Vernacular Architecture // Malvan

'To be truly modern, we must first reconcile ourselves with our traditions.'

-Octavio Paz

A dissertation report On

VERNACULAR ARCHITECTURE OF MALVAN: Understanding how the identity and character of a region can be retained through Vernacular Architecture.

Submitted to the University Of Pune

BY SNEHAL OSWAL IVth Year B.Arch.

PROJECT GUIDE Ar. MEENAL ROHANKAR

Vivekanand Institute of Technology’s Padmabhushan Dr.Vasantdada Patil College of Architecture, Pune UNIVERSITY OF PUNE APRIL 2014.

I

Vivekanand Institute of Technology’s

Padmabhushan Dr. Vasantdada Patil College of Architecture, Address: 274/2, 275/2, 282, Aditya Nisarg At. Pirangut, Tal. Mulshi, Dist. Pune - 412115 Tel:020-20291299, 20291308, email:pvpcoapune@gmail.com, web:www.pvpcoapune.org, blog:www.pvpcoapuneblog.blogspot.com

Certificate I hereby certify that the work which is being presented in the Dissertation titled “Vernacular Architecture of Malvan – understanding the vernacular architecture along the coastal belt of konkan.” in partial fulfillment of the requirements for the Fourth Year Bachelor of Architecture course (IV B.Arch.) submitted in VIT’s Padmabhushan Dr. Vasantdada Patil College of Architecture, Pune is an authentic record of my own work carried out during the period from June 2013 to April 2014 under the supervision of Ar. Meenal Rohankar.

I declare that the work submitted is my own research and wherever I have incorporated any information, data, maps, graphics, etc. from different sources, it has been duly acknowledged.

Snehal S. Oswal This is to certify that the above statement made by the Candidate is correct to the best of our knowledge.

Ar. Prof. Prasanna Desai Director, PVPCOA The Candidate has appeared the examination held at the Vivekanand Institute of Technology’s Padmabhushan Dr. Vasantdada Patil College of Architecture, Pune, University of Pune.

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Dissertation Guide

External Examiner

II

Acknowledgement

I would like to thank my internal guide, Ar. Meenal Rohankar who has played key role in shaping my dissertation topic and report. I would also thank Dr. Abhijit Natu who has given useful inputs on my topic in a jury conducted by our college.

I would also thank Er. Laxmikanth Khobrekar, a practicing civil engineer in Malvan to help me in the field work and Mr. & Mrs. Ram Patil and their daughter Mrs. Shailaja Arthur, citizens of Malvan, for helping me gather information required for the research.

I would thank my subject coordinator, Ar. Rupali Deshmukh. Lastly I would thank my parents and friends for their support.

III

Table of Contents: 1. Title 2. Certificate 3. Acknowledgements 4. Table of contents 5. List of figures 6. Abstract 7. Background and Aim of the Study

 Need of the Research and Present Scenario  Aim of the Research  Objective of the Research  Scope and Limitations of the research Research Methodology Introduction  Concepts of: i.

Sense of Place ii.

Semiotics of Place iii.

Critical Regionalism

8.

9.

I II III IV V 01 02-03

04 05-08

 Introduction to Vernacular Architecture  Traditional Responses – Case Examples 10.

11.

12.

13.

14.

15.

Literature Review 09-11  Definition of Vernacular Architecture  Basic Aspects of Vernacular Architecture  Study of Methodologies and Research Approaches for similar Research Questions Introduction to the Study Area – Malvan, Konkan.

12 I. Secondary Data 13-16 i.

Physical Forms and Aspects ii.

Climatic Factors iii.

Cultural Aspects of the region II. Primary Data: 17-22  Community and Communication through spaces – Hierarchy of Social Interaction  Imagery of a Region – Streets of Malvan  House Form and Architectural Details Inferences 23 Conclusion 24 References 25 Annexures 26

IV

List of Figures, Photos, Drawings Figure 9.1.1- Plan of a street in jaiselmer showing mutual shading of structures and compact planning.

07 Figure 9.1.2- Photograph of a typical shaded street in Jaisalmer.

07

Figure 9.1.3- Photograph showing typical elements of Jaisalmer.

07

Figure 9.2.1- Photograph of a typical courtyard house.

08

Figure 9.2.2- Photograph showing a typical sloping roof.

08

Figure 11.1.1- Conceptual mapping of physical factors of Malvan.

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Figure 11.1.5- Photographs showing an overall imagery of Malvan.

16

Figure 11.2.1- Figure showing schematic plan of Pimpal.

17

Figure 11.2.2- Photograph of Pimpal – central community place.

17

Figure 11.2.3- Figure showing schematic plan of courtyard as a community space.17 Figure 11.2.4- Photograph showing a typical courtyard house.

17

Figure 11.2.5- Photograph showing the market street of Malvan.

18

Figure 11.2.6- Schematic section of the market street.

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Figure 11.2.7- Schematic plan of the market street.

18

Figure 11.2.8- Photograph showing street along the beach – major tourist spot.

19

Figure 11.2.9- Schematic section of street along the beach – major tourist spot.

19

Figure 11.2.10- Schematic plan of the street along the beach – major tourist spot. 19 Figure 11.2.11- Photograph showing the street along on the outskirts of the market area.

20 Figure 11.2.12- Schematic plan of street on the outskirts of the market area.

20

Figure 11.2.13- Schematic section of the street along on the outskirts of the market area.

20 Figure 11.2.14- Photograph showing the internal residential street.

21

Figure 11.2.15- Schematic plan of the internal residential street.

21

Figure 11.2.16- Schematic plan of the internal residential street.

21

Figure 11.2.17- Schematic plan of a typical Wada in Malvan.

22 V

Figure 11.2.18- Schematic plans of types of houses in Malvan.

22

Figure 11.2.19- Schematic section showing cavity wall.

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List of Maps Figure 11.1.2- Map showing the climatic conditions of Malvan.

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Figure 11.1.3- Map showing annual temperature in Malvan region.

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Figure 11.1.4 – Map showing the annual rainfall in Malvan region.

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Vernacular Architecture of Malvan.

Abstract Keywords: Vernacular Architecture, Malvan, Identity, Character, Climatic factors, Geographical factors, Sense of Place.

Indian sub-continent is widely known as a land of diversity. This statement is true for the architecture throughout the country.

Vernacular Architecture is the style of construction which is a response to the climate, geography, topography, culture, living pattern, economy, occupation, social factors, and culture of a particular area. Thus the architecture style of a region is very specific to that particular region. In today’s scenario of globalization most of the buildings do not respond to their surroundings and are merely copy pasted from one place to other without a prior thought of the context in which the building is to be constructed. This not only has a huge impact on the environment but also on the community living in this environment. Place exists not only physically but also in peoples’ minds as memories. The identity of a specific place becomes interesting when it brings about a certain experience, evoking associations or memories.

The curiosity to know how a slight change in the surrounding factors affects the architecture has leaded one to take this as the research topic. The region to be studied is Malvan taluka of Sindhudurg district in Konkan region, Maharashtra. Architecture and style of planning will be studied and inferences will be drawn whether if these beneficial aspects of traditional vernacular architecture be adopted to define a modern vernacular definition for Malvan.

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Vernacular Architecture of Malvan.

Background and Aim of Study India is a land of vast physical and cultural diversity. Traditionally Indian architecture has displayed a variety of ethnical built environments as a response to this diversity.

Thus architecture or built spatial definition becomes an expression of this diversity.

The current trends of Globalization have pulled a land as diverse and dynamic as India into an era of ‘copy paste architecture’, a global/ universal definition that lacks the soul of the region. Thus identity of a region becomes an issue in the fast changing urban definitions in Indian context.

This paper attempts to present a view that has more sensitive approach towards preserving a sense of identity and ethnicity of the region. An effort to understand the symbolic manifestations of cultural identity in vernacular architecture is necessary.

Need of the research/ Present Scenario An architect when designing a space needs to question oneself if the space designed is suitable for that region. Few structures which are constructed today are just copypasted from one region to other without understanding the factors they are built in. In such cases the structure fails in terms of comfort and also has a huge impact on the environment of that region. This also contributes to an enormous impact on global environment. The cultural identity and sense of the region is completely lost in this trend of globalization. A sensitive approach to understand that a particular architectural style is very specific to a region and is inseparable from its local context is needed.

Aim of the research The primary aim of the research is to understand whether the aspects of traditional vernacular architecture can help retain the sense of place and the identity of a region, in today’s scenario, where these aspects are fading away with the growing trend of globalization.

Objectives of the Research 

 

The main objective of the study is to understand how the cultural, social, climatic and geographical aspects influence the development of a settlement and architectural style of the region.

What role do these factors play in preserving the local identity of the region in a globalizing World?

Is Vernacular Architecture a tool to preserve ethnicity and sense of place of a region?

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Vernacular Architecture of Malvan.

Scope and Limitations of the research India being a huge country, it is not possible to cover the entire country under this research in the given time constraints. This research is further narrowed down by selecting a particular region, and thus the topic can be modified to:

Study of Vernacular Architecture -“The coastal margin of konkan belt�.

Coastal region has been chosen entirely out of one’s interest to learn about that region. Konkan belt stretches from Raigad to Mangalore along the Arabian Sea. The region is further broken down and Malvan in Sindhudurg region will be taken as the region of focus.

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Vernacular Architecture of Malvan.

Research Methodology Literature review  Definition of Vernacular Architecture.  Major aspects affecting Vernacular Architecture.  Study of Methodologies and Research Approaches for similar Research Question.  Study of theories related to local identity and “sense of place”.

Aspects of Vernacular Architecture.

Inferences Crucial and Vital Factors which affect Vernacular Architecture of a particular region.

Case Study pertaining to Malvan, Konkan.

Study of:

 Physical Forms and Aspects  Climatic Factors  Cultural Aspects of the region

Theories    

Sense of Place Regional Identity Semiotics of Place Critical Regionalism

Field Work – Primary Data To Understand:

Conclusions 



Vernacular Architecture as a tool to preserve the identity and character of the region.

Vernacular aspects along with modern techniques as a sustainable solution.

  

Hierarchy of Community spaces.

Street Character of Malvan.

Architecture as a response to climate, site context, culture and social structure of Malvan.

Inferences

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Vernacular Architecture of Malvan.

Introduction To understand the research topic further a study of following concepts was done: 

Sense of Place ‘Sense of place’ is a term majorly used by architects which means that the place itself is the guardian of the place. It is a synonym to the Latin word genius loci. This concept talks about the environment of the place and the local identity which directly reflects the culture of the place. 1 …you begin to realize that the important determinant of any culture is after all the spirit of place -Lawrence Durrell



Semiotics of Place The semiotics of space is a descriptive process enquiring into the relevant significance of the relationships between objects and their spatial contexts.

The study of space as a semiotic phenomenon suggests that the meaning of space, as a sign, is generally understood in relation to other objects. 2



Critical Regionalism Tzonis and Lefaivre (2001, p.6-9) refer to a speech by Lewis Mumford who observes that, “Human regionalism is not a matter of using the most available local material or construction neither is it in conflict with the universal.” He argued that “Regional insight has to be used to defend us from the international style”. If Critical Regionalism is looked at as an architectural movement then as a scholar, Eggner (2002, p.235) observes “it was but another symptom or victim of the inevitable universalizing tendencies it warned against”.

In critical regionalism, architects and designers consciously study and interpret historical and local building patterns, and then re-interpret local aspects of making buildings.

Traditional forms and styles are consistently re-interpreted with contemporary building techniques and technologies.3

1

Refer Annexures – pg. no. 27 Refer Annexures – pg. no. 29 3 Refer Annexures – pg. no. 28 2

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Vernacular Architecture of Malvan.

Introduction to Vernacular Architecture India lies in the tropical region, due to which we see varied climatic conditions in different parts of the country. Any piece of land with a group of people residing, needs a shelter for protection and few basic amenities for leading a livelihood. Here “Architecture” comes into the picture. Architecture is majorly influenced by: •

Climate of the region

•

Geographical factors of the region

•

Materials available

•

Culture of the region

•

Functional Needs of inhabitants.

In India, due to the drastic climatic variations across the country, different architectural solutions for different regions can be marked throughout the country.

This is termed as “Vernacular Architecture”.

Vernacular architecture is a category of architecture based on cultural identity and localized needs, and reflecting local traditions. It tends to evolve over time to reflect the environmental, cultural, technological, and historical context in which it exists.

To understand Vernacular Architecture further following traditional definitions and responses has been studied.

Traditional Responses - Case Examples  

Jaiselmer Kerala

The very basic architectural responses of these cities which help define vernacular architecture are stated.

Jaiselmer 

Settlement Pattern: Compact planning is adopted as a response to the hot and dry climate of jaiselmer. i.

It reduces the harsh sunrays penetrating the house, thus keeping the space cool. ii.

Mutual shading of buildings further prevents heat from entering spaces.

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Vernacular Architecture of Malvan.

iii.

Compact planning also shades the streets thus making it comfortable for the pedestrian users.

Fig 9.1.1- Settlement plan of Jaiselmer.

Source:http://www.arch.mcgill.ca/prof/schoenauer/arch528/lect06/n06dl6.htm

Fig 9.1.2 – photograph showing the street.

Source: http://.fineartamerica.com/images/jaisalmer-india.htm

 Elements a. Jaali work i.

Gives a character/identity to the elevation. b. Jharokas i.

Architecture acts as an identity for a particular region. They also act as a visual ornament for the structures designed and built there. ii.

These openings are designed for air movement thus creating a comfortable space and also as an aesthetical element.

Fig 9.1.3 – Photograph showing jaali and jharokas Source: http://.fineartamerica.com/images/jaisalmer-india.htm

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Vernacular Architecture of Malvan.

Kerala 

Plan Form - Courtyards i. The humidity is high in this region as it lies along the coastal region. ii. Courtyards help in ventilation and create a stack effect which increases the flow of air, thus improving the quality of life.

Fig 9.2.1 – Photograph showing courtyard.

Source: http://en.wikipedia.org/wiki/Architecture_of_Kerala



Elements - Sloping roofs i.

As a region of heavy rains sloping roofs help in easy flow of water. ii.

Mangalore tiles are used as clay is easily available.

Fig 9.2.2 – Typical sloping roof.

Source: http://en.wikipedia.org/wiki/Architecture_of_Kerala

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Vernacular Architecture of Malvan.

Literature Review Vernacular Architecture Name of Book/Source

Author

Brief

The Encyclopedia of Vernacular Architecture of the World.

Paul Oliver

It comprises of buildings for the people, related to their environmental contexts and available resources, utilizing traditional technologies. All forms of vernacular architecture are built to meet specific needs, accommodating the values, economies and ways of life of the cultures that produce them.

Architecture of Kutch

Sanjay

Architecture which is very specific to a region and cannot be generalized globally. It is an expression which is inseparable from its local surroundings.

Ronald Brunskill.

A building designed where the function of the building would be the dominant factor, local materials would be used as a matter of course.

Online etymology dictionary. Retrieved 2007-12-24.

Vernacular architecture is a category of architecture based on localized needs and construction materials, and reflecting local traditions.

It tends to evolve over time to reflect the environmental, cultural, technological and historical context in which it exists.

Inference Vernacular Architecture Architecture responding to the basic needs of a man for shelter and security, environmental context, availability of materials, climate, topography, geography and labour availability, of a particular region is known as Vernacular Architecture.

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Vernacular Architecture of Malvan.

Basic Aspects of Vernacular Architecture.

The factors affecting the Architecture from the book “Architecture of Kutch” by author Sanjay for a particular region can be broadly classified as following: 



People and Place includes climate, geography, seasonal cycles, micro & macro climate, social & economical setup of people and various communities, origin & history, social structure, traditions and customs, occupation, trade & commerce, financial setup and regional economy, urban development and planning of the region.

Arts and Crafts will talk about the traditional arts and crafts of the region, products of daily use, various designs of textile, pottery, wall paintings, stone & wood work, jewelry, etc. and there influence on the architecture of the region.

Inference Major factors affecting the Vernacular Architecture of a region are:    

Geographical features of the region Climatic conditions of the region Cultural Identity of the region Historical Background of the region

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Vernacular Architecture of Malvan.

Research Approach for similar Research Questions Case Study

Author

Methodology

Classic Cracker, Florida’s wood frame Vernacular Architecture

Ronald W. Hasse

Study of Vernacular Architecture of Florida and evolution of wood frame house with time and technologies.

The change in structures with the change in definition of modern and change in the spatial needs of people.

Building Community, Keeping the Faith.

German Catholic Vernacular Architecture in a Rural Minnesota Parish

Fred W. Peterson

Study of the work and worship spaces and their evolution as community spaces.

Study of typical Parish Farm-houses Comparison of Spaces for Family, Farm and Worship.

The Integration of Tradition and Modernity A search for an Urban and Architectural Identity in Arriyadh, the Capital of Saudi Arabia.

Research topic of a student of King Saud University

Study of the traditional architecture and planning of the capital city and documentation of the modern development and loss of the traditional identity of the city.

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Vernacular Architecture of Malvan.

Introduction to the Study Area – Malvan, Konkan  

  

Malvan is a small town located in the Sindhudurg District. Residents of Konkan and their descendants are called Konkanis.

The region has huge historical and cultural importance in Maharashtra. Malvan Taluka has various villages like Achra, Jamdul, Khalchi Devli, Achra, Sarjekot, Aangnechi wadi, etc.

There is a well-known historical monument present over here named Sindhudurg fort which is beautiful and has spread over a vast area.

The Malvan mangoes and sweets are famous and form an important part of the Malvan culture.

The main occupation of the people is fishing and some are involved in the travel and tourism industry.

Physical Factors of Malvan        

Coastal margin of konkan belt.

A rugged section of the western coastline of India from Raigad to Mangalore.

Konkan includes Maharashtra's districts of Raigad, Mumbai, Thane, Ratnagiri and Sindhudurg and the state of Goa. Western Ghats forms the eastern boundary of the Konkan, and the Arabian Sea marks the western boundary.

Konkan is endowed with a coastline of 720 km Main crops: Growing rice, nagli, mango, cashew, coconut, jackfruit, beetlenut, spices.

Folk-Arts: Koli dance, Govinda, Adivasi dance, Bhajan, Keertan, Bharud Jakdi, Naman, Dashaavtar, Chitrakathi, Pangul, Gaja (Dhangiri dance).

Population (as per 2001 census): Total-2, 48, 07,357.

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Vernacular Architecture of Malvan.

Physical Forms and Aspects - Malvan

Pimpal – important node for the community

Chiwala Beach – Calm and clean thus surrounded by residential area

Rocky coast thus no tourist and residential development.

Towards Achre

Major Commercial street parallel to the tourist area.

Malvan Beach – crowded, as it is a major tourist spot in the town and center for the fishermen community. Jetty for the famous Sindhudurg Fort is from this beach.

Sindhudurg Fort Temples along the creek reflect the traditional values.

Padamgad Fort The Machi Market is along this cost with the commercial facing the sea cost and residential looking inward – community living.

Temple along with the sea coast.

Legend Commercial Zone Residential Zone Temples Government building Tourist area

Towards Kasal

Important Nodes Pimpal

Fig 11.1.1 – Conceptual mapping of Malvan.

Source: Author- based on observations on site.

 

Main roads of the town leading to Kasal and Achre form the major axis of the towns from where secondary and tertiary roads evolve.

All government structures are located along the main axis leading to Kasal.

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Vernacular Architecture of Malvan.

Climatic Factors 

Climate

The climate of Malvan can be generally classified as warm and moderately humid.

Average temperatures range between 16 - 33 °C while relative humidity ranges from 69 to 98%. The annual average rainfall of Malvan is 2275 mm.

Fig 11.1.2- Map showing climate of Malvan.

Source: en.wikipedia.org/wiki/File:India_climatic_map_en.svg



Temperature The average atmospheric temperature ranges from 16.5o C to 33.1oC with minimum and maximum values in January and May, respectively. The average relative humidity varies from 69.4% in April to 98% in July.

Fig 11.1.3- map showing temperature of Malvan.

Source: en.wikipedia.org/wiki/File:India_annual_temperature_map_en.svg

Inference Hot and humid temperature thus insulation from heat and adequate flow and ventilation of air has to be considered.

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Vernacular Architecture of Malvan.



Rainfall

The climate of Malvan is typical of monsoon regions, cool and dry seasons with low intensity of north-eastern winds from the land (November to February) and hotdry season from March to May followed by rainy season (June to September).

The annual average rainfall is 2275 mm. Most of the rainfall occurs during JuneOctober. The average monthly rainfall (1988-97) ranges from 6.5mm in April to 983 mm in July.

Fig 11.1.4- Map showing rainfall in Malvan.

Source: en.wikipedia.org/wiki/File:India_annual_rainfall_map_en.svg

Inference Heavy rainfall in months of July, august and September therefore no construction can be done in these months. Water table rises to almost 3feet below the ground level therefore foundation cannot be laid.



Currents

The coastal currents are clockwise or shoreward during February to September, while anti-clockwise during November to January and transitional in October.

Inference Due to the seasonal high tides in particular months construction cannot be done in the immediate stretch 0f 500 meters from the sea shore according to the CRZ board of Maharashtra.

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Vernacular Architecture of Malvan.

Cultural Background

Fig. 11.1.5- Photograph showing overall imagery of Malvan.

Source: Author.

  





'Malvani' dialect: Malvan has its unique culture signified by its peculiar dialect and Food. Malvan lends its name to 'Malvani' dialect Cuisine - The cuisine of this region is popularly known as Malvani cuisine.

Coconut, Rice and fish assume prime significance in the Malvani cuisine.

Barrister Nath Pai Sevangan: Barrister Nath Pai Sevangan is named after the famous freedom fighter and legislator from Maharashtra. It is near the sea shore.

It undertakes humanitarian work and also has a huge enclosed community center in which many events take place.

Pimpal (The peepal tree): Pimpal is a peepal tree in the heart of the town.

The whole place has been named after the tree. Pimpal is considered sacred and holy and has been in Malvan for as many as sixty years. It is a place for tea time discussions for the local people.

Malwan Schramik Maachimar Sangh: The traditional fish worker union in Malvan, registered in 1987, has small-scale fishermen as members.

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Vernacular Architecture of Malvan.

Community and Communication through spaces – Hierarchy of Social Interaction

Fig 11.2.1 - Plan of pimpal.

Source: Author

Fig 7.2.12

Public spaces: Pimpal   

Pimpal is 60 years old tree and the heart of the town.

All the roads radially move outwards from this point.

Everyone from the town come to this space to relax and have a cup of tea due to which this area has developed many small eatery shops.

Fig 11.2.2 - Pimpal Source: Author

Fig11.2.3 – Schematic presentation of courtyard.

Source: Author

Semi – Public spaces: Courtyards  

Fig 11.2.4 – Courtyard, Achrencha Wada Source: Author



The courtyards act as a small scale community and open spaces.

Community space – meetings of gram panchayat or regarding any issue or for discussion of festivals or development in the town can be held in the courtyards.

Open space – this space can be used for day to day chores.

 17

Vernacular Architecture of Malvan.

Imagery of a Region – Streets of Malvan Market Street of Malvan 



 

It’s the only market street of Malvan and sells all the specialties of Malvan.

This street is completely commercial with small and big shops.

Each shop has its own spill over space to exhibit the goods.

This street has a hanuman temple which acts as a landmark and is considered sacred by both people residing in Malvan and the visitors.

Fig 11.2.5- Photograph of Market Street Source: Author

Fig. 11.2.6 - Section Source: Author

 

Each shop has its own spill over space on the street to exhibit their goods and attract tourists whereas the inner shop acts as a storage area.

Few shops don’t have a spill over space thus hawkers occupy these empty pockets to sell their goods on portable carts.

Fig 11.2.7- Plan Source: Author

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Vernacular Architecture of Malvan.

Street along Malvan beach – Tourist Development  



 Fig 11.2.8- photograph of street along the Beach.

Source: Author

Photograph shows the street along the Malvan Beach.

As tourism has prevailed along this beach, many temporary structures of tourist shops have developed.

Tourism thus has become an option of occupation for people of Malvan.

Due to this development along the beach, the overall economy of the town has improved.

Fig 11.2.9- Section Source: Author



Random and rapid growth of tourism in Malvan has affected its identity and character as a town.

Fig. 11.2.10- Plan Source: Author

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Vernacular Architecture of Malvan.

Street along the outskirts of the market place.  



Houses open directly onto the street.

These houses have small scale shops like grocery or departmental stores.

Small lanes are formed due to the planning of the houses which are pedestrian link for houses behind.

Fig 11.2.11- Photograph showing mixed use development in the town Source: Author

Fig 11.2.12- Plan Source: Author

Fig 11.2.13- Section Source: Author



Gutters run along the streets thus in rainy season collect all the water falling from the roof and streets. Therefore all the roofs slope towards the street.

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Vernacular Architecture of Malvan.

Internal streets – residential zone. 





The internal houses and structures have bigger plots and thus get a garden depending upon the design.

Thus the streets in these parts have fencing on both the sides with planters on them.

This also enhances the street and maintains the privacy of the people living in the house.

Fig 11.2.14- Photograph showing the street Source: Author

Fig 11.2.15- Plan Source: Author

Fig 11.2.16- Section Source: Author

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Vernacular Architecture of Malvan.

House Form and Architectural Details Typical Wada and its spatial organization.

Fig 11.2.17- Typical house form Plan Source: Author

Details – Basic construction techniques seen in Malvan.

Fig 11.2.18- Plans - Types of house forms in Malvan Source: Author

Fig 11.2.19- Section showing cavity wall Source: Author



Types of house forms evolved out of functional and spatial needs of people.



As Malvan lies along the coastal region the humidity level is high and thus different forms of courtyards have evolved as shown in above sketches.



For insulation purposes cavity walls have been used in traditional Vernacular Architecture.

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Vernacular Architecture of Malvan.

Inferences Following are the inferences that one has drawn from the research carried out: 

 



The culture of a region is one of the most constant aspects of vernacular Architecture of any place, and on the other hand, aspects such as construction techniques, material availability, technology etc. may change with time.

Thus the character and identity of a region is determined by its culture and traditions which have been carried forward for generations.

Vernacular architecture is a style of architecture which responds to the context in which it is built. Few beneficial aspects of Traditional Vernacular Architecture which could be considered may be listed as follows: i.

Culture of the region ii.

Physical context of the region iii.

Climatic conditions, and iv.

Traditional values of the region Any further development in Malvan could be done considering the aspects of vernacular architecture and efforts of preserving the local culture and tradition should be taken.

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Vernacular Architecture of Malvan.

Conclusions It is necessary to understand the importance of local identity and character of a region and breakthrough today’s trend of globalization in construction all over the world which is resulting in the fading away of the Vernacular Architecture of any region.

An amalgamation of both, the beneficial aspects of Traditional Vernacular Architecture and the advanced construction techniques with modern technology can prove to be appropriate solutions to retain the identity of the region.

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Vernacular Architecture of Malvan.

References:      



 

Oliver, P. (n.d.). Encyclopedia of Vernacular Architecture of the World.

Zhiqiang , Z. (., & Previtali, J. M. (2008). Energy and buildings. Ancient Vernacular Architecture: characteristics categorization and energy performance evaluation.

Rapoport, A. (n.d.). House, Form and Culture. USA: Prentice Hall.

Eggner, Keith L. (2002) Placing resistance – A critique of Critical Regionalism, pg. 228 – 235.

Tzonis, A. and Lefaivre, L (2001) Tropical Architecture: Critical Regionalism in the age of Globalization. 1st ed. Chichester: Wiley Academy Press.

Gunila Jive´N & Peter J. Larkham, (2003) Journal of Urban Design, Vol. 8, No. 1, 67–8 – Sense of Place, Authenticity and Character: A Commentary, Carfax Publications.

Elliot Gaines, (2006) Journal of Creative Communications 1:2 - Communication and the Semiotics of Space, Sage Publications New Delhi, Thousand Oaks, London.

Rudofsky, B. (1965). Architecture without Architects. new York: Doubleday & Company. en.wikipedia.org/wiki/File:India_climatic_map_en.svg

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Annexures Journal of Urban Design, Vol. 8, No. 1, 67–81, 2003

Sense of Place, Authenticity and Character: A Commentary GUNILA JIVE´N & PETER J. LARKHAM ABSTRACT - This commentary develops in particular from the recent paper on sense of place and authenticity by Ouf (Journal of Urban Design (2001), 6(1), pp. 73–86) and other related contributions. To those points are added an historical dimension and an exploration of the theoretical positions of Christian Norberg-Schulz and M.R.G. Conzen in particular. A wider discussion of ‘character’ is developed, in relation to sense of place and genius loci, the preferred term here. It is suggested that these complex theoretical concepts have become confused, and that genius loci arises most particularly from the experiences of those using places rather than from deliberate ‘place making’. Conservationists and urban designers in particular need to revisit the theoretical underpinnings of the terms and concepts that they employ, in order fully to understand the potential contributions of sense of place, authenticity and character. …you begin to realize that the important determinant of any culture is after all the spirit of place -Lawrence Durrell Introduction The recent paper by Ouf (2001) is welcome in that it directs attention to an important concept in urban design, that of the ‘sense of place’.1 It also refers to the concept of ‘authenticity’, hitherto more common in areas of heritage, artifacts and museums (Jones, 1990), but which is also becoming applied to conserved urban landscapes (Assi, 2000). Both concepts relate to the literature on the experience of place or even placelessness (Relph, 1976; Arefi, 1999). This commentary is a response to an apparent rise in interest in these issues, and our concern that these complex theoretical concepts are being used only partially and without reference to the work of relevant theorists.

We suggest, therefore, that the discussion of these concepts in Ouf’s paper requires more elaboration before their usefulness in design can be fully understood.

In particular, their contribution to the issue of ‘character’—a central contemporary concept in both design and conservation—is important. In this commentary we caution that uses of these concepts in design-related contexts appear to be uncritical and confused. We explore these concepts further, building upon a broad inter-disciplinary literature and with particular reference to the ideas of the architect Christian NorbergSchulz and the geographer/planner M.R.G. Conzen. Both had long careers of research and publication in closely related fields, but their ideas are not evident in the recent literature. We suggest that their precision of conceptual thought can help to resolve current problems in the use of these terms.

The Genius Loci This is an elusive term whose meaning has changed over the course of two centuries.

The early users of the concept and term genius loci and its common English translations in the 18th century were developing a new aesthetic appreciation of new landscapes, and these were exclusively rural and garden landscapes (cf. Hunt & Willis, 1988). Alexander Pope, for example, promoted the Picturesque and the pastoral ideal under the influences of Classical writers, but particularly as shaped by human hand (Mowl, 2000) as his lines suggest: Consult the genius of the place in all 26

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That tells the waters to rise or fall Or helps the ambitious hills the heavens to scale Or scoops in circling theatres the vale…(Pope, 1731, lines 57–60) This use of the concept of genius loci is plain in the poetry of John Clare (Barrell, 1972) and other romantic poetry (Hartman, 1970); garden history (Hunt & Willis, 1988); Turner’s paintings (Hunt, 1992); and, more recently, in neo-romantic art (Yorke, 1989). The concept has, however, developed away from this rather technical use, and has become applied to any landscape and any place, including urban ones. Its use in urban contexts predominates in the contemporary professional literature. In this respect its application to perception, the quality of places, and urban design has recently been explored by Isaacs (2000). The transition to modern uses has been well described by the influential American landscape writer J.B. Jackson: ‘Sense of place’ is a much used expression, chiefly by architects but taken over by urban planners and interior decorators and the promoters of condominiums, so that now it means very little. It is an awkward and ambiguous translation of the Latin term genius loci. In classical times it means not so much the place itself as the guardian divinity of that place.… in the eighteenth century the Latin phrase was usually translated as ‘the genius of a place’, meaning its influence.… We now use the current version to describe the atmosphere to a place, the quality of its environment.

Nevertheless, we recognize that certain localities have an attraction which gives us a certain indefinable sense of well-being and which we want to return to, time and again.

(Jackson, 1994, pp. 157–158)

Contemporary Pluralism - Critical Regionalism and Architecture Critical Regionalism: A particular approach to the making of buildings based on the belief that buildings should respond to and reflect specific local conditions - this can be seen as developing an understanding of a region's 'deep structure'.

A distinction, however, must be made between vernacular design attitudes and critical regional design attitudes. Vernacular design illustrates a belief in a system of inherited, established, or customary patterns of thought, forms and style; this approach can be both historical and contemporary; one approach is to think of this is as 'architecture without architects', or unself-conscious design.

In critical regionalism, architects and designers consciously study and interpret historical and local building patterns, and then re-interpret local aspects of making buildings.

Traditional forms and styles are consistently re-interpreted with contemporary building techniques and technologies.

FROM “TOWARDS A CRITICAL REGIONALISM” Kenneth Frampton (1981)

3. Critical Regionalism and World Culture Architecture can only be sustained today as a critical practice if it assumes an arriéregarde position, that is to say, one which distances itself equally from the Enlightenment myth of progress and from a reactionary, unrealistic impulse to return to the architectonic forms of the preindustrial past. A critical arriére-garde has to remove itself from both the optimization of advanced technology and the ever-present tendency 27

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to regress into nostalgic historicism or the glibly decorative. It is my contention that only an arriére-garde has the capacity to cultivate a resistant, identity-giving culture while at the same time having discreet recourse to universal technique.

It is necessary to qualify the term arriére-garde so as to diminish its critical scope from such conservative policies as Populism or sentimental Regionalism with which it has often been associated. In order to ground arriére-gardism in a rooted yet critical strategy, it is helpful to appropriate the term Critical Regionalism as coined by Alex Tzonis and Liliane Lefaivre in "The Grid and the Pathway" (1981); in this essay they caution against the ambiguity of regional reformism, as this has become occasionally manifest since the last quarter of the 19th century: Regionalism has dominated architecture in almost all countries at some time during the past two centuries and a half. By way of general definition we can say that it upholds the individual and local architectonic features against more universal and abstract ones.

In addition, however, regionalism bears the hallmark of ambiguity. On the one hand, it has been associated with movements of reform and liberation;. . . on the other, it has proved a powerful tool of repression and chauvinism. . . . Certainly, critical regionalism has its limitations. The upheaval of the populist movement – a more developed form of regionalism – has brought to light these weak points. No new architecture can emerge without a new kind of relations between designer and user, without out new kinds of programs. . . . Despite these limitations critical regionalism is a bridge over which any humanistic architecture of the future must pass.

The fundamental strategy of Critical Regionalism is to mediate the impact of universal civilization with elements derived indirectly from the peculiarities of a particular place.

It is clear from the above that Critical Regionalism depends upon maintaining a high level of critical self-consciousness.

It may find its governing inspiration in such things as the range and quality of the local light, or in a tectonic derived from a peculiar structural mode, or in the topography of a given site.

Journal of Creative Communications 1:2 (2006) SAGE PUBLICATIONS New Delhi! Thousand Oaks! London DOI: 10.1177/097325860600100203

Communication and the Semiotics of Space ELLIOT GAINES

The purpose of this article is to explicate some common situations relevant to communication and the semiotics of space. Semiotics provides a systemic way to analyze and understand the characteristics of signs expressing meaning. In everyday life space is rarely considered for its independent qualities, but is more generally taken as a category of conceptions that act as a background, or a context for the meaning of other objects. The study of space as a semiotic phenomenon suggests that the meaning of space, as a sign, is generally understood in relation to other concerns.

Communication draws attention to the content of messages while space contributes to the meanings of those messages without being obvious about its role in constructing meaning.

Space is a term used to describe dimensional aspects existing between other, significant phenomena.

The semiotics of space is a descriptive process enquiring into the relevant significance of the relationships between objects and their spatial contexts. Since semiotics is the 28

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disciplined study of the life of signs that ‘stand for or represent’ something, space is generally overlooked as the background to other objects of attention. Space is the paper on which I write my words, the silence that makes musical sounds have meaning in relation to other sounds, and the distance between objects whose meanings are dependent on spatial relations. Space is the background to a priori perception of the world.

The study of space as a semiotic phenomenon suggests that the meaning of space, as a sign, is generally understood in relation to other concerns. In everyday life space is rarely considered for its independent qualities, but is more generally taken as a category of conceptions that act as background to other objects and relationships. The foundations of such categorical thinking are shared by many of the greatest systematic thinkers including Aristotle, Kant, Hegel, and Charles Sanders Peirce (Houser 1992).

Peirce, the founder of pragmatism and a systematic theory of semiotics, introduced many categories, including three essential descriptive categories of signs that are best explained by Houser: firstness is that which is as it is independently of anything else.

Secondness is that which is as it is relative to something else. Thirdness is that which is as it is as mediate between two others (ibid.). These categories help describe the meanings of space.

When we speak about the specific qualities of space, we are considering its firstness.

However, if we consider the quality of space in a room, for example, we are already conceptualizing our enquiry in terms ‘relative to something else’. Firstness has been lost to secondness because the meaning of the space in a room is necessarily dependent upon the relevance of other objects within that space. Finally, the thirdness of space is mediated by a third party such as a person in a particular space; meanings are interpreted from a specific point of view, indicating the practical consequences of the qualities and relationships within a spatial sign system such as a room.

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