Thesis Report PPT Format

PROJECT TITLE
@ PLACE
A PROJECT REPORT
Submitted by
SUGANYA S
AC14UAR099
in partial fulfillment for the award of the degree
of
BACHELOR OF ARCHITECTURE (B.ARCH)
in
ADHIYAMAAN COLLEGE OF ENGINEERING, HOSUR
(Autonomous)
ANNA UNIVERSITY: CHENNAI 600 025

MAY 2019
ANNA UNIVERSITY: CHENNAI 600 025
BONAFIDE CERTIFICATE
Certified that this project report “PROJECT TITLE” is the bonafide work of
“” who carried out the project work under my supervision.
Prof. Ar. R.Seetha, M.Arch. Ar. XXXX, M.Arch.

HEAD OF THE DEPARTMENT SUPERVISOR
Department of Architecture Department of Architecture
Adhiyamaan College of Engg. Adhiyamaan College of Engg.
Dr. M.G.R. Nagar Dr. M.G.R. Nagar
Hosur – 635 109. Hosur – 635 109.
INTERNAL EXAMINER EXTERNAL EXAMINER

DECLARATION
SUGANYA S (Reg no. AC12UAR099) a bonafide student of the Department

of Architecture, Adhiyamaan college of Engineering (autonomous), Hosur,
hereby declares that this thesis report entitled
”PROJECT TITLE @ LOCATION” for the award of the degree, Bachelor
of Architecture, is my original work and has not formed the basis or submitted
to any other universities or institution for the award of a degree or diploma.
DATE :
PLACE : HOSUR (STUDENT NAME)
ACKNOWLEDGEMENT
I first thank lord almighty, whose graceful blessings enabled me to complete

this thesis project for the fulfilment of my B.Arch degree course.
I convey my heartfelt thanks to the college, especially to our Principal

Dr. G. Ranganath, M.E, Ph.D, M.I.S.T.E., M.I.E., C.Eng (I), for providing the
wonderful environment and their support.
I take this opportunity to express my gratitude to our beloved H.O.D, Prof.

Ar. R. SEETHA, M.Arch, for rendering hi valuable guidance, support,
encouragement and advice to make my efforts and the project successful.
I specially thank my Guide, Ar. XXXX, M.Arch, for his timely guidance and
encouragement. I thank all other faculty of the architecture department for
their help and guidance.
I am grateful to My parents and My family members who offered great

support and encouragement during the thesis.
(STUDENT NAME)
Table of contents
TABLE OF CONTENTS
CHAPTER PAGENO
CHAPTER 1 RESEARCH QUESTIONS

1.1 STEREOTYPES
1.2 ABSTRACT
1.3 BACKGROUND STUDY
1.4 SYNOPSIS
1.5 JUSTIFICATION OF PROJECT
1.6 DEFINITION OF PROJECT
1.7 SWOT ANALYSIS OF PROJECT
CHAPTER 2 AREA OF RESEARCH
2.1 INDIA & ITS STATES
2.2 ABOUT THE STATES
CHAPTER 3
3.1 LITERATURE STUDY
3.2 CASE STUDY
3.3 NET STUDY
3.4 INFERENCE & CONCLUSION
CHAPTER 4 AREA SELECTION & ANALYSIS
4.1 SITE STUDY
4.2 SITE ANALYSIS
CHAPTER 5
5.1 AREA REQUIREMENT
5.2 ZONING
8.CONCLUSION
8.1 XXXX
STUDENT NAME | B.Arch 2012-2017| AC12UARXXX Page | i

Table of contents
TABLE OF CONTENTS
STUDENT NAME | B.Arch 2012-2017| AC12UARXXX Page | i

1.INTRODUCTION
ABSTRACT
Food has been the mainstay of human interaction and defines who we are ? and
what we come from?.
Food has always had the largest cultural impact. India having been Agro based
economy. The lives of entire generations have revolved around growing,
preparation and eating of food.
However with the current paradigm shift in our cultures as well as major shif
to the urban lifestyle- we have lost the connect with what we eat !.
When people experience a city, it is the food and the architecture of that place
that most often have the largest cultural impact. The structure of modern cities
as well as contemporary food system, suppresses our sense of engagement,
social interaction, and experience with our built environment and our food
respectively.
The thesis thereby aims to tackle this social issue through an architectural
intervention, by proposing cultural hub centered around food.
Can we create a space which can render our traditional architecture and food
and derive home a message about our culture, architecture and food .
The cultural food hub is proposed in Pondicherry, as part of tourist
development proposal. The goal is to give new identity to city in an effort to
make it a recreational and entertainment space for domestic and tourist people.
Further the relationship between architecture, food, retail and place is to be
explored.
The food hub will not be just a celebration of cuisines but hopes to sensitize
people about our tradition and cultural aspects through various events and
spaces.
The core research looks into the architectural styles and their cuisines in India ,
creation of exuberant public spaces and the various typologies of food and
culture explored over time .
INTRODUCTION
Food has always had the largest cultural impact. India having been Agro based
economy. The lives of entire generations have revolved around growing,
preparation and eating of food.
However with the current paradigm shift in our cultures as well as major shift
to the urban lifestyle- we have lost the connect with what we eat !.
When people experience a city, it is the food and the architecture of that place
that most often have the largest cultural impact. The structure of modern cities
as well as contemporary food system, suppresses our sense of engagement,
social interaction, and experience with our built environment and our food
respectively.
The thesis thereby aims to tackle this social issue through an architectural
intervention, by proposing cultural hub centered around food.
Can we create a space which can render our traditional architecture and food
and derive home a message about our culture, architecture and food.
AIM
The thesis aims to create cultural food hub @ Pondicherry
VISION
• To create a permeable urban space that is versatile and inclusive in nature
• A space to incubate food businesses and cultivate both culinary and
cultural happenings.
• To operate not just as a space for everyday urban life but also have a
temporal programming to accommodate special events or festivals.
• Augment an experience centre on food.
STUDENT NAME | B.Arch 2012-2017| AC12UARXXX Page | 2

LIMITATION
• India has varied culture and it has 29 states and 7 union territories, In
which I have limited my design with 4 states from North, South, East,
West direction of India.
PROPOSITION AND CORE OF RESEARCH
Keeping in mind the disconnect that has developed towards our relationship
with food and culture as a result of urbanization, the thesis aims to propose a
cultural hub centered around food.
Urban architecture that provide provides a veriety of oppurtunities for
meaningful social and cultural engagement will result in a stronger connection
to the food and a greater sense of place
Futher the relationship between architecture, food, retail and place is to be
explored. The food hub will not be just a celebration of cuisines but hope to
sensitize people about our tradition and cultural aspects through various events
and spaces.
The core research looks into the architectural styles and their cuisines in India ,
creation of exuberant public spaces and the various typologies of food and
culture explored over time .
DEFINING A CULTURAL FOOD HUB
A food hub is a destination for everything related to food . It is important to
understand that it is not a place which just deals with the food as a end product
but the entire culture of a particular place.
The aim of cultural food hub is as follows:
To spread knowledge about food and its speciality.
To provide a holistic cultural food hub.
To promote informal events and activities by proposing Auditorium, Banquest
and Cultural food hub.

2.1 TOURISM
2.1.INTODUCTION
Definition of tourism
Tourism is a social, cultural and economic phenomenon which entails
the movement of people to countries or places outside their usual environment
for personal or professional purposes. These people are called visitors (which
may be either tourists or excursionists; residents or non-residents) and tourism
has to do with their activities, some of which imply tourism
expenditure.(Source : United Nations World Tourism Organization, 2008)
Tourism embraces nearly all aspects of our society and is not an activity for
pastime & entertainment but is an enriching and energizing activity.
Definition of tourists
A person who takes a tour away from his home for leisure, culture,
business or any other reason. The United Nations World Tourism Organization
(UNWTO) helps us break down this definition further by stating tourists can
be:
• Domestic (residents of a given country travelling only within that country)
• Inbound (non-residents travelling in a given country)
• Outbound (residents of one country travelling in another country)
The scope of tourism, therefore, is broad and encompasses a number of
activities.
Global perspective on tourism
World tourism is considered as a significant factor in the economy of many
nations. Today tourism related infrastructure in various parts of the country has
improved the quality of life of the local people and helped to promote local
arts and crafts.

Tourism has contributed to increase awareness about conservation of the
environment and the cultural heritage. Tourism is the fastest growing industry
in modern world. People have always travelled to distant parts of the world to
see monuments, arts and culture, taste new cuisine etc.
Tourism is multi-faceted phenomenon which involves movement to and
stay in destination outside the normal place of residence. Tourism is composed
of three basic elements.
• A dynamic element which involves travel to a selected destination or
destinations.
• A static element which involves the stay in the destination.
• A consequential element resulting from the two preceding elements, which is
concerned with effect on the economic, physical and social subsystems with
which the tourist is directly or indirectly in contact.

Tourism in india
India’s glorious traditions and rich cultural heritage are closely related
with the development of tourism. Its magnificent monuments attract a large
number of tourists from all over the world. The natural surroundings, the
architectural masterpieces, the music, dance, paintings, customs and languages
all these go to make India as tourist paradise.
Indian tourism has become one of the major sectors of the economy,
contributing to a large proportion of the National Income and generating huge
employment opportunities.
It has become the fastest growing service industry in the country with
great potentials for its further expansion and diversification. Tourism has now
become a significant industry in India, contributing around 5.9 per cent of the
Gross Domestic Product (GDP) and providing employment to about 41.8
million people. As per the World Travel & Tourism Council, the tourism
industry in India is likely to generate US$ 275 billion of economic activity by
2018 and Hospitality sector has the potential to earn US$ 40 billion in foreign
exchange by 2018.

Purpose of tourism
Different forms of tourism

What is Cultural Tourism
Cultural tourism is international travel, directed towards experiencing local :
• Arts
• Heritage
• Landscapes
• Traditions
• Lifestyles
• Architecture
EXAMPLES:
• Architectural and archaeological
• Historic or heritage sites, monuments and landmarks
• Arts, sculptures, crafts and galleries
• Museums and exhibitions
• Botanical gardens
• Music and dance activities
• Castles and palaces
• National parks and wildlife sanctuaries
• Culinary activities
• Religious venues, temples and mosques
• Festivals or events

Definition of cultural tourism
During the Twenty-second session of the UNWTO General Assembly in
Chengdu, China(11 to 16 September 2017), the following definition for
“cultural tourism” was adopted:
“Cultural tourism is a type of tourism activity in which the visitor’s essential
motivation is to learn, discover, experience and consume the tangible and
intangible cultural attractions/products in a tourism destination.
These attractions/products related to a set of distinctive material, intellectual,
spiritual and emotional features of a society that encompasses arts and
architecture, historical and cultural heritage, culinary heritage, literature,
music, creative industries and the living cultures with their lifestyles, value
systems, beliefs and traditions.”
Cultural tourist can be segmented for example by the,
Cultural
tourist
Stages of
Level of interest in life
cultural
Young and hip:20-39
Motivated cultural tourism

Middle age group: 40-54
Incidental Older generations
Families with
children: 25-50

Motivated cultural tourist
This group generally consists of people with a:
• Higher education
• Middle to high income
• High interest in culture
• High interest in social and environmental issues
Experiencing and learning about local culture is their main travel purpose
Motivated cultural tourists like to be prepared before going on holiday. They
study the destination thoroughly
They like to see and learn as much of a destination as possible. This group is
quite demanding.
Incidental cultural tourist
This group likes to add cultural components to their holiday. However, they
have another primary reason for their trip. They may participate in cultural
activities that fit their plans.
Stage of life
Cultural tourist can also be segment has different interests:
young and hip :20-39
This segment mainly consists of couples and groups of friends. The majority
of this group prefers sun and beach holidays However, they are increasingly
incorporating cultural elements. Women are generally more interested in
cultural elements than men. Men prefer more action- oriented activites.
Around a third of thid of this segment is interested in holidays with an
emphasis on culture.
Middle-aged:40-54
This is the largest cultural traveller segment. They are often motivated cultural
tourists

Older generation
This generation generally has more time and money available than other
groups. This segment is growing due to entering retirement and etc.,
Cultural holidays are the most popular holidays among this group .
They are often experienced travellers, generally traveling at least once a year .
They value their annual long holiday and mostly travel in couples. With a full
schedule of cultural activities. They prefer destinations they have wanted to
see all their lives (bucket-list travel) quality is important to them. They look
for comfort , more so than the other segments.
Families with children: parents 25-50

Many families combine a relaxing holiday with cultural activities.
Parents want to introduce their children to other cultures. Both families with
young children and families with older children are destination is important to
them. Convenience is a deciding factor.
Impacts
Cultural routes can also strongly contribute to local economics and societies as
they work on a sustainable and ethical model, building on local knowledge and
skills and often promoting lesser-known destinations. For instance, 90% of
cultural routes are through rural areas.
Conclusion
Cultural tourism is set to remain one of the future. This will also
increase the range of stakeholders involved in this market, with local
communities becoming one of the keys to the sustainable
development of cultural experiences.
Travallers should be not only aware about the destination but also
concern on how to help it sustain its character while broadening their
travelling experience.
India is a country in South Asia. It is the seventh largest country by area and
with more than 1.3 billion people, it is the second most populous country as
well as the most populous democracy in the world.
It has 29 states and 7 union territories.

Literature Study
TAMILNADU
CHETTINAD style-a glance
The origin of Chettinad begins in the 13th century when the Nattukottai
Chettiars migrated to Karaikudi. They left their previous area, the Cauvery
Poompattinam, following a massive flood. The new settlement eventually
became the Chettinad region (Land of the Chettiars) of 96 villages (in 1947)
over a 600-1500 square mile area, out of which around 75 villages still exist
today. Starting as traders, the Chettiar’s travels took them to various states in
South East Asia, such as Sri Lanka, Singapore, Burma, Cambodia, Vietnam
and Malaysia.
KARAIKUDI is known as
the capital of Chettinad, which
includes Karaikudi and 74
(traditionally its said as 96)
other villages. Since Chettinad was
strategically located on the old trade route, the Chettiars left their homes to
work as traders and moneylenders in Burma,
Ceylon (Sri Lanka), Malaysia, Singapore, Vietnam and other South-East Asian
countries. They prospered, returned home & built massive homes made of
Burmese teak that Culture
1.CUSTOMS & TRADITIONS
• AYANNAR SHRINES
Ayannar is the Tamil God “of everything
": rain maker, god of children, cattle,
villages, earth, nature and villagers. He is
present in rural areas. His abodes are not
necessarily temples but outdoor shrines
that are filled with terra-cotta offerings.
Literature Study
• MARIAMMAN TEMPLES
Mariamman, the Goddess of
smallpox, is the deity of life,
especially of women and children.
She grants children and cures them.
The main festivals take place during
the months of March and April.
2. COSTUMES
South Indian women traditionally wear
the sari while the men wear a type of
sarong, which could be either a white
dhoti or a colourful lungi with typical
batik patterns. The saree, being an
unstitched drape, enhances the shape
of the wearer while only partially
covering the midriff.
3.COLOURFUL FAIRS AND FESTIVALS OF

TAMILNADU
Diwali Nine Nights festival (KULU)

Literature Study
Temple Festival – the 5

decorated gods,
Panchamurthi - the
annual procession in
open bullock cart
Vaikasi Visakam – carrying of

kavadi, Fire walking &
piercing the body with long
needles & sharp hooks Puravi Edupu – Horse festival –
beseeching the rain gods for
their mercy
Sevvai(Tuesday)Pongalcelebrate
d on firstTuesday of
pongal, the harvest festival

Literature Study
4. ART AND CRAFTS

Athangudi tiles are
prepared by a unique
process in which local
soil along with cement
baby jelly and
synthetic oxides are
used.
• The tiles are cast from
the locally available
clay that is first burnt
and then glazed.
Ornamental
wooden carving
Wood carving, silver

embellishment, woven saris, palmleaf
baskets, gold jewellery, handmade tiles,
architectural styles,refined cuisine and egg
plastering
Kandanghi sareeshand woven

Literature Study
Kidarams-big water storage vessel Palmyra leaf Baskets –

‘Kottans’&Koodais’
Sombu -
Nadu veetu kolam
Brass vessel
Use of Burmese teak and

multi-color tiles for
cupboards.
Traditional thaali
Marriage
necklace
Twin Chettinad baskets
woven in fine silver

Literature Study
Folk dances of Tamil nadu

BHARATNATYAM KARAKATTAM
KAI SILAMBU ATTAM KUMMI
BOMMALATTAM KOLAATTAM
KAVADI ATTAM MAYIL ATTAM

Literature Study
5. CHETTINAD CUISINE
Chettinad is known for its Culinary delicacies
Traditionally, meals for Chettiars are served on a
large banana leaf with rice, vegetables, pickles,
papadams, along with meat dishes.
• Chettiars are very superstitious with numbers,
dishes have to be served in odd numbers (i.e.
seven or nine dishes per meal).
• Although the Chettiars are well-known for their
delicious vegetarian preparations, their recipes
include fish and meats also.
6. ARCHITECTURE
Chettinad architecture stands out for its use of
large spaces in halls and courtyards, ornate
embellishmen ts like Belgian glasswork,
intricate woodwork, spectacular ceramic tiles,
stone, iron and wooden pillars
Chettinad houses
• Buildings are divided into portions -„Kattu‟.

• Each house in chettinad is made up of
Mugappu, Valavu, Irandankattu, Moonankattu
& thottam
• Mugappu – The reception; entrance of the house
• Valavu – Living area of the house
• In the valavu, there are 4 platforms that are called as Pattalai, each at 4
corners of the valavu.

Literature Study
Pattalai – Living halls of each family • Along with Pattalai, valavu consists of
numerous Irattai veedu.
Nadai – Corridor
• Irandankattu – used for dining / with storerooms for storing crockery/kitchenware
• Moonamkattu – Kitchen(adukala)
• Thottam – Garden Stables, cowsheds etc.,
The magnificent mansions in Chettinad are the finest examples of
combinations of vernacular architecture & amalgam of South East & European
architecture.
• The source of inspiration derived from can be attributed to their connection
with Trade, Travel, Temples, Tradition and Taste.
urban planning, represented namely by orthogonal streets and specific water
management systems, which are also directly linked to the earlier Tamil
traditions of rectangular plots and houses with an inner courtyard.
TYPICAL PLAN OF A CHETTINAD HOUSE
The open aired 'valavu' (courtyard) with

wooden-pillared corridors on each side. The
pillars were made out of Burmese Teak.

Literature Study
The most important characteristic features of

Chettinad Buildings are –
1) Cluster Houses, with
2) (Mostly)East West orientation
3) High – rise compound wall (front side)
4) Entrance Arch with stone steps
5) Elevated plinth,
6) Tiled Portico,
The Reception area
7) Facade with stucco sculptures,
Chettinad House –
8) Verandah „Thinnai‟ (two Platforms), with imported Italian
9) Wooden Pillars on it, Marble flooring
10) High door frame with ornate wood work,
11)Double main door,
12) „pattalai‟ or pattasalai (smaller version of the thinnai- platforms),
13) Open Courtyard
14) Sloping clay - tiled roofs,
15) Square – flat tiles floor of the „mutram‟ will have rectangle stone slabs on
all the four corners to bear the brunt of the falling rain water,
16) Small single / double rooms on one side or either side of the passage
(„suththukkattu‟) length – wise,
17) Kitchen on the last „kattu‟,
18) Staircase on one or two or all the four corners,
19) Banquet Hall Bhojan Hall „Panthi kattu‟ on the side of the first kattu,
20) Floors laid with -Italian marble Black and White, Granite & Athangudi
tiles „Pookkallu‟,
21) All the mediums used in making columns viz, wood, stone, brick, and iron,
22) Window niches and arches above are decorated with stucco work or
paintings.

Literature Study
Extensively carved Wooden

Ceiling of a Chettinad mansion
windows
intricate detailing of
the parapets and
cornices
Unique decorated
wooden columns

Literature Study
RAJASTHAN
INTRODUCTION
'Raja' means 'King' and 'Sthan' means place. Put together, Rajasthan is
the 'Land of The Kings'. It was previously called Rajputana. Over the years it
has been ruled by various kings including the Rajput, Marathas and even
Muslim rulers, which have resulted in Rajasthan, bearing numerous beautiful
forts with a wide variety in its architecture and diverse language and culture of
its people. Rajasthan, in spite of being a desert, has been endowed with such
beautiful sites that include various palaces, forts and pilgrim centres that define
what Rajasthan is. Rajasthan is famous for its prestigious past and its various
customs and traditions. It truly gives an insight into historical India and its
remarkable diversity.
HISTORY
The history of Rajasthan dates back to pre-historic times as one finds
settlements dating to this period in Rajasthan. Archaeological excavations
establish a relation with the Harappan culture trailing back to 1000 BC.
Rajasthan has also had Paleolithic settlements as one finds paintings in some
areas of Rajasthan tracking back to this period.
1. CULTURE
'Attithi Devo bhavo’
means to treat your guests like as you would treat God. This principle is
a part of the Rajasthani Culture. They treat their guests well and make them
want to visit again. Most of the people in Rajasthan are involved in tourism-
related jobs and hence take this principle very seriously as they earn their
revenue due to the tourists and have pledged to serve them.

Literature Study
Culture of Rajasthan is as unique and as colorful as its rich historical

past. Rajasthani culture reflects the colorful history of the state. One can find
the essence of the culture on its folk dances, traditional cuisines, peoples in
Rajasthan and in their everyday life. Being a princely state, Rajasthan is
known for its royal grandeur and royalties. It attracts tourists from all over the
world with its beautiful traditions, culture, people, history, and monuments.
The Rangeelo Rajasthan swears by its historic cities, rustic forts,
bustling markets and its rich culture that makes the city a regal place to visit in
India. Be it the vibrant attires, the traditional dance forms or the language,
every tiny atom of the state makes Rajasthan a culturally diverse place.Often
hailed as the “Land of Kings”, Rajasthan exhibits its royal palaces, fortified
havelis and forts that sing a saga of the by gone years.
2. PEOPLE
The inhabitants of Rajasthan are friendly and amiable who welcome
every visitor with open arms. Like the whole of India, Rajasthan also displays
unity in diversity. The moment you enter this vivacious state, the warm and
jolly nature of Rajasthani people will impress you deeply. In terms of
demography, Rajasthan is a diverse state with people categorized on the basis
of birth or occupation. Some parts of the state are thickly populated, while
others are sparsely inhabited.

Literature Study
3. COSTUMES
Rajasthan Costumes are very attractive to compare with other traditional
dresses. The Indian State of Rajasthan is the unity of colourful festivals,
costumes and folk songs and dances. The Rajasthani traditional costumes are
very colourful and quite different to the other traditional costumes of rest of
the states. The weather conditions of the state bring to wear the myriad
colours. The women folk wear more colourful clothes.
COSTUMES FOR MEN
Dhoti is the main Rajasthan traditional dress to the
men in Rajasthan. They are called bandia-angarkha and
potia. Bandia-angarkha is the traditional dress in the model
of a jacket which closely fits the chest and seems loose
around the waist. The sleeves to this jacket are very
narrow and are longer than the arms. They adjusted at the wrists. Along with
this dress men also wear a bright coloured turban or the headdress. The turbans
seem in various colours which are fit to the different region’s weather. They
wear the turbans according to the region’s weather conditions.
COSTUMES FOR WOMEN
Women of Rajasthan wear mainly Ghaghara, Choli and
Odhani dresses. These costumes are in bright colours,
especially Ghaghara dresses are in many designs. The
dresses are the ankle length long skirt with the narrow
waist, which looks like an umbrella at the base.
Rajasthani Women prefer to wear the cotton
Ghaghara dresses, which are suitable to the weather
conditions of Rajasthan. The cotton Ghaghara also very popular and those
printed or dyed like mothras and leharlya print.

Literature Study
4.RELIGIONS
There has been a strong influence of religion on Rajasthan. Most
residents of Rajasthan are Hindus (mainly Vaishnavas), Muslims, and Jains.
There are various temples that are important pilgrim sites like the Lodrakar
and Ranakpur Jain Temple, Jagdish temple, etc.
5.COLOURFUL FAIRS AND FESTIVALS OF

RAJASTHAN
Rajasthan International Desert Festival, Jaisalmer
Folk Festival, Jodhpur
Pushkar Fair, Pushkar Gangaur Festival, Jaipur
Summer and Winter Festivals,

Kite Festival, Jodhpur
Mt. Abu

Internet Case Study
Brij Holi, Bharatpur Kota Adventure Festival
6. ART AND CRAFTS
Bani Thani painting Thapa Mandanas
Bani Thani painting Miniature painting
Gond painting Phad painting

Literature Study
Rajasthan Handicrafts
the handicrafts of Rajasthan are world known. The Rajasthani handlooms and
crafts are liked and sought by most markets across world Rajasthan as
everyone known is a colorful, lively and vivacious state of vast land and
wonderful people. The beauty of the state is spread all over the state and so it
is very difficult for tourists to segregate destinations while picking the top
attractions of Rajasthan. Every city of Rajasthan has a unique selling point,
which no one can overlook. Be it Jodhpur, Jaipur, Udaipur, Pushkar, Bundi,
Shekhawati or any other city you name, there is something or the other
interesting about the city, which makes it worthy of visit. Amongst other
popular things about Rajasthan, one appealing things is the handicraft industry
of the state. In fact, the handicraft market of Rajasthan is the most important
and the biggest market of the entire country.
Shekhawati
Amongst the variety of Rajasthani handicraft and handlooms, includes,
Jewellery - silver, kundan and meenakari, Textile, Handmade Paper, Precious
and Semi-Precious Stones -gemstone, Paintings, Leather craft, Marble
Handicrafts, hand crafted items - wood, ivory, lac, glass, brass, silver and gold
and much more.
meenakari kundan
Literature Study
famous handicrafts of Rajasthan

• Textile
Handmade Jewellery
Carpets & Durries
Blue Pottery
Wooden Furniture
Rajasthan Quilts
Mojaris/Jutis
Marble Crafts
Ivory
Rajasthani Paintings
Other handmade crafts
Rajasthan produces some exquisite Textiles in lovely colorful fabrics.
Bandhani or Bandhej are two such gorgeous forms that portray the rich culture
of Rajasthan.
In case of Carpets & Durries, the woolen carpets of Bikaner, Jaipur and
Tonk are worth mentioning. Most of these carpets, which come in
stunning designs, are made and knotted by hands

Literature Study
Blue Pottery is another craft form of Rajasthan, popular for its exquisite
work. There are many craftsmen in Jaipur who prepare blue pottery in
Rajasthan by using blue, green and white colors.
Rajasthani wooden furniture is something that you cannot leave when

discussion Rajasthani handicrafts. Carved wooden furniture of different styles
and design are made in different parts of the state with motif and fine
design. Latticework on wood is the most famous of them. Jodhpur and
Kishangarh are the places where you can get carved casket, screens, doors,
chairs, tables, shelf, etc.
Leather items like Mojaris or Jutis from Rajasthan

is a craftform that is extremely popular across the
country as well as around the world. These are
beautifully embroidered pieces with varied patterns
and designs. Jodhpur and Jaipur manufactures some
very pretty mojaris and jutis.

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By the way, how can we forget the famous

Marble Craftsof Rajasthan? This craft
produces marble carved wall hangings
, sculptures, statues, furniture, flower vases,
fireplaces, statues, and so on.
Ivory bangles of Rajasthan and Rajasthan Paintings including murals,
frescoes and miniature paintings are also other popular crafts of the state .
Folk dances of Rajasthan
Chari
Ghoomar
Gair Kathputli dance

Bhavai
Kalbeliya Chang

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7. RAJASTHANI CUISINE
The cuisine that originated in Rajasthan and the surrounding region in India is
known as the Rajasthani cuisine. The state of Rajasthan is famed for its rich
regal culture and heritage. The arid nature of the region, the extreme climatic
conditions, scarcity of water and vegetation has witnessed evolvement of
unique cooking styles and food habits of the natives that is noticeably different
from other Indian cuisines. The Rajasthanis have moulded their culinary styles
in such a way that many of their dishes can be shelved for several days and
served without heating. Rajasthani dishes starting from main courses to snacks
to sweet dishes.
Rajasthan thali Dal-Baati-Churma Panchmel ki Sabzi
Gatte ki sabzi Pyaaz Kachori
Balushahi Ghevar Mohan Thaal

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8. ARCHITECTURE
Māru-Gurjara architecture (Rajasthani architecture) originated in the sixth
century in and around areas of the state of Rajasthan in India during Gurjara
Pratihara Empire.
Māru-Gurjara Architecture show the deep understanding of structures and

refined skills of Rajasthani craftmen of bygone era. Māru-Gurjara Architecture
has two prominent styles Maha-Maru and Maru-Gurjara. According to M.
A. Dhaky, Maha-Maru style developed primarily in Marudesa, Sapadalaksha,
Surasena and parts of Uparamala whereas Maru-Gurjara originated in
Medapata, Gurjaradesa-Arbuda, Gurjaradesa-Anarta and some areas of
Gujarat. Scholars such as George Michell, M.A. Dhaky, Michael W. Meister
and U.S. Moorti believe that Māru-Gurjara Temple Architecture is entirely
Western Indian architecture and is quite different from the North Indian Temple
architecture. There is a connecting link between Māru-Gurjara Architecture
and Hoysala Temple Architecture. In both of these styles architecture is treated
sculpturally.
The Jain temple

complex of
Dilwara,
Mount Abu
TYPICAL FEATURES OF RAJASTHANI

ARCHITECTURE
• Jharokha
• Chhatri
• Haveli
• Stepwell (baoli or bawdi)
• Johad
• jaali

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1.Jharokha A jharokha (or jharoka) is a type of overhanging

enclosed balcony used in the architecture of
Rajasthan. It was also used in Indo-Islamic
architecture. Jharokhas jutting forward from the wall
plane could be used both for adding to the
architectural beauty of the building itself or for a
specific purpose. One of the most important
functions it served was to allow women to see
outside without being seen themselves.
It aids in diffusing natural illumination thereby
reducing glare and heat gain.
while admitting sunlight to reduce mechanical
lighting.
To protect from angular precipitation; vertical
elements called fins were also introduced on
either side of a windows.
Elements of Jharokha
Chajja like platform work as a roof with

different tiers and detailed carving. These
chajjas can be arched sometimes defending
on the shape of the balcony.
Decorative columns to support the

overhang with different motifs carved out.
Railing with decorative floral pattern and

animal symbols etc.
Brackets or corbelling to support with

same level of carved design with play of
mass.

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Chhatris are elevated, dome-shaped pavilions

used as an element in Indian architecture. The word
Chhatri means "canopy" or "umbrella." In the
context of architecture, the word is used to refer to
two different things. The usual and more widely
understood meaning is of a memorial, usually very
ornate, built over the site where the funeral
(cremation) of an important personage was
performed. Such memorials usually consist of a
platform girded by a set of ornate pillars which hold
up a stone canopy. The word chhatri is also used to
refer to the small pavilions that mark the corners and roof of the entrance of a
major building.
3. Haveli
Haveli is a traditional townhouse or mansion in India,
Pakistan, Nepal and Bangladesh, usually one with
historical and architectural significance. Haveli means
Old Private family living mansion- in Old city.The word
haveli is derived from Arabic hawali, meaning "partition"
or "private space" popularised under Mughal Empire and
was devoid of any architectural affiliations. Carved door
Small decorative holes Rich carved doors ,windows,

over the wall To allow the pillars and balconies on
hot air from inside to blow entrance.They store food for
out . camel in basement .
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4. Stepwells
Stepwells are wells or ponds in which the water is reached by descending a set
of steps to the water level. They may be multi-storied with a bullock turning a
water wheel to raise the well water to the first or second floor. They are most
common in western India and are also found in the other more arid regions of
the Indian subcontinent, extending into Pakistan. The construction of stepwells
is mainly utilitarian, though they may include embellishments of architectural
significance, and be temple tanks.
5.Johad
A johad is a community-owned traditional harvested rainwater storage wetland
principally used for effectively harnessing water resources in the state of
Harayana, Rajasthan, Punjab, western Uttar Pradesh of North India, that
collects and stores water throughout the year, to be used for the purpose of
recharging the groundwater in the nearby water wells, washing, bathing and
drinking by humans and cattle. Some johads also have bricked or stones
masonry and cemented ghat (series of steps and/or ramp)

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6. Jaali
Jaali is normally a perforated stone or latticed

screen usually with an ornamental pattern.
Came into existence on account of the PARDHA-
SYSTEM which did not allow women to be seen
in public.
This enabled women to observe the outside world
by remaining out of sight.
Jaali is used to penetrate the direct sunlight and

allows only the diffused light to come indoors
used to filter the dusty storms
Also used to create buffer spaces
(Nowadays water drip channels are being used to
make the hot dry air cool down as it moves
inside)

Special Study
MEGALAYA
INTRODUCTION
Meghalaya is a state in northeastern India. The name means "the abode of
clouds" in Sanskrit. The population of Meghalaya as of 2016 is estimated to be
3,211,474. Meghalaya covers an area of approximately 22,430 square
kilometers, with a length to breadth ratio of about 3:1.
The state is bounded to the south by the Bangladeshi divisions of Mymensingh
and Sylhet, to the west by the Bangladeshi division of Rangpur, and to the
north and east by India's State of Assam. The capital of Meghalaya is Shillong.
HISTORY
Meghalaya have been of archeological interest people have lived here
since neolithic era. Neolithic sites discovered so far are located in areas of
high elevation such as in Khasi Hills and Garo Hills
Meghalaya was formed by carving out two districts from the state of
Assam the United Khasi Hills and Jaintia Hills, and the Garo Hills on 21
January 1972.
1. CULTURE
The main tribes in Meghalaya are the Khasis, theGaros, and the Jaintias. One
of the unique features of the state is that a majority of the tribal population in
Meghalaya follows a matrilineal system where lineage and inheritance are
traced through women. The Khasi and Jaintia tribesmen follow the traditional
matrilineal norm, wherein the "Khun Khadduh“ (or the youngest daughter)
inherits all the property and acts as the caretaker of aged parents and any
unmarried siblings.
In the Garo lineage system, the youngest daughter inherits the family property
by default,unless another daughter is so named by the parents. She then
becomes designated as 'nokna' meaning 'for the house or home'.
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The tribal people of Meghalaya are a part of what may be the world's largest
surviving matrilineal culture.
Spirituality
According to legend, from the 13th century, a Shivalinga (called
"Hatakeswarat") has existed in the Jaintia Hills under the reign of Ranee Singa.
Several members of the Jaintia tribe even participate in the Hindu festival of
Shivratri (Night of Lord Shiva).
2. PEOPLE
People who reside in the Garo Hills are
known as the Garos. Besides the Garo
hills, there are Garo settlements in the
plains of Assam and Bangladesh. The
Garos call themselves Achik-mande. In the
Garo language Achik means Hills and
mande, Man. So, Achik-mande means the
Hills people.
The society is matrilineal like the Khasis and the

Jaintias. Till death, the new-born baby belongs to the
mother's family, irrespective of sex, even
after\r\nmarriage. Marriage within the clan is
completely prohibited and severely punishablefor
both the Khasis and the Garos.
In such dormitories young people stay and live together till they are married.
They receive various training in the dormitories like protection of crops,
construction of roads, organising festivals, sports and ceremonies.
The Khasis and Garos are now mostly Christians. But before that, they used to
pray natural objects.

Literature Study
3. COSTUMES
The rituals, identity and traditions of any state are very well represented by the
dresses worn by the people living there, and this is particularly the case for in
the case of Meghalaya. There is a simplicity in the dressing style of the people
here which brings out the beauty of the place even more. As most of you must
have guessed by now, this article comprises of all the traditional dresses worn
by men as well as women in Meghalaya which are given as below-
Jainsen traditional costume

for women
Garo Tribe
Khasi Tribe Garo Tribe
Jaintia Tribe

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4.RELIGIONS
Religion in Meghalaya is closely related to ethnicity. Close to 90% ofthe Garo
and nearly 80% of the Khasi are Christian, while more than97% of the Hajong,
98.53% of the Koch are Hindu. Out of the 689,639 Garo living in Meghalaya,
only 49,917 follow theiroriginal religion (Songsarek) as of 2001 Census (down
from 90,456 in1991). 9,129 of the Garo were Hindu (Up from 2,707 in 1991) and
999were Budhist (Up from 109 in 1991). There were also 8,980 Muslims.
A number of minor tribes live in Meghalaya, including Hajong (31,381 –97.23%
Hindu), Koch (21,381 – 98.53% Hindu), Synteng (18,342 – 80%Christian),
Rabha (28,153 – 94.60% Hindu), Mikir (11,399 – 52%Christian and 30%
Hindu), and Kuki-Chin (10,085 – 73% Christian and 26% Hindu).
5.MEGHALAYAN CUISINE
It is the local cuisine of the Indian state of Meghalaya. Meghalaya is home to
three Mongoloid tribes; it has a unique cuisine.The staple food of the people is
rice with spicy meat and fish preparations. They rear goats, pigs, fowl, ducks
and cows and relish their meat. Garos eat most non-domesticated animals,
though their everyday staples are simple foods such as rice with kapa, cooked
with a special ingredient called purambhi masala.

Literature Study
6. COLOURFUL FAIRS AND FESTIVALS OF

MEGALAYA
Meghalaya a small State in the North Eastern part of India is where you'll find
more than just thunderclouds and a vast green landscape. Its people are the
soul, and its song and dance the vital source of joy. This ancient people have
perfected the art of life and is being passed on to its young. In Modern times
though the people are engaged in secondary and tertiary activities, the festivals
are always celebrated with great pomp and gaiety.
1. SHAD SUK MYNSIEM

2. NONGKREM FESTIVAL
3. BEHDEINKHLAM FESTIVAL
4. SHAD SUKRA
5. BACARDI NH7
WEEKENDER

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7. ART AND CRAFTS
The state of Meghalaya is well known for various crafts. Handicrafts made with
cane and bamboo products, textile weaving, carpet weaving, ornament making
and woodcarving also hold important place in Meghalaya’s art and crafts.
Some of the famous handicrafts of Meghalaya
are:
 Baskets
 Open Weave Carrying Basket
 Closed Weave Carrying Basket
 Small Storage Baskets
 Coiled Cane Containers Weaving
 Large Storage Basket
 Rain Shield and Headgears
 Winnowing Trays & Fans
 Mud Shovel
 Shield made of bamboo plints
 Khasi Bamboo Comb
 Khasi Bamboo Pipes

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Dances of Meghalaya
Dances are held at an open ground under the open sky or at public places. The
famous traditional dances of Meghalaya are :
Nongkrem dance form Shad Suk Mynsiem
Behdienkhlam Dorsegata Dance
Lahoo Dance Wangala Dance

Literature Study
8. ARCHITECTURE
VERNACULAR ARCHITECTURE OF MEGHALAYA
Generally one finds the similar type of arts and architecture in the whole of
Garo Hills. They normally use locally available building materials like
timbers, bamboo, cane and thatch.
Garo architecture can be classified into following categories:
Nokmong: The house where every A'chik household can stay together. This
house is built in such a way that inside the house, there are provisions for
sleeping, hearth, sanitary arrangements, kitchen, water storage, place for
fermenting wine, place for use as cattle-shed or for stall-feeding the cow and
the space between earthen floor and raised platform for use as pigsty and in
the back of the house, the raised platform serves as hencoop for keeping fowl
and for storing firewood, thus every need being fully provisioned for in one
house.
The rooms are arranged in a long
stretch between an open porch and
a verandah, and at ground level is
built a cow shed to house the
family cow.
Nokpante: In the Garo habitation, the house

where unmarried male youth or bachelors live is
called Nokpante. The word Nokpante means the
house of bachelors. Nokpantes are generally
constructed in the front courtyard of the "Nokma",
the chief. The art of cultivation, various arts and cultures, and different games are
also taught in the Nokpante to the young boys by the senior boys and elders .

Literature Study
Jamsreng: In certain areas, in the rice field or orchards, small huts are
constructed. They are called Jamsreng or "Jamap". Either the season's fruits or
grains are collected and stored in the Jamsreng or it can be used for sleeping..
Jamatal: The small house, a type of miniature house, built in the Jhum
fields is called Jamatal or 'field house'. In certain places, where there is danger
from wild animals, a small house with ladder is constructed on the treetop.
This is called "Borang" or 'house on the treetop'.
Garo houses
Garo houses are built by the members of the Garo tribe, using locally available
resources such as bamboo, timber and cane. The closely knit Garo tribe builds
houses out of locally available natural resources such as bamboo, cane, timber,
wood from rubber trees, and dried palm leaves. The process of building these
houses is done the traditional way – each man builds his own house, with the
help of his family and fellow villagers. The main construction work is given to
youngsters and is used as an on-hands training exercise. This is done to ensure
that each member of the tribe learns the art perfectly so as to pass it on to
future generations.
The timber and bamboo required for construction are carefully selected from
the forests in the region
The bamboo splits are held together using jute ropes and dried bundles of palm
leaves. Flattened bamboo boards are used to strengthen the wall panels, while
whole bamboo sticks provide extra support. The floors are made with bamboo
mats, reinforced with flattened bamboo boards
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HIMACHEL PRADHESH
INTRODUCTION
Himachal Pradesh, the North Indian state, was one of the few states that had
remained largely untouched by external customs, largely due to its difficult
terrain. Himachal Pradesh is a multireligional, multicultural as well as
multilingual state like other Indian states. Some of the most commonly
spoken languages are Hindi and the various Pahari languages.
HISTORY
Himachal Pradesh is called the “Devbhumi” as it is regarded as
the Land of the Gods.
Himachal Pradesh literally means a 'region of snowy mountains’. The word 'Hima'
actually means snow in Sanskrit terminology. Acharya Diwakar Datt Sharma, an
eminent Sanskrit Scholar from Himachal Pradesh named the state.
Located in the northern part of India, Himachal Pradesh is known for its glorious
hill stations.
In the year 1950 Himachal Pradesh was declared as one of the Union Territories of
India . Later on however, with the passing of Himachal Pradesh Act of 1971, it
emerged as the eighteenth state of India.
Himachal pradesh is bordered by Jammu and Kashmir on the north, Punjab on the
west and south-west, Haryana and Uttarakhand on the south-east and by the Tibet
Autonomous Region on the east.
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1.PEOPLE AND CULTURE

Around 96% of the population of the state is of Hindus. The major
communities includes Brahmins, Rajputs, Choudharies, Kannets, Rathis and
Kolis. The tribal population comprises the Gaddis, Kinnars, gadoun,(jadoun)
Tanolis. Gujjars, Pangawals and Lahaulis. From the alpine pasture regions to
the lower regions during the cold winter season are mainly Hindus. The
Kinnars are the inhabitants of Kinnaur and they generally practice polyandry
and polygamy. The Gujjars are nomadic people who rear buffalo herds and are
mainly Muslim. The Lahaulis of Lahaul and Spiti and native of spiti, Kinnaur
region mainly comprises Buddhists. A percentage of people are also Tibetans.
Muslim, Christian and Sikhs are in minority but they also enjoy the same
rights as Hindus.
Though Hindi is the state language, many people speak the various Western
Pahari languages.
2.COSTUMES
The attire of Himachal people is very beautiful and vibrant. And it's made
according to the harsh weather conditions that linger all year round. Warm
and cosy, the handwoven dresses are an attraction for people who visit the
state from other parts of the country and world. Right from the caps to the
dresses to the footwear, most of it is weaved manually. The handloom has
risen to become the cultural identity of Himachal Pradesh.

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Pahari Topi
Kinnauri Woman

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3. COLOURFUL FAIRS AND FESTIVALS OF

HIMACHEL PRADHESH
Chet festival Lossar
Jagra Kullu Dussehra
Diwali Lohri

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4. ARTS AND CRAFTS

The handicraft that comes out of this state are the carpets, leather works,
shawls, paintings, metalware, woodwork and paintings. Pashmina shawl is the
prity product which is highly in demand not only in Himachal but all over the
country. Colourful Himachali caps are also famous art work of the people. A
tribe namely Dom is expert in manufacturing bamboo items like boxes, sofas,
chairs, baskets and rack. Metalware of the state include utensils, ritualistic
vessels, idols, gold and silver jewelleries. Weaving, carving, painting, or
chiselling is considered to be the part of the life of Himachalis. Himachal is
well known for designing shawls especially in Kullu.

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MUSIC AND DANCE
Music and dance of Himachal Pradesh reflects its cultural identity. Through
their dance and music, they entreat their gods during local festivals and other
special occasions. There are also dances that are specific to certain regions of
the state.
Some of the dance forms of Himachal are Losar Shona Chuksam(Kinnaur),
Dangi (Chamba), Gee Dance and Burah dance, (Sirmour), Naati, Kharait,
Ujagjama and Chadhgebrikar (Kullu) and Shunto (Lahaul & Spiti).
People of the state generally prefer folk music.
The Kullu Natti Thoda dance
The Dandras The Ghurehi

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Lahauli Dance The Chhanak Chham Dance
The Jhamakada Dance The Gugga Dance

5.HIMACHEL PRADHESH CUISINE
The day-to-day food of Himachalis is very similar to that of the rest of north India.
They too have lentil, broth, rice, vegetables and bread. As compared to other states in
north India non-vegetarian cuisine is preferred. Traditionally, Himachali cuisine is
dominated by red meat and wheat bread. Thick and rich gravy, with aromatic spices,
is used in abundance as the base of many dishes. Now, steamed momos (dumplings)
and noodles are also readily available and popular with travellers .Some of the
specialities of Himachal include Manee, Mandra or "Madra", "Palda", "Redu"
Patode, Chouck, Bhagjery and chutney of til(sesame seeds).
Madra

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Dhaam
Bhey or Spicy Lotus stems
Mittha Chha Gosht Tudkiya Bhath

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8. ARCHITECTURE
KATH-KHUNI ARCHITECTURE
The architectural style which develops from natural and cultural
background of the place is famously known as kath-khuni architecture.
• The origin of the term is explained by O.C Handa as ‘combination of two
local terms: kath and kuni. The word kath is a dialectal variation of the
Sanskrit word kashtth, which means wood, kuni is again a dialectical
variation of the Sanskrit word kona,.The inherent stability, flexibility, and
strength of indigenous kath-khuni (wood and stone) buildings make them
appropriate for this earthquakeprone terrain.The technique articulates local
materials in systematic layers, which makeit practical as well as
aesthetically gratifying
• A typical house in Himachal is usually two or three- storey high while a

temple may rise much higher from a single storey to a tower with seven
storeys. The method of construction and elements remain similar in most
cases.The level of articulationand detailing is far more intricate and
elaborate in temples.

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Typical Components :
Typology of Houses :

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CONSTRUCTION PRACTICES
FOUNDATION AND PLINTH
Stone plinth is filled up to a meter from the

ground level.
The trench is relative to height of structure.
• For a two-storey house, depth is 0.6-1
meter.
• In case of tower temple, its as deep as 3
meters.
WALLS
The walls are constructed with alternate
courses of dry masonry & wood without
any cement mortar.
Wall courses:
• Two wooden wall beams are laid
longitudinally parallel to each other with
a gap in between.
• The space b/w two members is filled
with rubble stone & edge is secured with
kadil(wooden nail).
Wall Punchers
ROOFING
• Roof is constructed out of wooden
beams followed by purlins & rafters,
topped with slates or wooden
shingles.
• Slate stones also weighs down the
structure against strong winds.

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FLOORING
• Ground floor is raised above the
stone plinth & finished withadobe(clay). It
functions as aninsulating at the same time
remains warmer than stone finished surface
BALCONY
• It provide a good sun-space or
solarium.
• Sunny courtyard to perform
various activities during day time.
• Kitchen made of mud, placed
at center which helps in keeping
the indoor warm.
PLANING

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FLOW DIAGRAM & VEGETABLE PREPATION
Vegetable Dry Storage

refrigerators
Vegetable preparation
Garbage
Storage
Salad Main Sandwich
Preparation Cooking Preparation
FLOW DIAGRAM &BAKE SHOP
Dry Refrigerated Pot

Stores stores washing
BAKE Shop
Garbage
Storage
Servicing Pot
Facilities washing

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FLOW DIAGRAM & MAIN COOKING AREA
Meat Veg Refrigerators Dry POT

Preparation Preparation & Freezers storage washing
Main Cooking
Salad Service POT Sandwich Garbage

Preparation Facilities washing Preparation Storage
FLOW DIAGRAM & MEAT PREPARATION
Meat Refrigeration
Meat Preparation
Garbage
Storage
Sandwich Main
Preapation Cooking
FLOW DIAGRAM OF DISH WASHING
Dining area
Dish washing
Garbage
Storage
Service Various prep.
Facilities Departments

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FLOW DIAGRAM OF SALAD PREPARATION
Main Veg Refrigerators Dry

Cooking Preparation storage
Salad
Preparation
Garbage
Storage
Service Sandwich
Facilities Preparation
POT WASHING FLOW DIAGRAM
Main BAKE Service

Cooking Shop Facilities
POT& PAN Garbage

washing Storage

5. CASE STUDY
Case Study
DILLI HAAT
LOCATION: kidwai nagar, opposite INA market, New delhi

DATE OF COMPLETION: December 1993
CLIENT: Delhi tourism & municipal corporation of Delhi
ARCHITECT: Pradeep sachdeva, design associates, New delhi
SITE AREA: 6 acres, approx. 100M x 300M
BUILT UP AREA: 3190 sqm
GROUND COVERAGE: 12%
CONNECTIVITY
Distance from airport: approx.11 km
Distance from new delhi railway station: approx. 6 km
Distance from nizammuddin railway station: approx. 6 km
Distance from ina metro station : approx. 50 mts.

Case Study
INTRODUCTION:
• Dilli haat is a project of delhi tourism & new delhi municipal corporation;
it provides an ambience of a traditional village market for more
contemporary needs. It provides a synthesis of craft, food and cultural
activities.
• The 6 acres of land on which this sprawling complex is situated was
salvaged as part of a reclamation project and transformed into a
magnificent dream plaza.
• Dilli haat is not just a market place; it has been visualized as a showpiece
of traditional indian culture- a forum where rural life and folk art are
brought closer to an urban clientele.
• These shops change hands every 15 days and therefore provide
opportunity to the visitors with a different set of shops periodically and
therefore motivates them to keep revisiting again and again.
• It provides encouragement to needy artists & serves as an outlet centre
for them
• A small food court which brings a variety of cuisines of different states
together

Case Study
SITE CONDITIONS:
• The over all area available was approximately 100m x 300 m.
• The site itself posed unusual constraints like the nallah running through
the entire length .
• The nallah was covered with R.C.C. Slab but it was not allowed to
construct any structure over it as it no t been designed to take such loads.
• This resulted in planning of building towards the periphery.
• The two sides of the nallah had been filled up with soil, necessitating
foundation as much as 8m deep.
CIRCULATION:
The circulation space of dilli haat is mainly linear with few diversions from the
main street. The entrance plaza leads to the arrival area which consists of the
souvenir shops and craft shops. The arrival plaza further leads to the main
shopping street which has the covered shops, semi covered shops, open shops/
kiosks and the public toilets. This in turn leads to the food courts and ends at
the amphitheater which is the termination point of dilli haat.

Case Study
• From the entrance plaza to the end of the complex, the circulation is
entirely pedestrian
• By the use of ramps & step, lots of levels have been created to define
buildings more distinctly.
• Circulation in front of shops is through a verandah covered arcade.
• Service entrance has been provided at various points on the periphery.
PLAN LEGEND:
ARCHITECTURAL FEATURES
• The architectural features of the complex have been especially designed in
the traditional north indian style, with brickwork jail and stone roofs .
• A hall in the complex specifically caters to exhibitions of the handlooms
and handicrafts. A souvenir shop, also displays attractive ethnic products.
• The small thatched roof cottages and kiosks, without any concrete
structures provide a village atmosphere.
• The shops are set up on platforms, which act as a link in the bazar design.
The courtyards between the shops are paved in stone and interspaced with
grass to retain a visual softness.

Case Study
• The landscaping of the area incorporates colourful flowering shrubs and

trees, thus the entire complex is in harmony with the environment.
CRAFTS SHOP( PERMANENT &

TEMPORARY STRUCTURE):
• The craft shops, essentially a verandah like arcade,
have different kinds of built in shelves to provide a
variety of selling styles: off- counter, on the floor,
stepped display and so on.
• From the central spine first comes the open platform
meant for temporary shops these are provided with
just constructing pillars and platform. For these Permanent
structure with
shops roof is of wooden purlins with bamboo mat shaded corridors
• Special stores have been provided for temporary
shops where craftsmen store their goods at night
• Trolleys for transporting goods to the stores have
been provided
• Shutters made of bamboo mats are used for closing
the shops
• At many place, the shops ae placed in a row, while
at many others they occur in form of clusters. This
is due to towering eucalyptus trees that lined the Temporary
structures
site.
Shops with different
displays: high & low
counters
Brick jaali pattern on
walls
Built shelves for
display arched
opening to the shop
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FOOD PLAZAS
Food plaza is provided at the back, due to the

requirement of hygiene & dust proofing is furnished in
kota stone flooring and flat r.C.C. Roof .
There are 52 food stalls in whole plaza, with each one
specializing in the foods of a particular state, there by
providing food from all states .
Since lots of space was required for having so many
food stalls as small as 20-24 sqm. Space is given to
each.
Food stall and open seating in front are created in
levels.
Seating in front is both permanent and temporary.
Small gardens have been created with seats arranged
around them and the restaurants are covered under
sheds.
All the food stalls are simple brick structures with flat
r.C.C. Roofs and parapet walls are given a treatment of
brick jaali.
The front facade of different blocks are given different
treatments in form of traditional arts of their state. The
counter is given a treatment of mosaic that depicts the
culture of the state .

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FEATURES OF GREEN AREA

1. A plaza paved with stone and brickwork
skillfully interspersed with grass, flowering
shrubs and towering eucalyptus trees plus a play
corner for children have conjured up an oasis in
which visitors can browse in their leisure time.
2. Plants available at dilli haat are
eucayptus,gulmohar, bamboo plant, neem ,
plumeria.
3. The landscape of the area incorporates colorful
flowering shrubs and trees thus the entire complex
is in harmony with the environment.
4. An elaborate plantscape plan built around the
indian trees such as the mogra or raat ki raani.
5. The store block enclosing existing neem trees
and giving the ambience of a modern rural
haryana house.
6. Eucalyptus trees are used at the border and are
placed in rows and in clusters also

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OPEN AIR THEATER
A small performing arts theatre ends the vista.

Stage has a circular form and there is adequate bask stage space
available but the front space for visitors is very less.
There is a central 10’-o” wide walkway towards stage from front
entrance which is identified by 4 richly carved wooden columns.
This area is separated from surrounding activities with bamboo
sticks.
These bamboo sticks on the outer edge and the gravel on the seating
area create a complete village performance area
MATERIAL, TECHNOLOGY AND LOW COST

CONSTRUCTION
Roofs of the shops have precast r.C. Beams over which sandstone slabs are
placed and then earthen pots with mud phuska is placed to insulate against heat
over which brick tiles are laid.
Use of segmental and soldier arches.
Jaali parapet walls.
Jaali in shop walls for ventilation

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Plain exposed brick walls have been used in the construction of blocks
juxtaposed with concrete and mild steel to create interest.
Rough sides of interior walls have been simply painted.
Shutters of the shops are made of bamboo plywood.
The surfacing shall be in natural materials like stones brick paving & slate for
easy & long term usage.
Use of traditional elements of construction for providing an ethnic look to area
and also making it low cost for construction.
Use of numerous brick pattern added varying texture to the monotonous brick
construction
PROVISION FOR HANDICAPPED

Ramps with grab bars leading to raised levels
Ramps with grab bars leading to toilets for handicapped

5. CASE STUDY
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INTRODUCTION
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.
• Dakshinachitra is more than just a venue-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
SITE LOCATION
Dakshinachitra occupies ten acres
overlooking the bay of Bengal, at
Muttakadu ,twenty five kilometres
south of Chennai on the east coast road
to Mamllapuram, Tamil Nadu, India.

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CLIMATE:
• Rainfall is moderately
low
• The temperature is
high
• The relative humidity
is semi-humid
SITE Architect : Laurie baker

Benny kuriakose
Client : madras craft foundation
Contractor : Ravindran
Built up area :3 acres
Construction time :10 years
Cost of project:rs: 70 lakh
APPROACH TO DAKSHIN CHITRA:

• The entry to Dakshinachitra is very cosy and small like entering a south Indian
home
• The various play with brick at the entrance compound wall façade etc.. bore
witness to the involvement of brick master in the design
• There were the archetypal chocolate pillars , thatched roofs and richly carved
doors which effectively restricts the view into the interiors ,thus leaving the
imagination to us
• And the inside art is well worth hiding ,once you enter the village the world is
entirely different from the urban setting outside

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VARIOUS ZONES
• Reception centre TAMIL NADU SECTION
• Merchant house chettinadu
Craft shop
putukotai district
Seminar hall orientation film
• Agriculturists house
• Gallery for temporary exhibitions
• Potters house
• Restaurant
• Basket weavers house
• Library and archives
• Ayyanar shrine
• Mandapam
• Weavers house
• Canteen
• Textile exhibition
• Craft bazaar
• Agraharam brahmin house
• Amphitheatre
• Art exhibition
• Activity hall
KARNATAKA SECTION
GENERAL KERALA SECTION
• Weavers houses
• Hindu house-trivandrum district
Muslim weavers houses
• Cattle shed
• Hindu house-calicut district
ANDHRA PRADESH
SECTION
• Granary and textile exhibition
• Ikkat weavers house
• Syrian christian house-puthupally
• Coastal Andhra thatch house
• Small pavilion padipura
cattle shed and grananry
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AMENITIES
• Parking
• Guest house • Gallery and stores
• Artisans quarters • Restaurant
• Lathe workshop • Craft shop
•Driver’s shed • Tea shop
PEDESTRIAN FLOW
• All pedestrian paths were paved by stones
with trees on either side
• The pedestrian flow was clearly demarcated
from the paths used for commercial purposes
• The pedestrian flow gets branched out from
the entrance to various state’s houses
VEHICULAR FLOW
• The vehicular flow is restricted at the entry
plaza itself
• The parking sheds are also provided in
traditional style roofing
VEGETATION
• Trees are seen in dense near the parking area,
guest houses ,Kerala section and Karnataka
section
• Trees are seen in other parts of site also along
the pathways
• Regions marked in yellow were devoid of trees
• Palm trees , coconut trees were majorly seen
TREES AROUND OAT TREES

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WATERBODY
• The artificial pond runs from the oat long 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
• These ponds get filled during rainy season as these ponds serve as a collecting
point for the entire site. These ponds get dried during other times and it gives a
barren view from the Tamil Nadu section and play area
TAMIL NADU
• Mostly, tamil houses have an inner courtyard which is used for drying grains,
shelling pods and for functions.
• There will be a raised verandah or small seating area in the front of the house,
called a tinnai.
• The houses from tamil nadu at dakshinachitra were typical houses found in
many villages throughout tamil region.
MERCHANTS HOUSE FROM
CHETTINAD

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WEAVERS HOUSE FROM KANCHIPURAM

• This house had one functional pit loom used for weaving Kanchipuram
saris, along with a kitchen, a puja room and a front hall.
• The weaver’s house had a large paved open area in the back that served as
a utility area with toilets, bathing area, and facilities for washing clothes
and kitchen vessels.
• over 16 weavers houses were documented from Kanchipuram and the most
repetitive elements and planning were documented and depicted in
Dakshinachitra
BRAHMIN HOUSE FROM AMBUR

• Brahmin houses were connected by a
common wall and they were narrow in
width and very long.
• The Ambur house originally had a longer
courtyard for the cows, followed by another
long, enclosed area, planted rather wildly,
which led down to a stepped river embankment.
• Due to space restrictions at DakshinaChitra, the second courtyard was
made smaller and the third has been omitted.
• The upper floor was used for sleeping, drying and storing grain.

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AGRICULTURISTS HOUSE FROM MAYAVARAM

• The agriculturist’s house from Mayavaram district, is typical of many
houses found in the villages in and around Thanjavur and Mayavaram
districts.
• It has been reconstructed without any changes except in its orientation.
• The original orientation of the house was north, so that the puja room and
sacred area were on the west.
• The front rooms were used for storage and sleeping.
• The house had a second block with two small parallel courtyards :one used
for the kitchen and eating, and one for bathing.
EXPLODED VIEW COURTYARD FRONT THINNAI

THE FIRST FLOOR WILL BE CONNECTED FOR
THE ENTIRE STRETCH ELEVATION
POTTERS HOUSE FROM CHENGLEPUT
• The turn of the 20th century house of a practising potter is from the
village of Tiruvallur, in Chengelpet district.
• The original house, though built for one family, was occupied by two
brothers and their families, each living on one side of the house with a
separate kitchen. The house depicts the actual lifestyle of the potters, with
space for living and working.
Design Requirements and Programme
• The backyard originally had space for cooking and for cows; at Dakshina
Chitra.
Thatched roofing supported by wooden

poles with low eave projection to dry
their mud products
Interior of the workshop where the potter’s
wheel is present with storage space for mud
and paddling deck
KARNATAKA
WEAVER’S HOUSES FROM IKAL
• This cluster from Ilkal, Bagalkote district represents an urban settlement pattern
and is typical of weavers’ houses in the northern region of Karnataka.
• The wooden gateway, stone and wooden window mark the entrance to the
Karnataka section are the remnants of a house which was built in the 18th
century and belonged to one of the oldest known families in the town.
• Almost all houses in
northern Karnataka are built
of stone. Each area has its
distinctive stone..
The colours vary from area
to area as does the way the stone is quarried and the preferred shapes and
sizes used for construction. In Ilkal, the stone is granite

Conclusion
ANDHRA
WEAVER’S HOUSES FROM NALGONDA DISTRICT
• Most weavers’ houses and other village houses
in Nalgonda and Warangal district follow a
style locally known as bhawanti. The plan used
commonly is the chitra sala, with three bays or
sections and a small courtyard in the middle.
The building materials include bamboo reapers
palmyra beams and semi- circular roof tiles
THE CLUSTER PLAN

• In a cyclone-prone area, fishermen and agricultural farmers build circular
houses which nestle closely to form clusters.
• The shape and the positioning help the houses battle against the raging winds.
• The house consists of an inner circular room which is enveloped by another
circular space that serves as the kitchen on one side and a store at the other
end..

Conclusion
• There is also a cooking area or vantasala just outside the house. • The walls
were built by the cob wall technique that places balls of mud to make an 18”
thick wall. • Palmyra timber was used for rafter, palmyra thatch for the roof
and lime wash for the wall finish.
• There was a flat mud roof and timber roof under the sloping thatched roof to
protect the belongings in case of a fire.
KERALA
• The architecture, environment and culture of
Kerala stand in marked contrast to that of
Tamil Nadu
• In Kerala houses, technique, form and materials are basically the same for all
classes and economic levels. Only size or the addition of more buildings to a
compound separate the rich from the poor.
• Kerala section in Dakshinachitra is punctuated in form by the religious
architecture of its three communities - the Hindus, Christians and Muslims.
HINDU HOUSE - TRIVANDRUM
• This small, middle-class house from South Kerala,
belonged to an agricultural family of Nairs, a
matrilineal Hindu caste.
• The kitchen to this house was a separate structure next
to the house.
• Wooden structure was representative of houses in
southern Kerala, where the building material was
primarily timber..
• The manner of joinery and wood used (jackfruit wood and palmyra) was used
and was standard in southern Kerala for both the rich and the middle class.
• This house was isolated from the other houses with gardens and cow shed
was present outside .
Conclusion
SYRIAN CHRISTIAN HOUSE FROM KOTTAYAM
• The distinctive feature of the Syrian Christian house was its layout, with the
entrance of the house leading directly into the granary.
• Prayer area was in front of the granary, identified by the small cross above
the door, and not in a separate room for prayers as in a Hindu house.
• The addition of a masonry structure, which includes a living room, separate
dining room and kitchen, is a sign of the early westernisation of the
community and the social trend of entertaining guests in the family home
The British influence is noticeable in the arched veranda which came to
replace the graceful curved slatted wooden screens and inside seating which
were characteristic of earlier veranda's.
PAVILION AND KALYANA MANDAPA

• The pavilion and kalyana mandapa is in chettinadu style with restaurant
adjacent to it .
• Gable roof are used with mugappu (kerala style)
• Columns and doors are of traditional chettinad style
CHILDREN’S PLAY AREA:

• This area were lined with tall trees giving good shade even in the day time
• The maintenance of this park area was poor and the installations were not
properly maintained.

Conclusion
CRAFT BAZAR
• Craft bazaars are present for various artist coming
from different parts of india to showcase their
products and earn income
• This is a permanent structure for temporary artists
• Stone carving workshop is found adjacent to the
craft bazaar
ARTISANS COMPLEX
• This area was restricted for artisans With guest houses for artisans coming to
the village during special occasions
• Artisans quarters was present for the workers employed in various activities
going on in the heritage village
• Activity hut was present for artisans from various parts to exchange their
ideas
• Craft corner was present for the artisans to merchandise their products and
this is permanent market.
OPEN AIR FOLK PERFORMANCES:

• Open air folk performance area was the first
place we see after entering the Dakshinachitra
• This place had trees but it was not dense
enough to serve as a shelter
• People who were sitting here to see the folk
performances didn’t seem comfortable because
of scorching sun rays in this area.

Conclusion
CRITICAL ANALYSIS:
• The ticket counter could have been in a more open space
• 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 factors of
Chennai viz: orientation , materials etc but still depicting each state in a most
apt way by retaining the most essential elements.
OVERALL ANALYSIS:
• 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
• 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 entrance plaza would have been in monumental scale.

Case Study
INTRODUCTION:
Chokhi dhani is “ A placid complex begetting a panoramic coutyardside
view.”
In the magical land of rajasthan where the heat shimmers like phantom
water, where the things one sees are not really there and where the things that
vanish behind veils of illusion, stands chokhi dhani, an ethinic village and
resort with a blend of rustic environment and modern amenities making it an
important destination in pink city.
GENERAL INFORMATION
Designer: Prof.chinmay Mehta,
Total area: 18 Acres
Cost: 1.30 crores(approx.)
Year of completion: phase 1-1992 , phase II 1995.
DESIGN APPROACH
prof. Chinmay Mehta, an artist-designer. He made3-D sketches in lieu
of architectural drawings, plans, etc. to visualize the idea.
LOCATION
The site is on the
outskirts of Jaipur, located
on Jaipur-Tonk highway, 6
kms from airport and 18
kms. From the city centre.
SITE
Site covers an area of 18 acres, of which a five acre land is
earmarked for furture projects. It has been divided into two parts: The first
is meant for a resort (for the tourists stay) while the other caters to the needs
of day-today visitors( i.e.,) chokhi dhani village.

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THE CONCEPT
• Chokhi dhani resort literally meaning the “Fine Hamlet”
• Chokhi dhani’s concept is to join the Rajasthani tribes from the world.
• Tourists are very much aware of rajasthan and its culture, but still they are
far-far away from its roots.
• This mainly focuses to reveal the real Rajasthan like the paintings., Art
bani thani ., The wall decorations., The evening performances, the
enthusiasm, the ‘Manuhar’ (mouthful catering), the traditions, the
costumes etc.,
• Thus, preserving and encouraging the village art and culture, to get today’s
generation closer to their past, to change the philosophy of world about
Indian village culture.

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ZONING ANALYSIS- CHOKHI DHANI RESORT:

• The site layout depicts a typical village plan with hierarchy of spaces.
• Focally placed village head i.e., thakur’s haveli with luxury amenities
nearby., Then the rest of the village huts spreading all around
• Swimming pool is isolated from the resort in rear side ensuring privacy.
ZONING ANALYSIS – CHOKHI DHANI VILLAGE:

• Cluster planning
• Functionally inter- related spaces were clubbed together and segregated in a
haphazard manner.
• The entire theme of rajasthan was depicted in terms of jungle, lake side,
desert side etc., the proximity of these spaces were a beautiful amalgamation
to the visitors.
• Open spaces were rightly acknowledged with right use of activities like
merry-go-rounds, camel rides, chaat shops etc.,
• Zoning enabled the visitors to view the whole place(open planning) and
explore places of their interest.
COMPONENTS OF CHOKHI DHANI RESORT
GANESHA TEMPLE
The magical allure of chokhi dhani
embraced in Rajasthan architecture welcomes
with beautifully carved Ganesha Temple.
SARGAHSULLI SHOPPING ARCADE

The architecture depicts historical clock
tower and the ancient craft of shopping arcade at
its best.

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BINDOLA
The grandeur of this dinning hall is truly
breathtaking. It serve breakfast, lunch and dinner of
Indian & Chinese tastes.
KOTRI
The reception hall come lobby
magnificently erected with mud plastered
floor, bamboo net ceiling adorned with
Rajasthani paintings and murals will captivate
your imagination
MANDANI
The conference hall accommodating 120
persons with all secretarial services.
KUND
Large traditional swimming pool like the one
kings enjoyed in historic times and an
adjacent health club.

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SHEKHAWATI HAVELI
The shekhawati Haveli with 8
royal suites is expressly designed
for quiet, intimate moments,
languorous day dreaming and
restful solitude enjoyed by
Thakurs.
A cluster of huts encircles the centrally

erected restaurant and banquet hall, with streets on
both sides leading towards the haveli. The open
space near the kund becomes a dinning space for
parties.

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CHAUPAD JEEMAN GHAR

Apart from sangri there is another ethnic
dinning hall specially known for its shape –
chaupad jeeman ghar.
In India chaupad is an ancient game of royal
families like today’s ludo, which has four
straight paths joint in center.
This is what “chaupad jeeman ghar” has in the
shape.
It has four straight rows meeting at center.
Each row has 20 persons sitting capacity.
NATIONAL HAAT
Craft’s bazar is an attempt to bring under one
roof the sights, sounds, smells, tastes, arts and
crafts of the 9 most distinctive states of the
country viz. Rajasthan, Maharashra, Gujarat,
Jammu and Kashmir, Kerala, Goa, Sikkim, West
Bengal and Tamilnadu

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KALAGRAM
• Kala gram is indeed a earnest effort to heighten

the acknowledgement of all the solitary arts of
the villages of rajsthan.
• This place is arranged to display the use of
Rajasthani art and craft in the modern daily life.
Camel ride
Elephant ride
Bullock cart ride
Horse ride
Boat ride
LIVE ENTERTAINMENT
There are many folk dance in Rajasthan and all are performed here. Like
Ghoomer, Potter Dance, Kalbeliya-the snake Dance, Bhopa-Bhopi Dance
and Terah Taali Manjira dance.
Folk dance and Music show-Chaupal Nach Gan Re
Acrobatics on a bamboo-Nat Ro kartab
Traditional fire act
The puppet show-Kathputali Ro Nach
Bird fortune teller
The magic show- Jadu Ro Khel
Astrology- A traditional palmist is available to throw light on your future
Bioscope
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CONSTRUCTION DETAILS
The foundations have been generally filled with stones and walls built with
stone or brick.
The straight lines of the walls have been broken and rounded before athin
plaster of cement is put and then treated with a combination of mud ,cow dung
and husk by the village women from the neigh boring areas.
The roofs, wherever air-conditioning was not planned, have been erected with
iron pipes and purlins, which are covered with bamboo net and terracotta tiles
(keloos), brought from different parts of the region.
The hut structures are provided with windows and doors at times with
‘aaliyas’
covered with built-in spaces for deepaks (terracotta lamps) indifferent shapes.
The walls are decorated with relief murals, created with brick motifs andrelief
work designed with thick cement plaster in tempera, mainly withclay colors
geru (Indian red), pilli rnitti (ochre) and saphed rnitti (whiteclay).
The layout design has village temples, devaras, brick jalis and woodenen
closures.
Bamboos have been used extensively to integrate one structure with another.
Thus creating harmony.
The architect has utilized local materials and manpower for the construction.

Case Study
CRITICAL ANALYSIS
• Site provides no natural views, which are supposed to be essential for
aproject like resort but this shortcoming has been entirely subsided by the
environment created with in the resort.
• Walkways after car parking are long and unprotected from rain and sun.
• No covered connections between any two units, but problems aroused
bythis are taken care by efficient management.
• Reception hall area, capacity, and facilities are grossly insufficient.
• Visitors and recreation areas are well segregated from residential
unitsproviding privacy and avoiding crossCirculation patterns.
• Variety in room types is achieved through different forms provided tohuts,
variation of interior facilities and the variety of detailing both ininteriors as
well as exteriors- give a sense of individuality andbelongingness to the
guest
• In a rather horizontal layoutvisual variety in verticality isachieved through
semi-underground bar and two - storiedhuts
• Strong unity and harmony areachieved through the use ofmaterials,
detailing and forms. Alsostriking contrast can be seen inhaveli / swimming
pool and huts.
• Loss of sense of direction, alsohandled efficiently through attentive
management.
• Exploitation of local material and labor has been done in its full
causingvery low cost of construction.
• Maintenance and repairs are effort taking but cost low.
• With all its typical ambiance and aura Chokhi Dhani has gained popularity
more like another tourist destination in Jaipur than a dwelling to stay in.

6.SPECIAL STUDY
VERNACULAR ARCHITECTURE
Introduction
At the spin of the 21st century, the style of Indian Architecture took a sharp
turn towards a new contemporary
mode with the century. The nation
saw a drastic change in the modern
built environment. The foremost
element of our ancient history of architecture that characterizes our traditional
Indian architecture and planning is the use of Vernacular material and
construction techniques and planning strategies. Vernacular architecture is the
style of architecture which takes into account all the needs and requirements of
the residents, nature, construction materials and also mirrors the traditions and
culture. It develops over time to resonate the culture, traditions, history,
environment, resident’s desires and needs and economy of the locality. Though
diverse from the popular outlook towards the built environment, use of
indigenous materials, designing and construction techniques plays a pivotal
role in design and architecture of the society. The term vernacular as we know
is derived from the Latin vernaculus, meaning "domestic, native, and
indigenous"; from Verna, meaning "native slave" or "home-born slave". When
expressing in terms of language, vernacular refers to a time, place or group. In
terms of architecture, it refers to the style which is indigenous to a specific
place or time. It is most commonly applied to residential buildings in particular
Structures designed by professional architects are not considered as vernacular
architecture. The main concept of vernacular architecture is architecture that is
not intentionally or knowingly planned. It is designed specifically for the local
environment, using local environment. Architect Paul Oliver stated that
vernacular architecture is "the architecture of the people, and by the people,
but not for the people” .

There are many young architects who are specially learning about vernacular
architects. Since the appearance of the term in the 1970s, the use of vernacular
principles has played a rising part in architectural designs. Though individual
architects have a widely diverse school of thoughts on vernacular architecture.
In India B.V.Dhoshi, Laurie Baker and Charles Correa are the pioneers of
integrating Vernacular Architecture in Contemporary architecture.
INDIAN VERNACULAR PLANNING
Indian vernacular planning involves planning and designing a built
environment with the informal, functional design of structures.
It is mostly found in rural areas of India, with structures built using local
materials and designed and planned to meet up with all the needs and
requirements of the local residents. The structures built are not just made by
using vernacular materials but even the planning is done keeping in mind the
necessities of native society and culture. The builders and planners of these
structures are untrained in formal architectural design. This is reflected in their
work which reflects the rich diversity of India's climate, the local building
materials, and the elaborate variations in the social customs and craftsmanship.
The rich vernacular tradition of India starts from the natural settings of the
site, and responds to metaphysical concerns, climate, local skills, construction
materials and appropriate technology.
INDIAN CLIMATES
The climates in India are divided in 5 climatic zones.
Hot & Dry climate
This zone lies in western and central India, namely Jaisalmer, Jodhpur etc.
This region is flat,sandy,rocky and sparsely vegetated with cacti thorny bushes.
Due to low humidity the climate is dry. During summers, winds blowing are
very hot and sand storms are common. Due to low water level and meagre
vegetation, the houses are commonly made using twigs, mud, clay and stone.

Warm & humid climate
The warm and humid region covers the coastal region of India. Cities like
Mumbai, Chennai, and Kolkata all lay in this region. The high humidity
encourages abundant vegetation. The main criterion of designing in this region
is to reduce heat gain and provide shading.
Composite climate
The composite zone envelopes the entire central part of India. Allahabad,
Kanpur and New Delhi are some of the cities that experience this type of
climate.
Moderate climate
The moderate climate region experiences mild to warm summer and cool
winters. The need for home heating in winters is greater than summer cooling.
Few opening on external side other than doors are a must. Most of the time
cooking and sleeping in rural India is done outdoors during the summers. The
mountains of Great Diving range keep the winters cold and summers
pleasantly warm.
Cold climate
The cold climate is characterized as 2 classes: cold and sunny and cold and
cloudy. Ladakh experiences cold and sunny type of climate. This region enjoys
very little vegetation and is considered as a cold desert. The structures are
innovative in design uses materials like stone, mud and clay. The houses are
very close to each other. Cities like Kashmir, Sikkim, Shimla and upper part of
Assam hill station from south India all experience cold and cloudy climate.
This kind of climate requires buildings to be heated throughout the year. Thin
mud and bamboo are used for walls on the upper floor and brick or bamboo for
upper floors. Roof is made using stone slabs or country tiles. The roofs hang
from all sides, providing protection of core spaces from all sides.

PRINCIPAL ASPECTS
There are several aspects of planning and building structures according to the
classic vernacular architecture. Out of all the significant other principals there
are five aspects which are the primary elements or principle aspects of
vernacular architecture and planning that are considered while planning a
vernacular structure. The following briefly explain the aspects.
• VAASTU SHASTRA- is the science of construction and architecture that is
found in Indian subcontinent, these survive as manuals on design, layout,
measurements, ground preparation, space arrangement and spatial geometry. It
incorporates traditional Hindu and Buddhist beliefs. The designs are based on
integrating architecture with nature and ancient Indian beliefs utilizing perfect
geometric patterns (yantra), symmetry and directional alignments .
• VAASTU PURUSHA MANDALA-is a part of Vaastu Shastra and
constitutes of mathematical design. It is the metaphysical plan of a building
that incorporates the supernatural forces. Mandala is the specific name given
to a plan which symbolically represents the cosmos .
Vaastu Purusha Mandala

• MANDALAS – all functions are assigned special spaces. For example:
Northeast for the home shrine, southeast for the kitchen, master bedrooms in
southwest and the cowshed in the northwest and grain storage. All other spaces
are use for multi purposes.
• MANDALAS FOR CITY PLANNING

the technique of mandala was also used for
city planning. The first of its kind was
Jaipur, designed in 1700s. It covered the
natural features as well as other functional
aspects like military needs, pre- existing
infrastructure and modified the grid
according to the topography.
INFLUENCING FACTORS
Building plan
Building layout is an essential factor that influences and drives the planning of
vernacular structures. The archetypal shape of a building plan is correlated to
many cultural, historical, and urban planning traditions.
Three main types of shapes that has been identified for plans in traditional
buildings:
• Circular plan is most preferred in case of earthquake resistance, for example
the Bhonga Houses
• Rectangular plan
• Linear plan

Building Sizes
The second facet of Indian vernacular architecture is the size of the Building.
The size of the building is ruled by its particular use. Based on the size of a
building, they can be classified as:
• Single story
• Μulti-story buildings
The mixed-use buildings necessitate construction of an additional floor, which
calls for increased wall load-bearing capacity, especially if these walls also
need to withstand earthquake effects. It should be noted that the building size
is also related to the population pattern and housing density in a given area.
Indigenous Materials
The third aspect influencing the development of vernacular construction
practices is the availability of local building materials.The local resources
have governed the use of the following constituent materials for walls:
• Adobe (mud blocks or whole walls)
• Masonry (stone, clay, or concrete blocks)
• Timber

. • Clay Fly-ash Burnt bricks – environment friendly, energy efficient and
locally manufactured material.
• Micro concrete Roofing Tiles - MCR tiles are a cost-effective and extremely
versatile roofing material. MCR tiles can be used to make attractive roofs on
villa houses, farm houses, pavilions and gazebos and also used in highway
constructions. In regions with heavy rainfall, these tiles are used at length for
cladding material as it offers both waterproofing and aesthetic appeal. It has
been used expansively in cost effective housing schemes, poultry farms,
restaurants and workplaces.
CONSTRUCTION MATERIALS
Timber Construction
The advantages in case of timber
construction grow from the use of timber,
a lightweight and ductile building material. A significant issue in case of
timber construction is associated with the connections (column-beam, floor-
beam and panel-beam) and their aptitude to transfer the forces from one
building member to another and then finally all the way down to the
foundation. It is well known that the wood is quite susceptible to the effects of
humidity and insects. The use of timber construction is restricted by the local
availability of suitable wood materials
Earth Construction
India is one of the oldest countries which have
very old earth buildings: for example the Shey
palace in Ladakh. It was built in the 17th century and also the Tabo monastery
in Spiti Valley – Himachal Pradesh which was built with adobe blocks in 996
AD and which has withstood 1010 Himalayan winters.[8] Earthen housing
units utilize mud walls or adobe block walls.. Adobe construction offers very
restricted seismic resistance. However, there are a few strategies for better
earthquake resistance of these structures
Timber reinforcement can be added to increase ductility and lock the
connections. Such reinforcement must be adequately protected against
humidity and insects in order to ensure long-term structural integrity.
Brick masonry and stone construction
The most prevalent vernacular construction technique involves the use
of masonry walls as the load-bearing structures. The simplest technique of
construction is the use of sun-baked blocks, generally classified as adobe. The
use of burnt clay bricks is very common where wood or coal fuel is available.
Clay brick is an old, traditional building material used in many parts of the
world for centuries. Stone is a material that is locally available in many
regions. For many centuries, unshaped stone blocks mainly in the form of un-
coursed (random) stone-rubble construction have been used for house that has
been collected in the field. In some cases, hand tools have been used to shape
the stones. Such construction is called “dressed-stone masonry”.
STRATEGIES FOR EARTH QUAKE RESISTANT
STRUCTURES
The vernacular structures due to their materials and planning are often
earthquake resistant. The modern Indian built environment has undergone a lot
of challenges and changes since globalization. However, it is of utmost
importance to recognize and identify the main features that will enhance
seismic performance of traditional buildings. There are some very general
strategies for seismic feat of vernacular planning.
Construction with ductile materials
• Walls have ductile reinforcements (wood or steel) to avoid out-of plane
collapse
• To prevent decay of wooden materials a lot of maintenance is required
• Selected materials to be used (brick-mortar-wood)

Construction with robust architectural forms
• Floor plan should be regular (shape-distribution of walls)
• Should have uniform openings (small and well-spaced)
Construction with resilient structural configuration
• Connections should be efficient (wall-wall, floor-wall, wall-foundation, etc.)
• Accurately built wall textures that provide bracing and shear resistance
• Continuous foundation that avoids settlement and cracking from below
• Good workmanship is a must (manufacturers, builders)
Construction that reduces seismic forces
• Rood should be light in weight.
• Houses should be low-rise (one- or two-stories high)
ORIGINAL VERNACULAR HOUSE CATEGORIES
Kachcha
It is a type of building that is made up of natural materials like mud, grass,
bamboo, thatch and sticks. It does not provide much strength or durability and
requires continuous and heavy maintenance. The realistic constraints of the
building materials that are available dictate the specific form which can have a
simple beauty. The construction materials are all cheap and very easily
available. Construction of such a house requires relatively very little labour.
Foundation: Earthen plinth with bamboo
(sometimes timber) posts.
Walls: Organic materials - jutestick, catkin
grass, straw, bamboo mats, etc. Split
bamboo framing. Earthen walls in some
areas.
Roof: Thatch - rice or wheat or maize
straw, catkin grass, etc with split bamboo
or sometimes reed stalk framing.

Pukka A pukka structure is made of resistant
materials such as stone, timber, brick, clay,
metals and sometimes mortar is used to bind
the structure. It is more durable and does not
require constant maintenance. These structures
are more expensive because of all the labour
and materials that go into it.
Foundation: Brick and concrete.
Walls: Brick.
Roof: Reinforced concrete (RC).
Semi-Pukka
The semi-pukka is a combination of the
kachcha and pukka styles. It has grown
as the knowledge of villagers has
evolved and has acquired the resources
required to add elements durable
materials characteristic of a pukka house
Foundation: Earthen plinth; Brick

perimeter wall with earth infill; Brick and
concrete.
Walls: Bamboo mats; CI sheet; Timber
(sometimes split bamboo) framing. Earthen walls in some areas.
Sometimes part or full brick.
Roof: CI sheet with timber framing (sometimes split bamboo).
INDIAN VERNACULAR HOUSES
Warli house
It is a traditional house of Maharashtra. It is created using local materials like
is mud plastered on a framework of branches for “karvi” walls. It is a climate
responsive structure. It loses heat quite quickly and allows air to move in hot

and humid climate because of light external envelope. The seamless mingling
between the use of local materials and skills picked by the residents in building
is evident and is the reason for
maintaining their own homes in
such a good manner.
Bhonga
It is a traditional house of Rajasthan. It is built so strong it can even withstand
earthquakes. These structures have a circular form which ensures minimum
exposure to the extreme hot and dry desert climate. They are all planned
around atriums or open courtyards forming little clusters. Smaller openings
control entry of light, heat and winds. The structure is built using materials like
mud for the walls and thatch for the roof. The interiors are aesthetically
decorated with local mirrort work patterns.

VERNACULAR ELEMENTS
Water
Water is a very scant resource; so there is a strong need to utilize this resource
as possible. For this reason there are two major strategies employed:
• Water harvesting
• Recycling.
It is evident in the rock cut architecture built decades ago too. These structures
took these issues into consideration. This is evident in the architecture of
Kanheri caves in Mumbai. These caves show the presence of channels cut
across the external face of the structure. These channels are used to carry down
water into storage tanks underground. One of the most recent and relevant
examples is the underground tanks (“Tanka”) found in most of the traditional
Gujarati houses. These tanks have a cover and it can supply clean potable
water for any midsized family for almost a year. It is a major advantage in a
typical hot and dry zone. Water to be used is first collected through a pipe
made of copper. It is stored in the stone or lime tank (about 15 by 15 ft and 25
ft deep.) Recycling of used water was a practice from the past way back in
which places facing water scarcity would used previously used water like the
water used for cooking and washing vegetables etc. would then be used for
washing the courtyard, clean the toilets and so on.
Light & Ventilation
Most of the traditional and modern buildings built as vernacular buildings are
well lit and well ventilated/climate responsive to reduce the use of artificial
lighting and air condition systems. There was a strong use of microclimatic
management of making use of water bodies in forms of canals, pools or
fountains etc in open spaces like the courtyards. This helped to modify the
unfavourable climatic impacts of hot and dry climate. The thick walls were
used to introduce time lags in the fluctuating diurnal cycle.

Light
It is one of the most important aspects of architecture both in terms of quantity
as well as in terms of its qualitative aspects like glare. Most of our buildings
had grills and fenestration/façade work done to control and manipulate light by
means of strategies like Jalis or double windows with wooden Louvers etc.
Many religious buildings such as mosques or masjids and temples also used
similar strategies to control light and air movement.
Ventilation
Wind scoops used to allow the entry of cool breeze in the hot desert zones.
Micro climatic modifications included the beginning of the system of dripping
cool water. This was made possible by the installation of a pot at the top of the
scoop. Lavish and prolific buildings like palaces and forts made inventive use
of water to cool the edifice envelope. The walls used to have water pipes
entrenched inside the walls covered to cool down the masonry walls; the water
was cooled in a natural manner. This was done by making it run over surfaces
and exposing it to the atmosphere ex. Hawa Mahal, Jaipur.
Structure Longevity
The choice we make regarding the materials used, decides the life cycle of the
building. The buildings which are built of low cost materials give higher
returns as the operating charges are low. Materials that are seemingly high cost
and more energy and resource intensive in their manufacturing etc can be used
to generate more benefits over their entire lifestyle as well as disposal and
recycling potentials.
Technology
The technology used are devices like jalis, (trellises) fountains, water to cool
building fabrics etc can add more sustainable measures at a micro scale.
Technology could be both; high on energy (and then optimized) or even
passive justified by the demands of the context .

ISSUES IN MODERN TIME
Population
The population in our country has grown at a phenomenal rate. That has placed
great strain on the non renewable resources. The ecological footprint has
increased tremendously. It is putting the built environment under great
pressure.
Consumption
The consumption of the people has increased by a 100 folds. The aspirations of
human beings know no bounds. People seek for a lifestyle like the developed
world. Energy required to run the equipments of the modern man’s need are
extremely high and in on a constant rise.
Urbanization
Urbanization is the relocation of people from rural to urban areas, and the
ways in which society adapts to the change. It is the next biggest thing today
and the trend denotes more urbanization in the days to come.
Contemporary Materials
There are so many newer and modern construction materials and technologies
that are continuously being invented and improvised. These are marketed very
well and have proved to be a strong challenge to the vernacular architecture in
India.
CONCLUSION
With the world evolving, everybody and everything is changing, it is important
to keep up with the tides of time. However, keeping up with the modern time
does not mean forgetting our past and traditions. Traditional Architecture using
the indigenous, vernacular materials and construction techniques not only
keeps our traditions alive but also contributes to the economy and
environment. Vernacular architecture is also sustainable architecture because it
uses natural, easily available materials.

FOOD
Food is any substance consumed to provide nutritional support for an
organism. It is usually of plant or animal origin, and contains
essential nutrients, such as carbohydrates, fats, proteins, vitamins, or minerals.
The substance is ingested by an organism and assimilated by the
organism's cells to provide energy, maintain life, or stimulate growth.
Historically, humans secured food through two methods : hunting and
gathering and agricultue. Today, the majority of the food energy required by the
ever increasing population of the world is supplied by the food industry.
INDIAN FOOD
Indian food is different from rest of the world not only in taste but also in
cooking methods. It reflects a perfect blend of various cultures and ages. Just
like Indian culture, food in India has also been influenced by various
civilizations, which have contributed their share in its overall development and
the present form.
The traditional food of India has been widely appreciated for its fabulous use
of herbs and spices. Indian cuisine is known for its large assortment of dishes.
The cooking style varies from region to region and is largely divided into
South Indian & North Indian cuisine. India is quite famous for its diverse multi
cuisine available in a large number of restaurants and hotel resorts, which is
reminiscent of unity in diversity.

The staple food in India includes wheat, rice and pulses with chana (Bengal
Gram) being the most important one. In modern times Indian pallete has
undergone a lot of change. In the last decade, as a result of globalisation, a lot
of Indians have travelled to different parts of the world and vice versa there has
been a massive influx of people of different nationalities in India. This has
resulted in Indianisation of various international cuisines. Nowadays, in big
metro cities one can find specialised food joints of international cuisines..

North Indian Food
Food in the north India, to begin with, Kashmiri cuisines reflect strong Central
Asian influences. In Kashmir, mostly all the dishes are prepared around the
main course of rice found abundantly in the beautiful valley. Another delicious
item cooked here is the 'Saag' that is prepared with a green leafy vegetable
known as the 'Hak'.
But on the other hand states like the Punjab, Haryana and Uttar Pradesh show
high consumption of chapatis as staple food. Again, these chapatis are
prepared with a variety of flours such as wheat, rice, maida, besan etc. Besides
chapatis other closely related breads baked in these regions
include Tandoori, Rumaali and Naan etc. However in the northern region
impact of Mughlai food is quite obvious.
West Indian Food

In western India, the desert cuisine is
famous for its unique taste and varieties of
food. Rajasthan and Gujarat are the state
that represent the desseert flavor of Indian
food. Here an immense variety of dals and
achars (pickles/preserves) is used that
simply substitutes the relative lack of fresh
vegetables in these areas.

East Indian Food
In the eastern India, the Bengali and Assamese styles

of cooking are noticeable. The staple food of
Bengalis is the yummy combination of rice and
fish. Usually the Bengalis love eating varieties of
fishes. A special way of preparing the delicacy
known as 'Hilsa' is by wrapping it in the pumpkin
leaf and then cooking it. Another unusual ingredient
that is commonly used in the Bengali cooking is the
'Bamboo Shoot'. Various sweets prepared in this
region, by using milk include the 'Roshogollas',
'Sandesh', 'Cham-cham' and many more.
South Indian Food
In the southern India, the states make great use of spices, fishes and coconuts,
as most of them have coastal kitchens. In the foods of Tamil Nadu use of
tamarind is frequently made in order to impart sourness to the dishes. It
simply distinguishes the Tamil Food from other cuisines.
The cooking style of Andhra Pradesh is supposed to make excessive use of
chilies, which is obviously to improve the taste of the dishes.
In Kerala, some of the delicious dishes are the lamb stew and appams, Malabar
fried prawns, Idlis, Dosas, fish molie and rice puttu. Another famous item of
this region is the sweetened coconut milk. Yet another dish is Puttu, which
is glutinous rice powder steamed like a pudding in a bamboo shoot .

SO WHAT IS CULTURE?
Culture is one of the most important concepts within sociology because

sociologists recognize that it plays a crucial role in our social lives. It is
important for shaping social relationships, maintaining and challenging social
order, determining how we make sense of the world and our place in it, and in
shaping our everyday actions and experiences in society. It is composed of
both non-material and material things.

WHAT MAKES A SUCCESSFUL PLACE?
Great public spaces are those places where celebrations are held, social and
economic exchanges occur, friends run into each other, and cultures mix. They
are the “front porches” of our public institutions – libraries, field houses,
schools – where we interact with each other and government. When theses
spaces work well, they serve as the stage for our public lives.
ACCESS & LINKAGES

You can judge the accessibility of a place by its
connections to its surroundings, both visual
and physical. A successful public space is easy
to get to and get through; it is visible both from
a distance and up close. The edges of a space
are important as well: For instance, a row of
shops along a street is more interesting and
EX : Pioneer Courthouse
generally safer to walk by than a blank wall or Square,
empty lot. Accessible spaces have a high Portland
parking turnover and, ideally, are convenient to

public transit.
COMFORT & IMAGE
Whether a space is comfortable and presents itself
well - has a good image - is key to its success.
Comfort includes perceptions about safety,
cleanliness, and the availability of places to sit - the
importance of giving people the choice to sit where
they want is generally underestimated.
EX :Luxembourg Gardens,
Paris,

USES & ACTIVITIES
Activities are the basic building blocks of a
place. Having something to do gives people a
reason to come to a place - and return. When
there is nothing to do, a space will be empty
and that generally means that something is
wrong. Kungstradgarden, Stockholm,
Sweden.
SOCIABILITY
This is a difficult quality for a place to achieve,
but once attained it becomes an unmistakable
feature. When people see friends, meet and
greet their neighboors, and feel comfortable
interacting with strangers, they tend to feel a
stronger sense of place or attachment to their
Jackson Square, New Orleans, LA
community - and to the place that fosters these
types of social activities.
What makes some places succeed while others fail?

In evaluating thousands of public spaces around the world, PPS has found that
to be successful, they generally share the following four qualities: they
are accessible; people are engaged in activities there; the space
is comfortable and has a good image; and finally, it is a sociable place: one
where people meet each other and take people when they come to visit. PPS
developed The Place Diagram below as a tool to help people in judging any
place, good or bad.

Site Details

7.DESIGN REQUIREMENTS AND PROGRAMME
Design Requirements and Programme

8.CONCLUSION
Conclusion

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PROJECT TITLE

in partial fulfillment for the award of the degree

BACHELOR OF ARCHITECTURE (B.ARCH)

ADHIYAMAAN COLLEGE OF ENGINEERING, HOSUR

ANNA UNIVERSITY: CHENNAI 600 025

Prof. Ar. R.Seetha, M.Arch. Ar. XXXX, M.Arch.

INTERNAL EXAMINER EXTERNAL EXAMINER

SUGANYA S (Reg no. AC12UAR099) a bonafide student of the Department

I first thank lord almighty, whose graceful blessings enabled me to complete

I convey my heartfelt thanks to the college, especially to our Principal

I take this opportunity to express my gratitude to our beloved H.O.D, Prof.

I am grateful to My parents and My family members who offered great

CHAPTER 1 RESEARCH QUESTIONS

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Different forms of tourism

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Motivated cultural tourism

Incidental Older generations

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Families with children: parents 25-50

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3.COLOURFUL FAIRS AND FESTIVALS OF

Diwali Nine Nights festival (KULU)

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Temple Festival – the 5

Vaikasi Visakam – carrying of

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4. ART AND CRAFTS

Wood carving, silver

Kandanghi sareeshand woven

Kidarams-big water storage vessel Palmyra leaf Baskets –

Use of Burmese teak and

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Folk dances of Tamil nadu

KAI SILAMBU ATTAM KUMMI

KAVADI ATTAM MAYIL ATTAM

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• Buildings are divided into portions -„Kattu‟.

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TYPICAL PLAN OF A CHETTINAD HOUSE

The open aired 'valavu' (courtyard) with

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The most important characteristic features of

14) Sloping clay - tiled roofs,

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Extensively carved Wooden

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Culture of Rajasthan is as unique and as colorful as its rich historical

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