SUSTAINABLE FEATURES OF DIVERSE REGIONAL VERNACULAR ARCHITECTURE & INFLUENCE OF MODERN ARCHITECTURE

ANALYSING THE SUSTAINABLE FEATURES OF DIVERSE REGIONAL VERNACULAR ARCHITECTURE OF INDIA AND INFLUENCE OF MODERN ARCHITECTURE ON IT

SUBMITTED BY: TWINKLE MEHTA A1904016105 B. ARCH, 9TH- C

GUIDED BY: AR. RICHA KUSHWAHA

AMITY SCHOOL OF ARCHITECTURE AND PLANNING, AMITY UNIVERSITY, SEC-125, NOIDA, UTTAR PRADESH

ANALYSING THE SUSTAINABLE FEATURES OF DIVERSE REGIONAL VERNACULAR ARCHITECTURE OF INDIA AND INFLUENCE OF MODERN ARCHITECTURE ON IT BY: TWINKLE MEHTA GUIDED BY: AR. RICHA KUSHWAHA

INTRODUCTION TO THE RESEARCH

CHAPTER 1

LITERATURE STUDY

CHAPTER 2

REGIONAL VERNACULAR ARCHITECTURE

CHAPTER 3

INDIAN VERNACULAR ARCHITECTURE

CHAPTER 4

CONSTRUCTION

CHAPTER 5

INFLUENCE OF MODERN ARCHITECTURE ON VERNACULAR ARCHITECTURE

CHAPTER 6

CASE STUDY

CHAPTER 7

STRATEGIES AND RECOMMENDATIONS

CHAPTER 8

ANNEXURE

CHAPTER 9

CONCLUSION

CHAPTER 10

CHAPTER 1

ABOUT THE TOPIC AIM INTRODUCTION TO THE RESEARCH

OBJECTIVES NEED METHODOLOGY

INTRODUCTION Regional Vernacular architecture is about the context and customs of making buildings in a particular region. These buildings, mainly houses, rely on specific knowledge of the climate, geology, geography and topography of the region.

Vernacular architecture is a type of architecture that mirrors local traditions. It is built based on local requirements and the local availability of building materials.

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.

NEED FOR THE STUDY Vernacular architecture is designed to meet the unique needs of the communities that produce them, accommodating the traditions, economies, and ways of life. It is affected by the climate and human behaviour.

There is a need to apply vernacular sustainable techniques to contemporary architecture in the modern world as regions are losing their identity as whole thus effecting traditional architecture and essence of the particular area. Many concepts of sustainable architectural design depend on references to vernacular architecture.

AIM Understanding the different regions in India and influence of climate and local materials on their architecture and the impact of modern architecture on regional vernacular architecture.

OBJECTIVES • • • •

To study the concepts of Regional Vernacular Architecture.

To apprehend the planning principles of Indian Vernacular Architecture.

To understand the availability local material and construction techniques To explore the influence of modern architecture in regional architecture.

METHODOLOGY FOR THE RESEARCH Chapter 1: It will be explaining the introduction to the topic, need, objectives, scope of the projects.

Chapter 2: It will be reviewing the overview of the topic for the research.

(Literature Review) Chapter 3: It will be apprehending the correlational of Regional and Vernacular architecture.

Chapter 4: It will be focussing on the research topic extensively covering all the aspects of diverse regional vernacular architecture of India with the examples following with the regions of the India and their climatic zones.

Chapter 5: It will be explaining about the construction technology and materials.

Chapter 6: It will have the influence of modern architecture on vernacular architecture and major reasons of the transition.

Chapter 7: Case studies reviewing the difference of Vernacular architecture and current scenario of the architecture practising in different regions Chapter 8: Strategies and recommendation from architects and examples of using vernacular architecture Annexure: Google forms- distributed to mostly from architectural background to understand the need of vernacular architecture to be practiced in the certain regions.

Chapter 10: Conclusions to the research.

CHAPTER 2 LITERATURE REVIEW India is a vast subcontinent with diverse areas, each with its own heritage of vernacular architecture. Hills, deserts, coastal areas, hot and humid riverine plains, humid rainforests and many more are as diverse as these regions. Different courses pursue the growth of art and design within the regional states. The evolution of every architectural style depends heavily on the character of an accessible artefact.

It defines the evolution and application of a particular variety of technologies.

CHARACTERISTICS OF VERNACULAR ARCHITECTURE • Environmentally Aware • Inexpensive • Culturally specific Along with various benefits of vernacular practices and styles, vernacular buildings have some crucial issues and concerns like, • need for regular maintenance, • low strength of material and/or building components, • unavailability of skilled craftsmen who can work with traditional materials, • shortage of traditional materials and reluctance of residents to develop their buildings with vernacular practices lead to reduced use of these sustainable vernacular practices for construction of new buildings in hilly areas.

Massive development with contemporary materials results in • pollution, • loss of vegetation, • increase in soil erosion, • increase in surface runoff, • lowering of water table, • flooding, • change in micro climate and • increase in occurrences of instability, which cause severe damage to sensitive and fragile environment in and around hill settlements Through this research it is observed that adaptation of traditional design elements as linkages results in a built form with place adaptive qualities depicting continuity in relationship between culture and built form of the place established over several centuries.

It is inferred that designing and constructing by adapting traditional design systems and details of a region results in continuity of physical and visual linkages to the architectural past of the place, through a ‘post-traditional’ built form that responds to the climate of the place.

CHAPTER 3

REGI0NAL ARCHITECTURE REGIONAL VERNACULAR ARCHITECTURE VERNACULAR ARCHITECTURE

REGIONAL VS VERNACULAR ARCHITECTURE REGIONAL ARCHITECTURE

VERNACULAR ARCHITECTURE

• It is considered a derivative of analogous inspiration as the casual link between architectural forms and the environment.

• It is the architectural style that takes into account all the residents' needs and requirements, nature, building materials, and mirrors the traditions and culture as well. In simple words , it refers to the style of a particular place or time that is indigenous.

• The result to this was the evolution of Regional Architecture that corresponded to the Materialistic aspects of Architecture which were in turn governed by the – i] Climate of a region ii] Geography of a region iii] Availability of building material in a region

• It evolves over time to resonate with the community's culture, traditions, history, environment, desires and needs of the residents and economy.

• In particular, it is most commonly applied to residential buildings.

CHAPTER 4 INDIAN VERNACULAR ARCHITECTURE REGIONS OF INDIA NORTH-WEST

NORTH-EAST

CENTRAL

SOUTH PENINSULAR

HOT- DRY

WARM AND HUMID

WARM AND HUMID

WARM AND HUMID

COLD

COLD

COLD

COLD

COMPOSITE

COMPOSITE

COMPOSITE

COMPOSITE

HOT-DRY

HOT-DRY TEMPERATE

REGIONAL WISE VERNACULAR HOUSE EXAMPLES OF INDIAN VERNACULAR HOUSE

CLIMAT IC ZONES

VERNACULAR ARCHITECTURE FOR HOT AND DRY CLIMATIC ZONE

VERNACULAR ARCHITECTURE FOR WARM AND HUMID CLIMATIC ZONE

VERNACULAR ARCHITECTURE FOR COLD CLIMATIC ZONE

Origination of Vernacular Architecture

Left: Jharokas for Haveli, Right: Courtyard for Haveli

Typical house in Kerala

Typical house in Kullu

EXAMPLES OF INDIAN VERNACULAR HOUSES

Left to Right: 1.Warli house, Mumbai 2. Laterite structures in Goa and coastal areas 3. Padmanabhapuram Palace in south- Kerala 4. Bhonga in Rajasthan

CHAPTER 5 CONSTRUCTION BUILDING MATERIAL

CONSTRUCTION TECHNIQUES

Timber

Timber construction

Stone

Earth construction

Clay

Earth construction

Rammed earth Fly ash sand lime gypsum bricks Compressed earth bricks Clay fly ash burnt bricks Micro concrete roofing tiles

CHAPTER 6 INFLUENCE OF MODERN ARCHITECTURE ON VERNACULAR ARCHITECTURE -In 20th century there was a shift of vernacular architecture to the modern architecture. Regions which were known for their locally available materials and architecture were influenced by the modern architecture technology, hence resulting in haphazard development all around the country.

-People built their houses without understanding the importance of their vernacular identity and thus leading to a lot of natural disaster and hampering of our earth.

Points that transformations of settlements whether urban rural or tribal, is an inevitable phenomenon.

But changes occurring in the past were natural and took place from within.

-It was a gradual process and occurred with due respect to • climate, • community and • cultural needs as a process of refinement.

-With the forces of modernization, the societies have witnessed the change in their patterns of living, which is more intense in the developing countries.

-The said transformation may be observed with reference to Plan, Walls, Openings, Roofing, Flooring, Columns / Beams (Struc.

Supports), Mouldings, exterior open spaces like Courtyard, Outside seating, Manduva and other visual features.

The users may be or may not be in favour of transformation but the physical fact is that transformation is observed in vernacular houses.

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 equipment 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.

CHAPTER 7 CASE STUDY CASE STUDY 1 : TRANSITION OF VERNACULAR ARCHITECTURE TO MODERN(GURGAON) Gurgaon is a city in the Indian state of Haryana, located in the National Capital Region (NCR) of India. Witnessing rapid urbanization, it has become a leading industrial and financial hub with the third largest per capita income of India. In the last twenty years, it has turned from a sleepy village of humans, houses and buffaloes to a city of multinational towers and apartments.

-Historical importance of Gurgaon -Culture and architecture of Haryana -Vernacular dwelling of Gurgaon -Transition from rural to urban -Modern dwelling of Gurgaon -Analysis -Results and findings -Integration of vernacular and modern in the contemporary design -Conclusions

Vernacular Architecture of Haryana

Modern Dwelling of Haryana

ANALYSIS

CASE STUDY 2: THE HIMALAYAN VERNACULAR: KATH KHUNI ARCHITECTURE AND THE DISTICTIVE FEATURES OF ARCHITECTURE OF HILLS NOWADAYS In the Himalayan hills of India, a legacy of distinctive traditional construction practise, known as kath-khuni construction, survives and thrives. The resulting building practise is deeply rooted in the environment and the cultural practises and traditions of the region, a natural extension to the knowledge of forbidding landscape, harsh climate, access to local materials and tools. Having evolved over a large span of time, passed on by generation after generation, it demonstrates profound understanding of building science that responds to the frequent seismic tremors that rock the landscape of Himachal.

CONSTRUCTION NOWADAYS IN HILLY REGIONS Due to difficult terrain, steep gradient, adverse climatic conditions, rich flora and vulnerability to natural hazards, the planning and design of buildings in a hill settlement are tedious and challenging tasks. Several vernacular practises and styles have evolved with local materials and indigenous techniques to meet the needs of people in response to these harsh development conditions, which cause minimal damage to the environment and are sustainable. However, despite the numerous advantages of these vernacular practises, due to the increased demand for more built spaces due to rapid growth, the availability of new construction materials and techniques and the reluctance of residents to adopt vernacular practises, they are often not used for new development.

In various hill settlements, numerous multi-storey buildings with contemporary materials and techniques are built without respecting the context, affecting the health and well-being of residents and causing serious damage to sensitive fragile environments in and around hill settlements. Construction regulations enforced in hill settlements to regulate development and minimise its negative environmental impacts are not contextually appropriate and lead to contextually inappropriate development and environmental degradation in hill settlements that are environmentally sensitive. Therefore, since vernacular practises are proven to be sustainable, it is necessary to take lessons from sustainable vernacular practises for new development and the formulation of construction regulations to achieve contextually appropriate and sustainable development in hill settlements.

Different roofing styles in Hilly Regions

Different roofing styles adopted in Hilly Regions

CHAPTER 8 STRATEGIES AND RECOMMENDATIONS Indian architects who are harnessing traditional wisdom to build the homes of the future 1. Biome environmental solutions – Bengaluru 2. The Auroma Group – Puducherry 3. Kamath Design Studio – Delhi 4. Thannal Hand Sculpted Homes – Tiruvanamalai 5. Footprints E.A.R.T.H. – Ahmedabad 6. Mozaic – Goa 7. Benny Kuriakose – Chennai 8. Made in Earth – Bengaluru 9. Eugene Pandala – Kollam 10. Dustudio – Auroville 11. Sri Aurobindo ashram Dormitory 12. Torrent laboratories

CHAPTER 9 ANNEXURE

What are your thoughts for the same, and how do you see architecture to be followed regional wise?  

     

Regional vernacular architecture should be continued along with sustainability and adopting Morden architectural techniques.

The various regions in our country need to retain their vernacular architecture which would enable them to have distinct character and identity and not just be a reflection or replication of strategies being adopted in the west Like you mentioned...a perfect blend of the two showcasing their own respective identities Adoption of design strategies that are complementing the vernacular architecture should be the priority.

Maintaining the original identity and architectural character of the region is important and cannot be left behind in the vision of developing modern cities Vernacular architecture is essential for the identity outlook of a region, but you can't overlook the positives of modern architecture.

More awareness and planning about the region specific architecture needs The architecture of the area should become the identity of that area. Like jaalis in the buildings of rajasthan gives a regional connect even if its on a modern building



          

Globalisation is the main reason why local architecture is losing its identity. we're more influenced by the modern practices and somehow we get carried away by the latest construction technology and innovative materials. More research in local materials and cultures and how those can be incorporated in our modern lifestyle and construction techniques could help in revival of regional architecture The shift towards glass buildings in the name "modernism", neglecting traditional and regional, and even climatic factors needs to stop if we want buildings that not only let us live comfortably but has the least impact on the environment around. adopt sustainable vernacular strategies of that particular region which should be complemented with modern architecture.

Not from this field but I think we need originality and technology at the same time keeping in mind the climate, geography and topography.

It depends on person to person. And what the region demands are at that particular time.

Traditional and vernacular architecture Holding on to the vernacular style and adapting to the present Morden architecture is equally important.

Since India is known for its diverse cultures and traditions, I would say that Vernacular architecture should be continued by implementing advance and modern architectural strategies to help various regions of India to come up with their original identity, hence it would add on to our age old customs by developing sustainable and stable architecture.

Architecture now a days is only a tool exploiting the regional ,culture architecture , instead there should be an amalgamation of ancient techniques and modern forms maybe ...the essence should never lost which is clearly not happening Making use of the available local resources, by following sustainable practises while making use of the knowledge gained from the traditional vernacular architecture and also using local craftsmanship, would surely help in creating region responsive architecture.

Drawing inspiration from the region and designing it in a sustainable way that doesn't look bizzare compared to the regional vernacular architecture. sustainable vernacular strategies of that particular region which should be complemented with modern architecture.

CHAPTER 10 CONCLUSIONS •

With the recognition of the importance of the fourth element that would infuse a living dimension to what has traditionally been constructed as inanimate objects for shelter, the moment is ripe for the next paradigm shift towards holism.

•

Thus we require an integration of nature into architecture not merely as visual or landscape features but as active bioenvironmental elements alive and helping regulate life within our structures while simultaneously contributing to preservation of biosphere.

•

The vernacular as alternative medicine has to be in harmony with nature. The building architect needs to be sensitized to the realization that nature is man’s greatest resource and that if utilized intelligently could transport its creativity on to a totally different level of sophistication.

•

The vernacular architecture is still the best solution to housing shortage today. Traditional wisdom and lore in building using renewable resources and indigenous skills may still offer wisely managed, economically effective and culturally appropriate solution to the worlds increasing housing needs. A wholesale reproduction of the traditional local buildings is required.

•

Diminishing the character of cities and the traditional context of urban architecture without taking into account the image of the city points to architectural globalisation. Following modernist architecture, today's new society is multi-cultural, negating the cultural aspects of the built environment.

• Here conflict of our culture” This led to advocating the GLOCAL approach i.e. “Think Global and Act Local.”

A consciousness is to be raised and followed by Architects towards – # Green Architecture which is a reaction to predicament of environmental depredation # Bioclimatic Architecture # Climate Responsive Architecture •

The Vernacular Architecture which stands in denial today is probably the most appropriate mode of expression for an era that lacks a sense of transformative historic changes.

•

Some mysteries of the present and future that seek meaning from the past are unanswered.

•

Now, more than ever, it is time to return to our point of origin to deepen our understanding of the environment and to correlate our ways of mishandling the forests and forests of the earth that play such an important role in shaping and developing the human spirit.

This is because Man is part of Nature……

•

The narrower the difference between the two, the better. This does not mean overlooking technological advances, but bridging the gap between the two by connecting with localism to strike a balance pointing towards sustainability in architecture.

HOW WILL THE STUDY HELP ME WITH THESIS ??

• Integration of vernacular and modern in the contemporary design • According to the location, of site, the vernacular architecture of that particular area should reflect in the project • Locally available materials and techniques will be the utmost priority while designing to retain sustainability factor.

• Regional architecture and traditional vernacular aspects of the regions (if there) will be the utmost priority to the conceptualisation and design of the project

DECLARATION

I, Twinkle Mehta, student of B.Arch, bearing enrolment number A1904016105 hereby declare that the dissertation titled “ANALYSING THE SUSTAINABLE FEATURES OF DIVERSE REGIONAL VERNACULAR ARCHITECTURE OF INDIA AND INFLUENCE OF MODERN ARCHITECTURE ON IT” submitted by me to Amity School of Architecture and Planning in partial fulfilment of the requirements of the five year Bachelor’s in Architecture program at Amity University, Noida is my original work. It is further declared that all the sources of information used in this dissertation have been duly acknowledged.

I understand that the dissertation may be electronically checked for plagiarism by the use of plagiarism detection software to access the originality of the submitted work.

Place: _____________________ Signature of the student

Date:

__________________

____________________

Director

Guide

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____________________ External Examiner

ACKNOWLEDEMENT This research project has been a great learning experience for me. Since the beginning of the project there were multiple challenges which I faced. I wish to express my sincere gratitude to Dr. D.P Singh, Director of Amity School of Architecture and Planning and I owe deepest gratitude to my guide Ar. Richa Kushwaha, Professor, Amity School of Architecture and Planning, Amity University, Noida for supporting and guiding me at various stages of this project. I would like to thank Amity School of Architecture and Planning, Noida for providing me this opportunity to do this research.

Most importantly I would like to convey my deepest gratitude to my Parents and friends, who have been very supportive since the beginning of this project. Without their support I would not have survived the numerous working days and nights.

I would also like to thank my fellow classmates for sharing diverse knowledge at various stages of this project.

Twinkle Mehta A1904016105

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ABSTRACT Vernacular buildings across the globe provide instructive examples of sustainable solutions to building problems. Yet, these solutions are assumed to be inapplicable to modern buildings.

Despite some views to the contrary, there continues to be a tendency to consider innovative building technology as the hallmark of modern architecture because tradition is commonly viewed as the antonym of modernity.

The new international architecture style developed in the industrialised western countries infl uenced architecture globally in the 20th century.

It is noted that the prevalent conventional approaches to design and detailing have shifted to new ones, in the form of substitution rather than adaptation of design systems.

Thus, architectural details and forms that have developed for centuries in response to local nature, physical and cultural demands of people have been overlooked.

Ever always, regional or vernacular architecture, whose empirical knowledge was transmitted from generation to generation, sought to obtain in its form and local construction technique the balance between nature and buildings.

The approach is initiated by the thorough clarification of the words Regional and Vernacular architecture, accompanied by Indian regional vernacular architecture and Modern architecture's influencing factors, resulting in the region's loss of identity, which still has much of its vernacular aspects left.

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Table of Contents Declaration ....................................................................................................................................... 2 Acknowledement ............................................................................................................................. 3 Abstract ............................................................................................................................................ 4 List of figures ................................................................................................................................... 7 1.

Chapter: introduction................................................................................................................ 9 1.1.

Need for the study........................................................................................................... 10

1.2.

Aim ................................................................................................................................. 10

1.3.

Objectives ....................................................................................................................... 10

1.4.

Methodology................................................................................................................... 11

2.

Chapter: literature study ......................................................................................................... 12

3.

Chapter: regional vernacular architecture .............................................................................. 14

4.

Chapter: indian vernacular architecture ................................................................................. 17 4.1.

Regions of india .............................................................................................................. 18

4.2.

Climatic zones in india ................................................................................................... 19

4.2.1. Hot & dry climate ....................................................................................................... 19 4.2.2. Warm & humid climate .............................................................................................. 19 4.2.3. Composite climate ...................................................................................................... 19 4.2.4. Temperate climate....................................................................................................... 20 4.2.5. Cold climate ................................................................................................................ 20 4.3.

Original vernacular house categories.............................................................................. 20

4.3.1. Kachcha ...................................................................................................................... 20 4.3.2. Pakka ........................................................................................................................... 20 4.3.3. Semi-pakka ................................................................................................................. 20 4.4.

Region wise vernacular architecture ............................................................................... 21

4.4.1. Vernacular architecture for hot and dry climatic zone................................................ 21 4.4.2. Vernacular architecture for warm and humid climatic zone ....................................... 22 4.4.3. Vernacular architecture for cold climatic zone ........................................................... 23 4.5.

Examples of indian vernacular houses ........................................................................... 25

4.5.1. Warli house ................................................................................................................. 25 5|Page

4.5.2. Bhonga ........................................................................................................................ 25 4.5.3. Padmanabhapuram palace........................................................................................... 26 4.5.4. Laterite structures ....................................................................................................... 26 5.

Chapter: construction ............................................................................................................. 27 5.1.

Building materials........................................................................................................... 27

5.1.1. Timber ......................................................................................................................... 27 5.1.2. Adobe .......................................................................................................................... 27 5.1.3. Stone ........................................................................................................................... 28 5.1.4. Clay ............................................................................................................................. 28 5.1.5. Rammed earth ............................................................................................................. 28 5.1.6. Fly-ash-sand-lime-gypsum bricks ............................................................................... 28 5.1.7. Compressed earth blocks - .......................................................................................... 28 5.1.8. Clay fly-ash burnt bricks ............................................................................................. 28 5.1.9. Micro concrete roofing tiles ........................................................................................ 28 5.2.

Construcion techniques................................................................................................... 29

5.2.1. Timber construction .................................................................................................... 29 5.2.2. Earth construction ....................................................................................................... 29 5.2.3. Brick masonry and stone construction ........................................................................ 29 6.

Influences of modern architecture to vernacular architecture ................................................ 30 6.1.

Population ....................................................................................................................... 30

6.2.

Consumption ................................................................................................................... 30

6.3.

Urbanization ................................................................................................................... 31

6.4.

Contemporary materials.................................................................................................. 31

7.

Chapter: case study................................................................................................................. 31 7.1.

Transition from vernacular to modern architecture: gurgaon, india ............................... 31

7.2. The himalayan vernacular: kath khuni architecture and the distictive features of architecture of hills nowadays .................................................................................................... 41 8.

Strategies and recommendations ............................................................................................ 52 5.1. Indian architects who are harnessing traditional wisdom to build the homes of the future52

9.

10.

Annexure ................................................................................................................................ 60 Chapter: conclusions .......................................................................................................... 67

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LIST OF FIGURES Figure 1 The temple of Lord Shiva at ................................................................................................... 15 Figure 2 Origination of Vernacular Architecture ................................................................................. 17 Figure 3. Four homogeneous regions of India as defined by India Meteorological Department .......... 18 Figure 4 Climatic zone Map of India .................................................................................................... 19 Figure 5. Jharokas for Haveli ................................................................................................................ 21 Figure 6. Courtyard for Haveli .............................................................................................................. 22 Figure 7. A Typical house of Kerala .................................................................................................... 23 Figure 8.House 0f Kullu. ...................................................................................................................... 24 Figure 9.Warli House ............................................................................................................................ 25 Figure 10. Bhonga ................................................................................................................................. 26 Figure 11. Padmanabhapuram palace ................................................................................................... 26 Figure 12. Laterite structure .................................................................................................................. 27 Figure 13. Map of Haryana And on the right side Map of Gurgaon ..................................................... 32 Figure 14. Cattle Sheds in the house ..................................................................................................... 32 Figure 15. Bonfire in the courtyard during ‘Lohri’ ............................................................................... 33 Figure 16. Plan and Sectional Elevation of the Vernacular .................................................................. 34 Figure 17. Projecting ‘Chajja’ from the House. .................................................................................... 35 Figure 18. Unit Plan of a 2 BHK Flat (1295 Sq. Ft.) of ........................................................................ 36 Figure 19. Cluster Plan. ........................................................................................................................ 36 Figure 20. Elevation. ............................................................................................................................. 37 Figure 21. Main Entrance of Tahiliani Design ..................................................................................... 39 Figure 22. Vault detail and front steps detail ........................................................................................ 39 Figure 23. Production Hall Below the skylight..................................................................................... 40 Figure 24. Panorama showing an old tower temple sitting at the highest point and typical settlement draped around the contoured sunny slopes of the hills in Chitkul, Kinnaur.( https://www.sahapedia.org/the-himalayan-vernacular-kath-khuni-architecture).................................. 41 Figure 25. A typical one-storey house in Gavas ................................................................................... 42 Figure 26. A five-storey tower temple in Summerkot .......................................................................... 42 Figure 27. A kath-khuni wall is constructed by laying two wooden wall beams longitudinally parallel to each other. This defines the width of the wall. The edge members are lap jointed and secured by a kadil (wooden nail). This arrangement of alternating stone and ........................................................... 44 Figure 28Images of wall construction at Devidhar village, which show the dry masonry construction with in-fill and lap jointed members at the corner. ............................................................................... 44 Figure 29.The most critical element in the house is the balcony that acts as an important extension to the living room. Structurally, it rests on cantilevered members sometimes supported by brackets. .... 45 Figure 30. Corner detail; wooden members are notched and lap jointed so that they intersect at the corner and further supported by cantilevered member fixed at one end in the wall. ............................ 45 Figure 31. Houses showing pent-and-gable roof finished in slate stone in proper rectangular shapes and the image on right shows randomly shaped stones arranged in a house in Janog village. ............. 46 Figure 32. Modern building constructed in traditional construction style. ........................................... 50 7|Page

Figure 33.Different roofing styles in hill regions. ................................................................................ 51 Figure 34. Different roofing styles adopted in hill regions. ........................................................... 51 Figure 35. Biome solutions ................................................................................................................... 53 Figure 36 The auroma group................................................................................................................. 53 Figure 37. Kamath Design .................................................................................................................... 54 Figure 38. Thannal ................................................................................................................................ 54 Figure 39. Footprints............................................................................................................................. 55 Figure 40. Mosaic ................................................................................................................................. 55 Figure 41. Benny Kuriakose ................................................................................................................. 56 Figure 42. Made in Earth ...................................................................................................................... 56 Figure 43. Eugene pandala .................................................................................................................... 57 Figure 44Dustudio ................................................................................................................................ 57 Figure 45. Sir aurobindo ashram ........................................................................................................... 58 Figure 46 Torrent laborities .................................................................................................................. 59

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1. CHAPTER: INTRODUCTION

“Every district has its own traditions and, by trial and error, over thousands of years, people have learned how to use, and to cope with, all the many factors which are involved in Architecture. – The Site, the Topography and Geology. The climate and vegetation, the available local materials – the religious and cultural patterns of living, and the main local occupants. Unsatisfactory items have long since been discarded and alternatives have been tried until a satisfactory solution has been found” -LAURI BAKER

Regional Vernacular architecture is about the context and customs of making buildings in a particular region. These buildings, mainly houses, rely on specific knowledge of the climate, geology, geography and topography of the region.

Vernacular architecture is a type of architecture that mirrors local traditions. It is built based on local requirements and the local availability of building materials. In 1800, the word "vernacular" originated as a notion. It emerged when people were forced to use natural resources in reaction to the environment as a shelter. It is the easiest way that human needs can be treated.

It is a style of architecture that is original to a particular time and place and is not replicated or reproduced from elsewhere and uses old building practises created by hand. It focuses on sustainability, on the use of materials that ensure that the home stays cooler from the inside w ithout the need for energyintensive air conditioning. The basic green architecture concepts of energy conservation and the use of materials in the vicinity of the site are included.

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”. Frank Lloyd Wright depicted vernacular 9|Page

architecture as "Folk building growing in response to actual needs, fitted into environment by people who knew no better than to fit them with native feeling" suggesting that it is a primitive form of design, having no intelligence, but he also stated that it was "for us better worth study than all the highly self-conscious academic attempts at the beautiful throughout Europe"

1.1.

NEED FOR THE STUDY

Vernacular architecture is designed to meet the unique needs of the communities that produce them, accommodating the traditions, economies, and ways of life. It is affected by the climate and human behaviour.

The architects used climate responsive techniques that can be applied to modern design. It would also be necessary to use the sustainable vernacular techniques of the specific region in India in modern building, thus retaining the region's identity.

There is a need to apply vernacular sustainable techniques to contemporary architecture in the modern world as regions are losing their identity as whole thus effecting traditional architecture and essence of the particular area. As a vernacular style, the architectural design for the home is integrated into contemporary forms. Many concepts of sustainable arc hitectural design depend on references to vernacular architecture.

1.2.

AIM

Understanding the different regions in India and influence of climate and local materials on their architecture and the impact of modern architecture on regional vernacular architecture.

1.3.

OBJECTIVES



To study the concepts of Regional Vernacular Architecture.



To apprehend the planning principles of Indian Vernacular Architecture.



To understand the availability local material and construction techniques



To explore the influence of modern architecture in regional architecture

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1.4.

METHODOLOGY

Chapter 1: It will be explaining the introduction, need, objectives, scope of the projects.

Chapter 2: It will be reviewing the overview of the topic.

Chapter 3: It will be explaining the correlational of Regional and Vernacular architecture.

Chapter 4: It will be focussing on the research topic extensively covering all the aspects of diverse regional vernacular architecture of India with the examples.

Chapter 5: It will be explaining about the construction technology and materials.

Chapter 6: It will have the influence of modern architecture on vernacular architecture Chapter 7: Case studies Chapter 8: Strategies and recommendation from architects and examples of using vernacular architecture Annexure: Google forms Chapter 10: Conclusions

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2. CHAPTER: LITERATURE STUDY India is a vast subcontinent with diverse areas, each with its own heritage of vernacular architecture. Hills, deserts, coastal areas, hot and humid riverine plains, humid rainforests and many more are as diverse as these regions. Different courses pursue the growth of art and design within the regional states. The evolution of every architectural style depends heavily on the character of an accessible artefact.

It defines the evolution and application of a particular variety of technologies.

The regions wherever wood is offered in masses, maybe, abounds in building created of wood victimisation header and beam technology.

Areas wherever massive rocks are accessible in masses; we discover terribly fine quite rock cut design. It should be understood that this multiplicity of kind doesn't adjust to any set geographical pattern. Rather, at times, it takes a cross - regional course. (Young architects festival’ 2005 Indian institute of architects, bihar & jharkhand chapter paper on regional vs. Vernacular architecture)

Characteristics of Vernacular Architecture 

Environmentally Aware – Vernacular architecture exists in harmony with the environment and is connected to its surroundings in a way that modern architecture so often is anything but. Designs tend to reflect the particular climate in which the structure is built, from the choice of material to the direction of the windows and the thickness of the walls.





Inexpensive – Thanks to the use of locally sourced materials, structures built in the vernacular style are characterized by their low-cost construction. Designs tend to prioritize function over beauty, which again contributes to their affordability.

Culturally Specific – Vernacular architecture reflects the particular region in which the structures are found, not only because of the use of local materials but because traditions would be passed through generation after generation in the same community. While styles would be tweaked and changed over time, a consistent, culturally specific vein will connect them. (https://nimvo.com/what-is-vernacular-architecture-and-should-you-useit/#:~:text=%20Some%20of%20the%20key%20characteristics%20that%20run,the%20structures%20are%20found %2C%20not%20only...%20More%20)

Man in his pursuit of survival in these regions with particular climates tried to strike a balance between himself, his built environment and the nature. At this point of time Nature acted as the major source of inspiration as

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‘Nature is the mother of all arts’ – Architecture being one of them Also to quote are the words of Thomas Burnett – “The formation of the first earth being a piece of divine architecture” (Young architects festival’ 2005 Indian institute of architects, bihar & jharkhand chapter paper on regional vs. Vernacular architecture)

Along with various benefits of vernacular practices and styles, vernacular buildings have some crucial issues and concerns like, need for regular maintenance, low strength of materials and/or building components, unavailability of skilled craftsmen who can work with traditional materials, shortage of traditional materials and reluctance of residents to develop their buildings with vernacular practices lead to reduced use of these sustainable vernacular practices for construction of new buildings in hilly areas. Moreover, increased urbanisation, need and construction of multi-storeyed buildings; improved transportation to promote the use of contemporary materials in hill settlements. Improvement in living and economic conditions, improvement and increase in building services; better, fast and easily understandable and workable construction techniques and equipments further affect the use of vernacular practices for planning and design of new buildings in hill settlements. Massive development with contemporary materials results in pollution, loss of vegetation, increase in soil erosion, increase in surface runoff, lowering of water table, flooding, change in micro climate and increase in occurrences of instability, which cause severe damage to sensitive and fragile environment in and around hill settlements Through this research it is observed that adaptation of traditional design elements as linkages results in a built form with place adaptive qualities depicting continuity in relationship between culture and built form of the place established over several centuries.

It is inferred that designing and constructing by adapting traditional design systems and details of a region results in continuity of physical and visual linkages to the architectural past of the place, through a ‘post-traditional’ built form that responds to the climate of the place.

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3. CHAPTER: REGIONAL VERNACULAR ARCHITECTURE

The prehistoric man had more practical knowledge / wisdom than the modern man for what we call his primitive dwellings was governed by ecological factors.

The result to this was the evolution of Regional Architecture that corresponded to the Materialistic aspects of Architecture which were in turn governed by the – i] Climate of a region ii] Geography of a region iii] Availability of building material in a region Regionalism is considered a derivative of analogous inspiration as the casual link between architectural forms and the environment. Regionalism correlates geographical areas with cultural codes. Regional Architecture is created by respect in the process. For the eternal natural and earthly state of a particular region, it has.

The concept of international tends to obscure the richness and regional diversity of modernism between the wars. Modernism in its search for integrity has always taken a particular interest in vernacular buildings or traditional regional forms.

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 architectural style that takes into account all the residents' needs and requirements, nature, building materials, and mirrors the traditions and culture as well. It evolves over time to resonate with the community's culture, traditions, history, environment, desires and needs of the residents and economy. Although different from the common view of the built environment, the use of indigenous materials, design and construction techniques plays a key role.

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The vernacular term, as we know, comes from the Latin vernaculus, which means "domestic, native, and indigenous"; from Verna, which means "native slave" or "home-born slave." In terms of language, vernacular refers to a time, place or group when expressed. In terms of architecture, it refers to the style of a particular place or time that is indigenous. In particular, it is most commonly applied to residential buildings.

The folk tradition is the direct translation of its needs and values as well as the desires, dreams and passions of a person into the physical forms of a culture. The folk tradition also reflects the bulk of the constructed environment. Such cultural aspects of architecture point to the vernacular architecture that is evident in— 

-religious beliefs and superstitions



-social values



-lifestyle



-family and kinship relations



-artistic ideals



-psychological needs of man and society

Figure 1 The temple of Lord Shiva at Vashista Kund in Manali is made of intricately carved timber and stone corresponding to the regional forms in the hilly terrains.

In Vernacular Architecture or Architecture without Architects, the role of the individual is never predominant and a tradition of buildings related to social organization and availability of materials continuously evolves within its own limits. The different aspects of the vernacular are – 

use of local materials, including



Expression of building function in plans and elevations



Working in harmony with the landscape



Adopting forms of simple utilitarian structures

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The vernacular style uses the local traditions in building which has – • crystallization of local needs • material •ingenuity Another aspect of vernacular traditions is the way materials are used.

Vernacular architecture is not considered to be structures designed by professional architects.

Architecture that is not deliberately or knowingly planned is the main concept of vernacular architecture. 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” Frank Lloyd Wright depicted vernacular architecture as "Folk building growing in response to actual needs, fitted into environment by people who knew no better than to fit them with native feeling" suggesting that it is a primitive form of design, having no intelligence, but he also stated that it was "for us better worth study than all the highly self- conscious academic attempts at the beautiful throughout Europe"

There are many young architects who learn about vernacular architects in a special way. The use of vernacular principles has played an increasing part in architectural designs since the introduction of the term in the 1970s. Though individual architects have a broadly diverse collection of vernacular architecture thoughts. The pioneers of the integration of Vernacular Architecture into Contemporary Architecture in India are B.V.Doshi, Laurie Baker and Charles Correa.

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4. CHAPTER: INDIAN VERNACULAR ARCHITECTURE

With the informal, functional design of structures, Indian vernacular includes planning and designing a built environment. It is mainly found in rural areas of India, with structures constructed using local materials and designed and planned to meet all the local residents' needs and requirements. Not only are the structures built using vernacular materials, but even the planning is carried out with the needs of indigenous society and culture in mind. 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.

Figure 2 Origination of Vernacular Architecture

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4.1.

REGIONS OF INDIA

Regions are broadly categorized in 4 zones in India, i.e 

North West



North- East India



Central India



South Peninsular India

Figure 3. Four homogeneous regions of India as defined by India Meteorological Department

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4.2.

CLIMATIC ZONES IN INDIA

Figure 4 Climatic zone Map of India

The climates in India are divided in 5 climatic zones.

4.2.1. Hot & Dry climate This zone lies in western and central India, namely Jaisalmer, Jodhpur etc. This region is flat, sandy, and 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 alos common.

Due to low water level and meagre vegetation, the houses are commonly made using twigs, mud, clay and stone.

4.2.2. Warm & humid climate The coastal region of India covers the warm and humid region. There were towns like Mumbai, Chennai, and Kolkata in this region. Abundant vegetation is encouraged by the high humidity.

The main design criterion in this region is to reduce and provide shading for heat gain.

4.2.3. 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.

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4.2.4. Temperate 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.

4.2.5. Cold climate Two classes characterise the cold climate: cold and sunny and cold and cloudy. Ladakh has a cold and sunny climate. This region is regarded as a cold desert and has very little vegetation.

In design, the structures are innovative, using materials such as stone, mud and clay. The houses are in close proximity to each other. Cities such as Kashmir, Sikkim, Shimla and the upper part of South India's Assam Hill Station all experience a cold and cloudy climate. This sort of climate requires the heating of buildings throughout the year. For walls on the upper floor and brick or bamboo for the upper floors, thin mud and bamboo are used. Using stone slabs or country tiles, the roof is made. The roofs hang from all sides, offering protection from all sides to the core spaces.

4.3.

ORIGINAL VERNACULAR HOUSE CATEGORIES

4.3.1. 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 specific form that can have a simple beauty is dictated by the realistic limitations of the building materials that are available. The construction materials are all cheap and very easily available. Construction of such a house requires relatively very little labour.

4.3.2. Pakka In order to bind the frame, a pakka structure is made of resistant materials such as stone, wood, brick, cement, metals and sometimes mortar. It is more durable and requires no constant upkeep. Because of all the labour and materials going into it, these structures are more expensive.

4.3.3. Semi-Pakka The semi-pakka is a combination of the styles of pakka and kachcha. As the awareness of villagers has developed, it has grown and acquired the resources needed to add durable material elements characteristic of a pakka home.

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4.4.

REGION WISE VERNACULAR ARCHITECTURE

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. Main types of shapes has been seen for plans in traditional buildings: •

Circular plan is most preferred in case of earthquake resistance, for example the Bhonga Houses

•

Rectangular plan

•

Linear plan

•

Courtyard plan

4.4.1. VERNACULAR ARCHITECTURE FOR HOT AND DRY CLIMATIC ZONE This zone lies in the north-western part of India, namely Jaisalmer, Jodhpur, the Thar Desert (Rajasthan and partly Gujarat). This region is flat, sandy and rocky; and sparsely vegetated with cacti thorny bushes. Due to low humidity the climate is dry here. During summers, winds blowing are very hot and sand storms are also common in this zone. The Architecture of the Desert is an artistic expression of the region's climate and culture. There is distinct division between the Kuchcha and Pukka vernacular architecture of Rajasthan. The Pukka architecture is dominated by the haveli type of buildings

Figure 5. Jharokas for Haveli

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Figure 6. Courtyard for Haveli

Havelis are generally two or three storied. Those are built around a courtyard which is the nucleus of a house. The rooms are laid around the courtyard which is main source of light and ventilation. Street frontage of each building is narrow to cut the heat gain. As the buildings are clustered side by side, they cast shadow on each other keeping streets cool.

Hot air rises by convection from courtyard and the cool air is channeled from the street ensuring cross ventilation. At the upper floor, Jharokha with an intricate jaali work projects to the street allowing women to observe the street while maintaining privacy. Jharokha and Chajjas are designed to shade the facade. The walls are made of locally available stone and timber as structural purposes. Buildings are constructed by local craftsmen using local material which is cost-effective.

4.4.2. VERNACULAR ARCHITECTURE FOR WARM AND HUMID CLIMATIC ZONE This region covers the coastal region of India. Cities like Mumbai, Chennai, and Kolkata all comes under this region. Here, the high humidity promotes abundant vegetation. Under this type of climate Kerala has a very distinct cultural and linguistic identity. Kerala is situated on the south-western coast of India bound by Arabian Sea in west and Western Ghats in the East.

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Figure 7. A Typical house of Kerala

The individual house is isolated from others and self-sufficient with its own source of water, temple, bathing place and agricultural land. Generally, the buildings are one storied high. The planning of house is based on the Vaastu-Shastra. Individual houses are surrounded by boundary wall with entrance gate from street. There is an auspicious Tulsi plant in the entrance courtyard. On a high plinth with a verandah on two sides, the houses are raised like a semiprivate zone. Rooms around a central courtyard are aligned. Central courtyard and deep verandas around the house allows cross-ventilation in the rooms. Sloping roof is provided to protect from the heavy rain-fall of the region. The house is blend into the landscape of tree plantations. Basic materials used are laterite, granite, timber, mud, thatch, coconut leaves, bamboo and Mangalore tiles. Granite is used for foundation, laterite is for walls, timber is for wall facing and roof frame, Mangalore tiles are for roofing

4.4.3. VERNACULAR ARCHITECTURE FOR COLD CLIMATIC ZONE The cold climate is divided as cold & sunny and cold & cloudy. Ladakh experiences cold and sunny type of climate. Cities like Kashmir, Sikkim, Shimla and upper part of Assam, hill stations of south India all experience cold and cloudy climate. Under this type of climate, the architecture of Kullu district is discussed. The climate in this area is pleasant in the summers with heavy rainfall and moderate to heavy snowfall during winters.

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Figure 8.House 0f Kullu.

The dwelling unit generally consists of living areas together with their livestock. A typical unit is either square in shape or rectangular. The dwellings are about two or three storeys tall.

Without any partitions, each storey consists of a huge single room. In order to receive maximum sunlight, buildings are usually facing south or south-west. For cattle, poultry, or storage purposes, the lower floor is allotted. The living area and kitchen are on the second floor.

The house is fitted with a single flight stair case. For farm work and rituals, the houses have a paved external courtyard. The houses are aligned parallel and never perpendicular to the slope of the mountain. In keeping with the topography of the terrain, houses are developed along the south slope to ensure heat gain. The room's height is low. The upper floors are constructed of wood that keeps the floors warm. The structures are constructed from locally available stone and timber packed as mortar with clay and cow dung. The roof is finished with locally available slate. Some common features are illustrated in an elaborate study of the typical dwellings of the main climate zones: the buildings are designed to respond to sun paths, wind directions and allow passive cooling by means of shading devices. The planning of the site ensures the building's orientation in such a way that it limits the harsh sun while allowing daylight and cross ventilation in the hot or warm climate zone. The habitat 's design is followed by the inhabitants' way of life, religious beliefs and customs and optimal use of space. Along with modern materials, locally available materials are used. To create cost-effective, sustainable buildings, the use of locally available craftsmanship is encouraged.

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4.5.

EXAMPLES OF INDIAN VERNACULAR HOUSES

4.5.1. 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 combination of the use of local materials and skills chosen by residents in construction is obvious and is the reason for maintaining their own homes in such a good way. Locally available materials are manipulated to go with their lifestyle and climate without impacting the surroundings much.

Figure 9.Warli House

4.5.2. 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 mirror t work patterns.

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Figure 10. Bhonga

4.5.3. Padmanabhapuram palace This is the superlative instance of vernacular architecture in Kerala. It delegates the native architectural style in Kerala in its more lavish avatar. To enable air movement across the complex, it is well suited to the climate with multiple courtyards. It is planned and constructed to be durable as well as with no maintenance. The flooring was done using a fusion of different types of materials such as burnt coconut shells, egg whites, plant juices etc. The glare has been reduced through painstaking fenestration detailing.

Figure 11. Padmanabhapuram palace

4.5.4. Laterite structures These structures are found in Goa. These structures are plastered with lime or a mix of lime and earth. Sometimes they are even left un-plastered with huge sloping roof overhangs. These sloping roofs battle the rain and the strong sun. It actually crumbles down to earth when such a house is rundown and brings the building materials back to their organic and natural state, thus finishing the loop. The most common type of wood used is the local jackfruit wood.

Example is the Chapel of St Catherine, Goa originally from the time period of 16 century, but rebuilt again in 1952.

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Figure 12. Laterite structure

5. CHAPTER: CONSTRUCTION

5.1.

BUILDING MATERIALS

Vernacular architecture is about using construction materials that are locally available. In this architecture, the materials used differ from place to place. The elements of construction include adobe, rammed earth, mud bricks, thatch, cob, bamboo, stone, clay, timber, compressed brick blocks, burnt bricks of clay-fly ash, etc. It is protected in response to climate conditions. It interacts culturally with the setting. It uses materials which are locally available.

5.1.1. Timber – It is one of the most abduntantly available and natural yet native building materials. Of the various advantages, it is non- toxic, does not leak chemical vapour into the building and is safe to handle and touch. It is quite easy to work with, renewable, a very good insulator and readily available.

5.1.2. Adobe - is a natural building construction material that is made from clay, sand, water, and a kind of fibrous or organic material (sticks, straw or manure), usually shaped into bricks using moulds and dried in the sun.

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5.1.3. Stone- Stone is another of the main construction materials indigenous to Indian architecture. It is a versatile material and in a building it can be used from the foundation to the parapet.

5.1.4. Clay- Clay is used for buildings that are traditional, sustainable buildings. These buildings are of two kinds: one is constructed by stacking air-dried building blocks called mud bricks when the walls are made directly with the mud mixture, and the other is walls.

5.1.5. Rammed earth – type of building construction which utilises natural raw materials such as earth, chalk, lime or gravel. Rammed-earth walls are simple to construct. They are non-combustible, thermally massive, durable and very strong.

5.1.6. Fly-ash-Sand-lime-Gypsum Bricks – used for residential housing walls and all other types of building construction as well as boundary walls. They are environment friendly, excellent strength, dry quickly, and have reduced water absorption and shrinkage.

5.1.7.

Compressed Earth Blocks - energy efficient, eco-friendly with excellent surface finish.

It is a cost effective material with goof thermal insulation.

5.1.8. Clay Fly-ash Burnt bricks – environment friendly, energy efficient and locally manufactured material.

5.1.9. 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.

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5.2.

CONSTRUCION TECHNIQUES

5.2.1. Timber Construction In the case of timber construction, the benefits come from the use of timber, a lightweight and ductile construction material. The connexions (column-beam, floor-beam and panel-beam) and their ability to transfer the forces from one building member to another and then finally all the way down to the foundation are an important problem in the case of timber construction. It is well known that wood is very susceptible to the effects of insects and humidity. The use of wood structures is limited by the local availability of suitable wood materials.

5.2.2. 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. 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.

5.2.3. 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 available locally 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. ]

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6. INFLUENCES OF MODERN ARCHITECTURE TO VERNACULAR ARCHITECTURE In 20th century there was a shift of vernacular architecture to the modern architecture. Regions which were known for their locally available materials and architecture were influenced by the modern architecture technology, hence resulting in haphazard development all around the country. People built their houses without understanding the importance of their vernacular identity and thus leading to a lot of natural disaster and hampering of our earth.

Points that transformations of settlements whether urban rural or tribal, is an inevitable phenomenon. But changes occurring in the past were natural and took place from within. It was a gradual process and occurred with due respect to climate, community and cultural needs as a process of refinement. With the forces of modernization, the societies have witnessed the change in their patterns of living, which is more intense in the developing countries. To understand the direction of growth, it is imperative to map the pattern of change seeking clues for future trends. The transformation may be quantitatively partial if its due to the repairable state of an existing vernacular house or it be full if it’s a new additional construction beside the existing vernacular house. The said transformation may be observed with reference to Plan, Walls, Openings, Roofing, Flooring, Columns / Beams (Struc. Supports), Mouldings, exterior open spaces like Courtyard, Outside seating, Manduva and other visual features. In addition, the transformation in the aforementioned components may be in terms of the material used, ornamentation, colour, finish etc. The transformed houses may bear resemblance to the vernacular houses despite the use of new materials and construction techniques or they may be a totally different typology. Thus, the reasons for transformation in vernacular houses vary from place to place and from one case to the other, more as a response to available means and actual needs of every place. The users may be or may not be in favour of transformation but the physical fact is that transformation is observed in vernacular houses. In the said scenario, it is pertinent and rational to ascertain the level of acceptance of people towards vernacular houses. Deniz ErġNsel Önder (2010) demonstrated the use of t-test, Mann-Whitney U test and chisquare test for measuring user participation and degree of satisfaction in the context of afterearthquake houses in Düzce, Turkey

6.1.

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.

6.2.

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

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required to run the equipment of the modern man’s need are extremely high and in on a constant rise.

6.3.

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.

6.4.

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.

7. CHAPTER: CASE STUDY Case studies will showcase the distinctive feature of vernacular and modern architecture in particular region.

7.1.

Transition from Vernacular to Modern Architecture: Gurgaon, India

Gurgaon is a city in the Indian state of Haryana, located in the National Capital Region (NCR) of India. Witnessing rapid urbanization, it has become a leading industrial and financial hub with the third largest per capita income of India. In the last twenty years, it has turned from a sleepy village of humans, houses and buffaloes to a city of multinational towers and apartments. There is certain ‘sameness’ in the architectural manifestations all around, depriving human habitats of cultural and regional identity. The objective of the paper is to study this change in architectural practice wherein the new wave of technology, with its multidimensional effects, is responsible for the creation of the global and homogenizing culture in the field of architecture. Several vernacular as well as the contemporary dwellings of Gurgaon will be documented and analyzed on various parameters of culture and architecture. It will call for the integration of vernacular and modern in the contemporary design while devising an environment and people friendly architecture where technology is used in monitoring, controlling and governing the infrastructure, rather than creating one.

I.

INTRODUCTION

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Gurgaon is a city in the Indian state of Haryana and is located near the National Capital Region of India. It is 32 kilometres southwest of New Delhi and 268 kilometres southwest of Chandigarh, the state capital. Haryana is divided into four divisions for administrative purposes: Ambala, Rohtak, Gurgaon and Hisar. Within these there are 21 districts and Gurgaon district is one of them. Gurgaon city is the administrative headquarters of the district. As of 2011, the city had a population of 876,824 and a total area of 738.8 square kilometres.

Figure 13. Map of Haryana And on the right side Map of Gurgaon

II.

HISTORICAL IMPORTANCE OF GURGAON

This was the village that is believed to be the one that Yudhisthir, the eldest of the Pandavas, bequeathed to Dronacharya, his Guru, in the epic Mahabharata. It is also believed that here, Dronacharya delivered spiritual as well as military instructions to Kauravas and Pandavas.

Haryana is a hub of diverse races, cultures and faiths. The people here are mainly Hindus, Jains, Buddhists, Sikhs and also Christians. Haryanvi culture has been influenced by Lord Krishna in many ways.

Figure 14. Cattle Sheds in the house

As peacock feather was always visible in Krishna’s crown, it is put on the top of the havelis.

Kadamb trees and mountains that were depicted at the back of Krishna are very common in Haryana. Cattle that is generally shown with Krishna is worshipped and people here are known for the abundance of milk and curd in their diet. In the traditional houses, cattle sheds are integrated with the houses, where they are fed.

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Figure 15. Bonfire in the courtyard during ‘Lohri’

III.

CULTURE AND ARCHITECTURE OF HARYANA

Haryana is mainly an agricultural land, laid with very good network of canals and Yamuna being the major river that passes through the state. Women of the family also work alongside men in the fields. After the work is done, the rural menfolk enjoy sitting together and sharing their daily routines over hukka, in the verandah of the house. The verandah is also used by women for spreading and drying crops and by children for playing. Besides all the other festivals common to the rest of the country, Haryana also celebrates the harvest festival of Baisakhi, Lohri and Teej with deep religious fervor. Bonfires, singing, dancing and feasting are the integral part of the celebrations. Swings are set up in the open spaces. Various fairs of national and religious importance are also held on the pious land of Haryana since ages. These activities have evolved the necessity of a community space like a courtyard and market squares in their settlement pattern. The folk art of Haryana encourages the use of redundant or waste things like clothes for creating figures and sculptures of animals, birds and various gods and goddesses of different religions. The pottery found here shows excellent geometrical and natural designs with a wide range of decorative shapes. Paintings of Gods and Goddesses with the help of turmeric powder, geru, and charcoal are made on the walls of the houses for puja during various festivals. Wall paintings depicting historical, mythological and social scenes are an important feature of the traditional architecture of Haryana and can be found in almost all the monuments, forts, havelis, temples, wells and chhatris of the state.

IV.

VERNACULAR DWELLING OF GURGAON

Gurgaon lies in composite climate region with annual average temperature of 25°C, maximum temperature of 40°C in summers, minimum temperature of 3°C in winters, and average annual rainfall of approximately 714 millimetres.

The chaukband house (a house with a central courtyard) of Gurgaon, is equipped to deal with climate like this. In these dwellings, thick brick walls (400-500 mm) with a high-density thermal mass serve as an ideal heatbalancing device; a central courtyard provides and controls daylight and regulates the movement of air inside the house; a roof with a wooden beam structure gives adequate insulation from direct solar radiation; and pucca burnt bricks - by 33 | P a g e

virtue of their porous quality - help in balancing humidity during monsoons. Ventilators (Jaali), windows and ducts exhaust the hot air. There is a spatial hierarchy in the house; public space such as verandah and drawing room meant for visitors to rest; semi-private space such as central courtyard meant for cooking, eating and entertaining female guests; and private space such as bedrooms and niches that are used as storage. The dwelling form also maintains a cordial relationship with the neighbouring dwellings. The projecting ‘Chajja’ provides space for guests to move around and have a nice view as well as plays a vital role in building up the character of the street. The chajja also acts as a shading device for rooms on first floor.

Figure 16. Plan and Sectional Elevation of the Vernacular

Flower petals and leaves are carved on the stone pieces for decoration. Wall paintings are drawn with colors, known as ‘Bheetchitr’, where ‘bheet’ stands for wall and ‘chitr’ stands for the colorful painting.

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Figure 17. Projecting ‘Chajja’ from the House.

V.

TRANSITION FROM RURAL TO URBAN

The last twenty years of globalisation has seen Gurgaon turning from a sleepy village of humans, houses and buffaloes, to a city of multinational tower blocks and apartments.

Witnessing rapid urbanization, Gurgaon has become a leading financial and industrial hub with the third highest per capita income in India. The city's economic growth story started when the leading Indian automobile manufacturer Maruti Suzuki India Limited established a manufacturing plant in Gurgaon in the 1970s. A large number of people from various social classes have migrated to Gurgaon since then, in search of better lifestyle and job opportunities.

Every single migrant, be it the bangla dwellers of Chakkarpur or Tamil techies working in an IT company, has created its own micro-environment under the macro-environment of Gurgaon.

Also, the expansion of auto culture (dependence on vehicles) has nurtured a new kind of lifestyle in Gurgaon. The street life in Gurgaon is practically absent. The energy and commerce of traditional cities has been harnessed in a new kind of space - retail malls. Gurgaon is currently home to 43 malls, most built since 2007. Among these is the nation’s largest “The Mall of India”, with 4.5 million square feet of shopping. The housing type in the city consists largely of multidwelling units, including apartments and high rise residential towers. What is striking about the landscape of Gurgaon is that there is a 'identity' in the architectural manifestations all around, apart from few construction sites and half-built buildings, depriving human habitats of cultural and regional identity as the same building methods, materials and styles are applied in all these places.

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VI.

MODERN DWELLING OF GURGAON

Supertech has builta 10 acre residential development called the Araville Township in Sector 79, Gurgaon. The planning of the settlement is done on the basis of economic status of the user, from two bedroom unit to four bedroom unit. The township is designed with facilities like schools, colleges, sports complex, market places and other amenities. Spaces such as clubhouse, gymnasium, party lawns, play area, etc. for their religious and community activities have also been provided, but it has a character similar to any other township in the country and the place 's unique cultural identity is missing. Without regard to the local architecture and the climate of the area, there is a monotony in the form of the building with the same old RCC framed structure and the use of modern materials and construction techniques.

Figure 18. Unit Plan of a 2 BHK Flat (1295 Sq. Ft.) of

Figure 19. Cluster Plan.

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Figure 20. Elevation.

VII.

ANALYSIS

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VIII.

RESULTS AND FINDINGS

Vernacular dwelling includes an acceptable language of architecture drawn from various aspects of vernacular design, including on-site architectural forms , styles, traditions, elements, materials and climate. The form of a building evolves from its functions and its working culture defines the architectural features. On the other hand, the planned modern dwelling is defined by the user's economic status. The modern material with ‘global character’ are used which change with new construction methods and techniques, in contrast to the vernacular architecture where the materials as well as the construction style has a unique ‘local character’.

Michelle Addington remarks, “Technology is the handmaiden of design and, as such, is meant to be subordinate: design is the why and the what, whereas technology is the how-to.” In response to changing functional needs and sensibilities, the pro-global design sponsors argue that it promotes the invention and dissemination of new technologies and materials. It is an image of progress, prestige and future orientation, but for the continuity of man 's culture, it is also important for man to be linked to his past. It preserves our individuality in society, just as identity is conveyed by spoken languages and local dialects. In the last ten years , a significant increase in the urban tourism sector has shown that there is concern about the localisation of a place. For high quality, cultural and 'authentic' places, the main demands of urban tourists are.

From now on, if the homogenising trend of modernism is allowed to spread any further, the sole purpose of the tourism sector will lose its meaning.

Each organization, from the American Congress for New Urbanism (CNU), the Council for European Urbanism (CEU) to the RIBA Academy of Urbanism, seeks, in its principle, to create or redevelop its towns, cities and metropolises in order to respect historical patterns, precedents and boundaries, taking into account the regional identity and citizens' aspirations. The Ministry of Urban Development (MoUD) in India also stated that while a "smart city" will be critical for reliable and adequate utility services, the design and creation should be "region-specific and not a generalised concept as previously practised."

IX.

INTEGRATION OF VERNACULAR AND MODERN IN THE CONTEMPORARY DESIGN

Vernacular architecture creates a built environment that is sustainable. The integration of vernacular and modern in contemporary design can henceforth generate sustainable and more effective designs. One such example is Tahiliani Design headquarters in Sector 37, Gurgaon, where the principles of vernacular traditions have been incorporated into the building's contemporary design. The project was nominated for the 2010 AGA Khan Architecture Award.

It is a three-storey RCC structure supported by large mushroom columns and flat slabs, giving generous height to beam free spaces. The column grid is according to the number of tailors and their machines and tables required for space. In places, the mushroom columns also become a 38 | P a g e

vaulted structure and a vaulted terrace garden. The arched shape of the structure, reinterpreted into a contemporary design, is inspired by Delhi 's Islamic monuments. Inside the building, the concrete is left exposed, which adds to the industry's rough character and also reduces the building's maintenance costs.

Figure 21. Main Entrance of Tahiliani Design

Figure 22. Vault detail and front steps detail

To air-cool the production floors, a double stage evaporative cooling system is installed inside.

In order to guarantee good insulation for the building, the cavity wall is used for the external facade. In spaces such as production halls with high occupancy, the generous height also helps to cool the ambient air with natural exhaust systems. Even in extremely humid seasons, ample

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cross ventilation enables comfort. It is a building with a high thermal mass that is ideal for Gurgaon 's harsh and varying climate.

Figure 23. Production Hall Below the skylight

X.

CONCLUSIONS

Globalization is inevitable, and the need for an hour is more important for the country's economic growth. It is the efficient operation of this economic growth engine that needs attention. Building Smart City strategies should be an extension of sustainable planning. An architect must remember that a building is a city sub-set, which is an indicator of a unique civilization in turn. Therefore, it is extremely important today to develop an environmentally friendly, economically efficient and people-friendly architecture where technology is used in infrastructure monitoring, control and management rather than creating one, before it leads to urban decay and gridlock. The new architectural and urban solutions that are being shaped in the country today, such as the Smart City Mission, the Atal Mission for Rejuvenation and Urban Transformation (AMRUT) and Housing for All, offer architects the opportunity to inspire a new architectural language in the age of globalisation that transforms them from being just enormous technical projects into our true identity. Time to make hay while it shines in the sun!

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7.2.

THE HIMALAYAN VERNACULAR: KATH KHUNI ARCHITECTURE AND THE DISTICTIVE FEATURES OF ARCHITECTURE OF HILLS NOWADAYS

In the Himalayan hills of India, a legacy of distinctive traditional construction practise, known as kath-khuni construction, survives and thrives. The resulting building practise is deeply rooted in the environment and the cultural practises and traditions of the region, a natural extension to the knowledge of forbidding landscape, harsh climate, access to local materials and tools. Having evolved over a large span of time, passed on by generation after generation, it demonstrates profound understanding of building science that responds to the frequent seismic tremors that rock the landscape of Himachal. This article highlights the various construction elements, materials and joinery details in traditional kath-khuni construction and the resulting compositional richness in the making of walls, openings and corners that reflect the integrity and beauty of Himalayan architecture.

Figure 24. Panorama showing an old tower temple sitting at the highest point and typical settlement draped around the contoured sunny slopes of the hills in Chitkul, Kinnaur.( https://www.sahapedia.org/the-himalayan-vernacular-kath-khuniarchitecture)

The widespread technique of kath-khuni construction can be found in buildings of various scales, from quite large darbargadhs and kots, to intricate and majestic temples, to modest houses and even small standalone structures like granaries. With its characteristic layered interlocking of wood-and-stone, topped by slate roofs, the kath-khuni buildings are easily recognizable. The method is based on a limited range of materials that have, in turn, developed into a distinctive aesthetic of hard and soft materials, cold and warm colours, rough and smooth textures.

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Figure 25. A typical one-storey house in Gavas

Figure 26. A five-storey tower temple in Summerkot

Traditional builders and local materials The construction of houses is largely done by hand and by the inhabitants themselves, sometimes with the help of other inhabitants of the same or nearby village, while special craftsmen are employed to build temples or religious structures. The know-how of the building construction is passed from generation to generation in mostly oral and empirical tradition by working as an apprentice for a number of years. The mistris of Himachal are typically adept at working with wood and stone, and are a veritable storehouse of indigenous knowledge. Such 42 | P a g e

knowledge may range from where to source the wood or stone, types of wood available and which ones are appropriate for either structural or carving purposes to how to cut thin sheets of singles form a block of stone using rudimentary tools and so on. The entire construction is usually performed manually with limited tools and the use of power-driven technology is minimal and was only recently introduced. It is the close interdependence between people, materials, making and environment that has created a lasting architectures specific to the needs, climate, place, and culture and that evokes a sensation that is special and spiritual, beyond the materiality.

The primary materials of construction are wood and stone for wall and plinth, topped by slate shingles. Wood is an endemic species of the Western Himalayas and one of the strongest Indian conifers, mainly from the Cedrus Deodara (Deodar / Devidar). It has straight veins and grows upto 50 metres. Being very durable, it is used in structural work of all kinds. A well-known folk saying is that this Himalayan wood will last for 1,000 years in water and five or ten times that long in air.

These materials (stone, wood and slate) are locally available and possess specific properties that make them excellent choices for building construction from sustainability and performance perspectives.

Indigenous construction: Kath-khuni 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. However, the method of construction and elements remain similar in most cases. The level of articulation and detailing is far more intricate and elaborate in temples. In the houses, usually the ground floor is used for keeping cattle and the living areas are on the upper floor.

Typical construction starts with ground preparation; relative to the height of the structure, the trench is dug, which is then filled with loose stone blocks that rise up to make the plinth. The raised podium provides the stability to the house or tower and also protects the building from snow and ground water.

It is followed by construction of double-skin wall made with alternate courses of dry stone masonry and wood without any cementing mortar. It involves laying two wooden beams longitudinally parallel to each other with a gap in-between. Loose in-fill material is packed as a filler, and cross braces or dovetails called maanvi hold the external and internal skins of the walls together. This layered construction of wood-and-stone is more distinctly visible at the wall corner and forms the quintessential feature of kath-khuni houses. As the walls rise higher, stone courses decrease and the wood sections gradually increase. The heavier stone bases carry the lighter wooden structure at upper levels. The surface is usually plastered for internal walls with mud.

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Figure 27. A kath-khuni wall is constructed by laying two wooden wall beams longitudinally parallel to each other. This defines the width of the wall. The edge members are lap jointed and secured by a kadil (wooden nail). This arrangement of alternating stone and

Figure 28Images of wall construction at Devidhar village, which show the dry masonry construction with in-fill and lap jointed members at the corner.

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The next space integral to the house is the cantilevered balcony, projecting either on one or all sides of the structure, which rests on the wooden beams fixed in the wood-and-stone walls. A wooden roof frame tops off the structure and is covered with locally available slate tiles. The basic structure of the balcony is secured in walls and details such as parapets, fascia boards and panels are incorporated later. Balconies used to be open but with the passage of time, various forms of enclosures are now observed. The supporting wooden posts also support the roof structure, in many cases are molded and richly carved.

Figure 29.The most critical element in the house is the balcony that acts as an important extension to the living room.

Structurally, it rests on cantilevered members sometimes supported by brackets.

Figure 30. Corner detail; wooden members are notched and lap jointed so that they intersect at the corner and further supported by cantilevered member fixed at one end in the wall.

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The last stage of construction is the roof, followed by purlin and rafters, which is made to rest on wooden beams, has considerable overhang and is covered with slate stone or wooden shingles. The geometry of the roof is usually pent and gable but several variations are observed.

The pitch and geometry of the roofs changes as one climbs to higher altitudes in Himachal Pradesh. The completion of the roof is marked by laying the ridge beam.

Figure 31. Houses showing pent-and-gable roof finished in slate stone in proper rectangular shapes and the image on right shows randomly shaped stones arranged in a house in Janog village.

The construction from foundation to roof uses no mortar in the courses of stone; the sheer weight of dry masonry and the roof in slate stones holds the structure down in place.

Traditionally no metal nails were used in wood courses instead strategically inserted wooden braces and joints held the structure together. Nail-less framework without rivets and not rigid construction allows the building to flex with the seismic waves and effectively dissipate the energy of earthquakes.

CONSTRUCTION NOWADAYS IN HILLY REGIONS Due to difficult terrain, steep gradient, adverse climatic conditions, rich flora and vulnerability to natural hazards, the planning and design of buildings in a hill settlement are tedious and challenging tasks. Several vernacular practises and styles have evolved with local materials and indigenous techniques to meet the needs of people in response to these harsh development conditions, which cause minimal damage to the environment and are sustainable. However, despite the numerous advantages of these vernacular practises, due to the increased demand for more built spaces due to rapid growth, the availability of new construction materials and techniques and the reluctance of residents to adopt vernacular practises, they are often not used for new development.

In various hill settlements, numerous multi-storey buildings with contemporary materials and techniques are built without respecting the context, affecting the health and well-being of 46 | P a g e

residents and causing serious damage to sensitive fragile environments in and around hill settlements. Construction regulations enforced in hill settlements to regulate development and minimise its negative environmental impacts are not contextually appropriate and lead to contextually inappropriate development and environmental degradation in hill settlements that are environmentally sensitive. Therefore, since vernacular practises are proven to be sustainable, it is necessary to take lessons from sustainable vernacular practises for new development and the formulation of construction regulations to achieve contextually appropriate and sustainable development in hill settlements.

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Building regulations to be formulated based on vernacular practices Building regulations such as land coverage, material regulations, earthquake-resistant building and safety regulations, regulations on site development and slope protection, regulations on aesthetic and façade design and space standards and standards for hilly areas can be formulated or modified on the basis of existing vernacular practises in India's hilly areas.

Ground coverage Vernacular / traditional buildings, especially in lower Himalayan areas, have compact planning, small footprints and low open-to-open ratios, and a lot of space is kept open around buildings that can be used for various activities and/or for growing vegetation. This helps minimise the effect of growth on the surrounding environment. Contemporary buildings in hilly areas, in contrast to these vernacular practises, are designed with high footprints and ground coverage and have a high build-to-open ratio. This growth pattern leads to less space around buildings, which is often insufficient for growing vegetation and/or its use for various activities. Therefore, by taking lessons from vernacular buildings and using open space between buildings for landscaping and vegetation, provisions relating to small building footprint and lower ground coverage can be incorporated into existing regulations in order to reduce the impact of new development on the environment of hilly areas.

Material regulation Vernacular practises are developed with locally accessible, easily workable, and natural building materials that are mostly renewable in nature (such as timber, thatch, mud and bamboo), have a good climate response, have no adverse effect on the health of residents and have little or negligible impact on the hill settlement environment. Although the cutting of trees for timber production will result in the loss of precious vegetation, the planting of new tresses in hilly areas needs to be adequately augmented. In contrast, contemporary materials are manufactured from raw materials which are available at specific locations and are transported after production to various parts of the country. These materials have high energy and cause a lot of pollution during production and transport, and are mostly inappropriate for the context of hill settlements. Improved climate responsiveness, lower energy consumption and reduced environmental degradation will result from the adoption of locally available building materials with new construction technology. Therefore, through building regulations, these provisions should be made compulsory.

Earthquake resistant construction and safety regulations The most serious concern in the planning and design of buildings in hill regions is safety against natural hazards. During previous earthquakes, many vernacular practises such as dhajji wall, 49 | P a g e

kath-kuni, koti-banal, taaq and wooden buildings have had a good response (Rautela and Joshi, 2008). However, currently adopted construction practises do not have a good earthquake response in hilly areas and may result in severe damage and loss of precious human life and resources during earthquake occurrences. For earthquake-resistant buildings in hill regions, vernacular practises with appropriate modifications can therefore be adopted for design and construction. It is possible to replace materials such as timber and thatch used in traditional buildings that are vulnerable to fire and termite attack with more durable and fire-resistant materials such as steel or aluminium. The same is seen in the Pehalgam hotel, Srinagar, which is constructed with modern materials such as bricks and steel in the dhajji wall style. Through building regulations, the adoption of such earthquake resistant practises with durable and fire resistant materials can be made mandatory.

Figure 32. Modern building constructed in traditional construction style.

Aesthetic and facade design regulations Each vernacular style has its own unique constructed shape, pattern, materials, colour and decorative elements that give buildings aesthetic quality and create interesting, distinctive and easily distinguishable facades. Varieties of sloping roofs used in vernacular styles help to integrate vernacular buildings into mountain environments and meet functional requirements.

There are building facades with similar elements, features and decorative treatment in all buildings in a traditional hill settlement. Modern buildings built with contemporary materials have dull, uninteresting and unattractive facades that appear in magnificent hill settings as a visual blight. In the present development scenario, the adoption of traditional constructed forms, patterns and facade elements to improve the aesthetic quality of new buildings in hilly areas is extremely necessary. In order to mandate the use of traditional forms, patterns, and decorative elements in modern buildings , building regulations need to be formulated or modified. In addition, provisions relating to the adoption of similar building forms, façade design features / elements, roof type and profile, and colour for all buildings in an area / zone can be incorporated into hill settlement building regulations.

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Figure 33.Different roofing styles in hill regions.

Figure 34. Different roofing styles adopted in hill regions.

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8. STRATEGIES AND RECOMMENDATIONS 5.1. Indian architects who are harnessing traditional wisdom to build the homes of the future Many architects are working for the same including the Vernacular strategies in modern context.

They are harnessing traditional wisdom to build homes of the future.

India is in the throes of a frenzy of planning and several intelligent cities are on the anvil.

Besides being hungry for sand, iron, cement and water, the country's property boom is quickly obliterating any nuances that existed in traditional design to address the climate, environment and culture of the region.

But there is a race of Indian architects who, as a defining characteristic of their work, go against the grain and support sustainability. Instead, these architects choose to turn their back on green rating systems and sustainability certifications to honour time-tested building techniques to create structures that interfere with nature as little as possible, both in design and in the materials used.

They build to suit the local socio-environmental contexts, embrace the use of reusable and renewable materials, and harness traditional building wisdom.

Eco-friendly, they show, does not mean shabby, dull and boring. They make homes of the future, combining sustainability with contemporary, modern designs and a range of materials, textures and colours, homes that gain popularity both for their small footprint and various health benefits as well as for their aesthetic appeal. Instead of a bland Western style, spaces that reflect our culture, environment and needs.

1. Biome environmental solutions – Bengaluru Helmed by Chitra Vishwanath, an expert in sustainable architecture, Biome focuses on building in response to climate, using natural resources wisely and minimising waste streams. Their emphasis is on building with renewable materials such as mud and timber using energyefficient techniques, eliminating chemical-based paints and plasters, harvesting rainwater and solar energy, preserving local biodiversity, and promoting recycling and reuse.

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Figure 35. Biome solutions

2. The Auroma Group – Puducherry Co-founded by architect Trupti Doshi whose designs are informed by her philosophy “Buildings are meant to complement their environment, not compete with it”. This Puducherrybased architect is known for her ecologically-sensitive, vernacular architecture that incorporate natural building materials, revive traditional craftsmanship, and builds in response to local needs and harnessing local talent.

Figure 36 The auroma group

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3. Kamath Design Studio – Delhi Revathi Kamath of Kamath Design Studio is one of India’s most well-known proponents of earth architecture, celebrating the use of mud in all her creations. Her own house, a mud structure built on the site of an abandoned quarry, is testimony of her love for this earth-friendly material.

Figure 37. Kamath Design

4. Thannal Hand Sculpted Homes – Tiruvanamalai Thannal is the brainchild of natural builder Biju Bhaskar who believes that “the place we live in is a material extension of our minds”. The studio is focused on creating awareness about low embodied-energy materials and appropriate technologies, and reviving indigenous architectural wisdom.

Figure 38. Thannal

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5. Footprints E.A.R.T.H. – Ahmedabad Started by ecological architect Yatin Pandya, the firm uses industrial and municipal plastic and metal waste in construction. Under Pandya’s guidance, the firm popularised several innovative building techniques that involve the repurposing of waste. For instance, recycling discarded plastic bottles filled with fly ash and waste residue as an eco-friendly, cost-effective substitute for brick in wall construction, or using empty vegetable crates as doors.

Figure 39. Footprints

6. Mozaic – Goa Behind Mozaic is Dean D’Cruz, well known for turning full time to sustainable building practices in 2012. He has since focused on environment-friendly, cost-effective architecture, conserving Goa’s heritage structures and reviving its local building traditions. He is also a staunch proponent of equitable design and including all stakeholders in the design and execution of the building process.

Figure 40. Mosaic

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7. Benny Kuriakose – Chennai Kuriakose is known for promoting the sustainable and vernacular architectural principles of his mentor of many years, Laurie Baker. His architectural oeuvre is highlighted by natural materials and cost-effective technologies that are also climate, environment and culture appropriate. He embraces the use of eco-friendly practices such as the use of recycled fittings and encourages making the most of the site’s natural elements – light, ventilation and greenery – using cooling clay tiled roofs, large verandahs and open courtyards.

Figure 41. Benny Kuriakose

8. Made in Earth – Bengaluru Started by a team of four young architects, Made in Earth promotes low-impact architecture using locally available, natural building materials and building techniques that keep energy consumption to a minimum. Their designs boast a range of materials, creating diverse textures, colours and finishes.

Figure 42. Made in Earth

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9. Eugene Pandala – Kollam Pandala is recognised for building with mud and other natural materials, and for his unique, free-flowing designs that incorporate the cob technique using straw, soil, and often, gravel. He is known for incorporating mud even into the furniture and fixtures of the homes he builds.

Figure 43. Eugene pandala

10. Dustudio – Auroville Dharmesh Jadeja of Dustudio bridges traditional knowledge and contemporary practices to produce designs that are environmentally sustainable, economically viable and energyefficient. He embraces the use of locally available materials, furthers traditional crafts and creates opportunities to promote the skills and opportunities for local artisans, all the while adapting them to contemporary sensibilities and contexts.

Figure 44Dustudio

Other pioneering Indian architects or architectural firms building responsibly include Didi Contractor (Dharmalaya Institute, Himachal Pradesh), COSTFORD and Vasthukum (Kerala), 57 | P a g e

Auroville Earth Institute (Puducherry), Gerard da Cunha of Architecture Anonymous (Goa), K Jaisim of Jaisim – Fountainhead and Sathyaprakash Varanashi of Sathya Consultants (Bengaluru).

11. Sri Aurobindo ashram Dormitory It was the first of its kind to have cast in situ poured concrete building in India. It was built by the local residents using local materials. It has a protective skin of manually operable louvers.

The roof system comprises concrete tiles with an insulating cavity between the concrete deck and the semi-circular tiles. It has sliding doors of woven teak-wood that permit the passing of breeze without compromising visual privacy. It has a system of pools and gardens that also cool the air.

Figure 45. Sir aurobindo ashram

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12. Torrent laboratories This building is located in Ahmedabad. It is designed and built on the contemporary Vernacular principles. It uses a technology called Pdec-passive down draft evaporative cooling. It is located in the hot dry zones. The fine spray of water at the entry point of the inlet towers cools the air entering in. The outlet towers are located on both sides of the external walls at regular intervals. This arrangement helps to cool down the internal spaces using minimal amount of mechanical aids like fans and pumps. This reduces the internal temperature and hence the energy demands for space cooling.

Figure 46 Torrent laborities

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9. ANNEXURE A survey was conducted through google form.

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What are your thoughts for the same, and how do you see architecture to be followed regional wise? 

Regional vernacular architecture should be continued along with sustainability and adopting Morden architectural techniques.

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The various regions in our country need to retain their vernacular architecture which would enable them to have distinct character and identity and not just be a reflection or replication of strategies being adopted in the west

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Like you mentioned...a perfect blend of the two showcasing their own respective identities

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Adoption of design strategies that are complementing the vernacular architecture should be the priority.

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Maintaining the original identity and architectural character of the region is important and cannot be left behind in the vision of developing modern cities

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Vernacular architecture is essential for the identity outlook of a region, but you can't overlook the positives of modern architecture.

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More awareness and planning about the region specific architecture needs

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The architecture of the area should become the identity of that area. Like jaalis in the buildings of rajasthan gives a regional connect even if its on a modern building

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Globalisation is the main reason why local architecture is losing its identity. we're more influenced by the modern practices and somehow we get carried away by the latest construction technology and innovative materials. More research in local materials and cultures and how those can be incorporated in our modern lifestyle and construction techniques could help in revival of regional architecture

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The shift towards glass buildings in the name "modernism", neglecting traditional and regional, and even climatic factors needs to stop if we want buildings that not only let us live comfortably but has the least impact on the environment around.

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adopt sustainable vernacular strategies of that particular region which should be complemented with modern architecture.

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Not from this field but I think we need originality and technology at the same time keeping in mind the climate, geography and topography.

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It depends on person to person. And what the region demands are at that particular time.

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Traditional and vernacular architecture

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Holding on to the vernacular style and adapting to the present Morden architecture is equally important.

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Since India is known for its diverse cultures and traditions, I would say that Vernacular architecture should be continued by implementing advance and modern architectural strategies to help various regions of India to come up with their original identity, hence it would add on to our age old customs by developing sustainable and stable architecture.

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Architecture now a days is only a tool exploiting the regional ,culture architecture , instead there should be an amalgamation of ancient techniques and modern forms maybe ...the essence should never lost which is clearly not happening

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Making use of the available local resources, by following sustainable practises while making use of the knowledge gained from the traditional vernacular architecture and also using local craftsmanship, would surely help in creating region responsive architecture.

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Drawing inspiration from the region and designing it in a sustainable way that doesn't look bizzare compared to the regional vernacular architecture.

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sustainable vernacular strategies of that particular region which should be complemented with modern architecture.

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10. CHAPTER: CONCLUSIONS With the recognition of the importance of the fourth element that would infuse a living dimension to what has traditionally been constructed as inanimate objects for shelter, the moment is ripe for the next paradigm shift towards holism.

Thus we require an integration of nature into architecture not merely as visual or landscape features but as active bio- environmental elements alive and helping regulate life within our structures while simultaneously contributing to preservation of biosphere.

The vernacular as alternative medicine has to be in harmony with nature. The building architect needs to be sensitized to the realization that nature is man’s greatest resource and that if utilized intelligently could transport its creativity on to a totally different level of sophistication.

The vernacular architecture is still the best solution to housing shortage today. Traditional wisdom and lore in building using renewable resources and indigenous skills may still offer wisely managed, economically effective and culturally appropriate solution to the worlds increasing housing needs. A wholesale reproduction of the traditional local buildings is required.

Diminishing the character of cities and the traditional context of urban architecture without taking into account the image of the city points to architectural globalisation. Following modernist architecture, today's new society is multi-cultural, negating the cultural aspects of the built environment.

Here conflict of our culture” This led to advocating the GLOCAL approach i.e. “Think Global and Act Local.”

A consciousness is to be raised and followed by Architects towards – # Green Architecture which is a reaction to predicament of environmental depredation # Bioclimatic Architecture # Climate Responsive Architecture The Vernacular Architecture which stands in denial today is probably the most appropriate mode of expression for an era that lacks a sense of transformative historic changes.

Some mysteries of the present and future that seek meaning from the past are unanswered.

Now, more than ever, it is time to return to our point of origin to deepen our understanding of the environment and to correlate our ways of mishandling the forests and forests of the earth that play such an important role in shaping and developing the human spirit.

This is because Man is part of Nature……

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The narrower the difference between the two, the better. This does not mean overlooking technological advances, but bridging the gap between the two by connecting with localism to strike a balance pointing towards sustainability in architecture.

REFERENCES 

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