, generally speaking, conjures up images of huge temple spires and
gateways, large fortified palace complexes, mosques and tombs. On the other hand, there is
the mundane domestic architecture with its occasional flair for refinement. Yet there are
features that retain continuity and scale, playing an instrumental role in the characterization
of Indian architecture. An effort to understand space in Indian architecture can draw on the
simple and direct physical conditions of the environment prevailing at any place, thus giving
meaning to the creation of spaces within specific physical parameters. Amongst these
parameters, climate has a very deterministic role in shaping activity areas by creating indoor,
outdoor and in-between spaces. Consequently, for Indian communities, 'outdoor activity'
spaces acquire special significance.

PAVILIONS:
They came into being by multiplying very simple spatial units in modules. Consisting of four
columns and a roof. Irrespective of the style and construction method, their essence is the
same. Mandapas and baradaris are some outstanding examples of spaces created to provide
well-articulated shelters for gatherings or for pleasure. Pleasure pavilions known as baradaris
have an extremely sophisticated form in Rajput and Mughal complexes. The most important
aspect of this kind of space is that it offers a simultaneous experience of the inside and the
outside. 
The essence of this spatial unit lies in its modular character and therefore in its potential for
multiplication - in contiguity or as independent units organized in a certain proximity. It is a
built space, yet open. It defines and yet extends boundaries and can exist by itself or be part
of a group. Despite regional and temporal variations, the power of its manifestation has
remained unaffected. It conveys the idea of shelter, but does not enclose; it is built and has a
presence, yet it is transparent and ethereal.

Climatic Response: It is clear that such open shelters served best during summer evenings in
arid regions, or even in the warm humid regions, allowing a free flow of fresh air. 

BARADARIS AND CHATTRIS:

           Fairly common in north-western parts of India. It is a beautiful example of how the
basic form has responded to the various construction methods and styles of building. Every
royal complex has to have a baradaris often more than one. The use of the baradaris as
pleasure pavilions is clearly understandable since they are invariably located in gardens, or on
high points or along water tanks and lakes. These structures are so articulated with the
landscape and the spatial order of a building complex as to provide the most strategic location
for a good view, fresh air and general comfort.

      Another version of pavilion is the large cupola-like structure called a chattri in the north-
western parts of India. The structure is polygonal or circular in plan and has a domical roof.
This extremely adaptable element is space, but  equally it is a complete form. Chattris are
often grouped in clusters. However, since they are a complete form by themselves, unlike the
other pavilion forms, they to make larger spaces. Also, chattris generally have only peripheral
supports allowing a columnless space. This naturally brings about dimensional limitations. 

 COURTYARDS:
Internal open spaces, become another thematic element in all scales of domestic architecture.
From small urban houses to large mansions and palaces, courtyards became the key
organisational elements responding to climatic conditions as well as the cultural needs of
communities. This private internal open space also acquired special significance while
serving various levels of privacy. A wide range of household activities could extend into
courtyards. These spaces became the living areas of all domestic architecture. 

Courtyard spaces, drawing people out into the open, were further supported by terraces
serving similar functional and climatic needs. In the warmer and more and zones, one can see
the extra effort made to build terraces, as if one was gilding a courtyard at a higher level. It
would not only be articulated in its construction system, but also get connected to the spaces
at that level. Courtyard contributes to its spatial quality beautifully by bringing in a subdued
light, creating a peaceful environment. 
This room without a roof is often bounded by verandahs along its periphery. Other rooms
open into these verandahs creating a spatial organisation based on a hierarchical sequence of
spaces ranging from open to enclosed. The rooms get their light and ventilation from this
courtyard and have very few openings onto the exterior. This spatial sequence encourages the
intermittent flow of activities responding to various private needs. Also, the tropical climate
of India demands air movement as well as shaded spaces for comfort. The open, yet protected
spaces, become the heart of Indian living.

Variations in the generic form of the courtyard come from changes in materials, articulation
of the enclosing elements, scale, proportion and complexity of plan. The articulation of the
sides of a courtyard is dependent on the kind of building and the users. By and large they
receive a treatment similar to the external facade; they are in fact facades inside the house. In
large houses, havelis, palaces or public buildings, the nature of the architecture is formal.
Hence, all sides tend to be of symmetrical, orthogonal and ordered. In vernacular conditions
where the houses are smaller, it is quite different. 

In most cases courtyard is scaled to human proportion making it comfortable space to use. At
houses it becomes larger, it is the number of courtyards and terraces that multiply, not the
size.  A sequence of courts is generated based on a hierarchy ranging from public to private. 

It is the courtyard that gives porosity to an otherwise extremely dense fabric of the city. It is
the breathing space the lungs of an Indian city. 

ENTRANCES:
The most important transitional relationship between two distinct realms is expressed through
entrances. Whether it is the entrance to a city through a fort wall with defense as the major
consideration, or a hierarchical sequence of spatial layers with a series of in-between
realms,incorporating symbolic as well as functional values, transition remains the most
significant aspect. The complexity of transition as an architectural element varies from
community to community.

 
In many cultures, entrances are intentionally indirect in order to achieve greater privacy. On
the other hand, there are numerous examples all over the world, where a single door can be
the total and only link between the inside and the outside. In yet another form, an entrance
may be the prelude through which one is introduced to the interior right from the first step.
vet is not shown the inside completely.

PLANNING ISSUE AND CLIMATE:

A typical town of Rajasthan presents a very compact picture of houses and other buildings
huddled together so that they not only shade each other but also considerably reduce the
exposed open spaces around them.

The height of the building compared to the width of the streets is large to create shaded cool
environment for the pedestrians and other social activities on the streets

 In cases where normal low level dust swirls within the settlement the interiors of buildings
are protected by almost blank walls with very small openings.

All major streets are oriented almost in the East-West direction at right angles to the direction
of dust storms.

The famous have,lies with jharokhas and decorative facades are located on these streets. The
streets are relatively narrow and winding .

CONTROL OF HEATING BY TEXTURE OF

SURFACES:
The heat inside of the building is controlled by the use of textures in Jaisalmer. This is
organized at three levels. 

At the town scale the buildings are of unequal height with parapets and high walls, creating
uneven sky lines and desired shading of each other. 
Secondly, the building facades have large number of projections like jharokhas and chajjas
which provide shade to the facades. 

Thirdly, the front part of the facade which remains exposed are controlled by creating deeply
carved patterns. Use of such devices minimizes the heat gain by providing shading due to
texture. Such devices also result in increased convective transfer of heat because of increased
surface area. In summer in day time when the major heat source is Sun the exposed textured
surfaces will be cooler than plain surfaces.

In evening when ambient conditions are cool the increase surface area helps in cooling it
faster. However, an extended surface will warm up faster than a plain surface under winter
conditions due to low solar altitude, therefore the location in context of these surfaces is very
important.

ORIENTATION:
The building is always oriented by the cardinal directions: North, South, East, West,
Northeast, Northwest, Southeast and outhwest. Each of these directions is considered as
energy by itself. Hence the spaces in different orientation are considered differently for
design purposes which is a very climate sensitive approach. For example the East or the
North walls are made more open to light and air as the West is the heat gaining side in the
warm humid climates of India

The placement of the building within the site is the first step toward forming the grid for
internal planning. The centre of the plot is generally not where the centre of the building is
placed, only exception being temples. The climatic logic behind this is that in the house the
outdoor and indoor is designed as one.

THE GRID AND THE COURTYARD:

The grid system of planning was always followed regardless of the site or building type. The
grid was made flexible enough to accommodate any site condition and topography. Grid
system is more sustainable in terms of economy and speed of construction. It is also easier to
recycle materials if it was built on a grid. Prefabrication also favors the grid. The grid was not
always symmetric or simple. Complex geometry and curvilinear grids were also adopted. The
central courtyard is the ‘lung space 'of either the house or the housing block. Just to ensure
there is a courtyard in every house,the centre of the house is never built up and is called the
Brahmastana, the genius loci of the house

THE FOUR GOLDEN PRINCIPLES:

The four golden rules in architecture which were outlined in the great epic “Ramayana”, the
story of Lord Rama, summarise Indian architecture as a whole. They are function or
bhogadayam, aesthetics or sukha darsham, harmony and poornam. The perfect example
which explains all the four principles is a temple structure which is designed and built by the
most skilled architects .

Function or bhogadam which was given the first priority keeps climate among the first
considerations in architectural design. Bioclimatic approaches to new forms and materials
were explored. The architects never considered climate as a force to fight or win but to
enhance and enjoy. Even extremities in climate were handled with master skill and
remarkable comfort levels were achieved. There was no question of thinking about climate in
the last stage of design and trying to come up with ‘quick fix’ solutions. Most of the forms
were aimed at long term benefit and well thought about before the designed building is built. 

The aesthetics or sukha darsham were not ‘added on’ to the building but were an integral part
of it. It is sometimes difficult to tell apart where the functional aspect stops and the aesthetic
one starts.

 Harmony or ramyam was achieved by geometry  and play of shapes, Solids and voids. The
architectural language was of simple spaces with complex ornamentation, which in most
cases had a use along with its aesthetic appeal. For example a rain water gutter was so well
sculpted in the temples that one just thinks it is for the delight of the eye.

 Lastly, the ‘all encompassing’ factor or poornam of Indian Architecture was a result of the
perfect blend of the above-mentioned three factors which makes it feel eternal.

There is more to the spatial order that runs right across this enormous range of building types
in Indian architecture. A large part of this order emanates from its own meaning as built
space rather than from the specific function it caters to. There is a range of spaces,
irrespective of the material and the construction methods, that are built, as if for their own
sake. This is essentially to create a 'spatial opportunity' for things to happen and they do. The
meaning is in the space itself and the range of activities it can accommodate and not in the
specificity of a function. One can see meaning in its ambiguity and yet very essential nature.
It is important that the style and manner of creating a space are seen independently of factors
that generate them. 

Space in Indian architecture can draw on the simple and direct physical conditions of the
environment prevailing at the place, thus giving meaning to the creation of space within
specific physical parameters. Architectural expressions in post-Independence India have
oscillated between European modernism and archaic Indianism. At times some combinations
of the two have also been observed. There are examples where some efforts have also been
made to relate the spatial organisation and formal structure of some historic buildings and
complexes with modern buildings. In any case the basic forms and principles seem to have
meant very little. It is the visual imagery and stylistic expressions that seem to have been the
most influential.  Indian architectural space in the manner in which it is enclosed is vet
different form the Western notion of space. The definition of boundaries are often changing
with physical or other contextual changes. Quite often one does not know when one is inside
and when outside.