Vernacular Architecture

VERNACULAR ARCHITECTURE – INDIAN CONTEXT

Indian vernacular architecture is the informal, functional

architecture of structures, often in rural areas of India, built of
local materials and designed to meet the needs of the local
people.

These structures reflects the rich diversity of India's climate,

climate
locally available building materials, and the intricate variations
in local social customs and craftsmanship.

It has been estimated that worldwide close to 90% of all building

is vernacular, meaning that it is for daily use for ordinary, local
people and built by local craftsmen
 INDIAN VERNACULAR ARCHITECTURE

The vernacular can be simply defined as

“of, relating to, or characteristic of a period, place, or group ;
especially
i ll : of,
f relating
l ti to,
t or being
b i theth common building
b ildi style
t l
of a period or place ”

Though this definition is better applied to Western culture, more

so in the context of North America, where the ‘vernacular’ often
denotes pioneer construction and architecture.

The ‘vernacular’, in India, denotes low cost, traditional village

and small town settlements,
settlements where construction is carried out
without the help of architects and professionals, where building
activity is regulated by a long tradition that stretches back for
many centuries, in many cases.
 INDIAN VERNACULAR ARCHITECTURE

Vernacular settlements in India often take on the shape and form that is
dictated by the climate they are in, or the socio‐cultural norms that they
are designed to preserve and protect.
For example, village settlements in Uttaranchal are often characterized by
houses of stone, timber and mud mortar on slopes, with thick stone walls
of coursed rubble masonry designed to ward off cold,
cold with a shelter for
animals below the main house (the heat given off by mulch animals heats
the house above further).
In Kerala, village houses are slope‐roofed with Mangalore tiles and
thatch to draw off and channel rain.
In Assam,
Assam the same houses are often built on stilts,
stilts the better to counter
the often damp ground.
In Punjab, whitewash on the outside walls helps to cool down the
summer heat.
 INDIAN VERNACULAR ARCHITECTURE

The cold dry climates in Spiti

‘Mangalore’ tiles in Kerela

INDIAN VERNACULAR ARCHITECTURE

HOUSE ‐ UTTARANCHAL
INDIAN VERNACULAR ARCHITECTURE

HOUSE ‐ PUNJAB
 INDIAN VERNACULAR ARCHITECTURE

In each case we see that vernacular architecture in India’s diverse

regions has evolved a unique way of responding to the climate
and the environment that is sustainable,
It also shows an intelligent approach to the problems of climate,
and is a delicate balance of social and cultural factors through
spatial vocabulary such as walls,
walls courtyards,
courtyards floors and semi‐private
semi private
and private spaces.
Climate, of course, is a predominant factor in determining the
forms of vernacular architecture in India. Climate in India varies
from the scorching sun in the Gangetic plains to the tropical
conditions of the south, from the cold dry climates in Spiti and Leh
to the perennially damp conditions in the northeast of the country.
This variation in climate spawns a diversity of forms for vernacular
architecture.
 INDIAN VERNACULAR ARCHITECTURE

Apart from climate, geography too is a determining factor.

Geography, once again, can vary from the hilly terrain of the
Himalayas
y and Kashmir,, to the flats of the Deccan and the south,,
from the damp ground of Assam and Bengal to the dry earth of
Punjab.
The third
Th thi d factor
f t is i the
th availability
il bilit off material
t i l and d the
th types
t off
material available. In Goa and Karnataka, an abundance of red
laterite stone makes this the medium of choice for vernacular
construction, and d in north
h India
di a clayey
l soilil makes
k sunburnt
b
bricks and mud mortar a commonly used medium. Bamboo
construction can be found in the northeast, and roofs tiled with
the so‐called ‘mangalore’ tiles in the south. Similarly, a plethora of
sandstone made medieval Jaipur into the famous ‘Pink City’, and a
similar stone was used to face Mughal buildings in the 17th
century.
MUD ‐ RAJASTHAN WOOD ‐ KERALA THATCH ‐ TAMILNADU

STONE ‐ HIMACHAL BAMBOO ‐ CHANG GHOR

 INDIAN VERNACULAR ARCHITECTURE
An interesting theory holds that materials also varied
according to the caste system.
White stone is apparently only used by Brahmins,
Brahmins
red by Kshatriyas,
yellow by Vaishyas and
black stone by Shudras.

The Indian vernacular is a true representation of the people

and their culture, and India’s diverse heritage makes this a
fascinatingg study.
y
 INDIAN VERNACULAR ARCHITECTURE

Indian vernacular architecture has evolved organically over

time through the skillful craftsmanship of the local people.
Despite the diversity,
diversity Indian Vernacular architecture can be
broadly divided into three categories.
• KACHCHA

• PUKKA

• SEMI‐PUKKA
 INDIAN VERNACULAR ARCHITECTURE
KACHCHA
A kachcha is a building made of natural materials such
a mud, grass, bamboo, thatch or sticks and is therefore a
short‐lived structure.
structure

Since it is not made for endurance it requires constant

maintenance
i and
d replacement.
l

The practical limitations of the building materials available

dictate the specific form which can have a simple beauty.

The advantage of a kachcha is that construction materials are

cheap and easily available and relatively little labor is
required.
 INDIAN VERNACULAR ARCHITECTURE

PUKKA
A pukka structure is made from materials resistant to wear,
such as forms of stone or brick,, clayy tiles,, metal or other
durable materials, sometimes using mortar to bind, that does
not need to be constantly maintained or replaced.

However, such structures are expensive to construct as the

materials are costly and more labor is required.

A pukka may be elaborately decorated in contrast to a kachcha.

 INDIAN VERNACULAR ARCHITECTURE
SEMI PUKKA
SEMI‐PUKKA
A combination of the kachcha and pukka style, the semi‐
pukka, has evolved as villagers have acquired the resources to
add elements constructed of the durable materials
characteristic of a pukka.

Vernacular Architecture always evolves organically as the

needs and resources of people change.
 INDIAN VERNACULAR ARCHITECTURE

The Indian vernacular is a true

representation of the people and their
culture and India
culture, India’ss diverse heritage.
heritage
 INDIAN VERNACULAR ARCHITECTURE

Vernacular Architecture of North India

• Deserts of Gujarat & Rajasthan
• Havelis
H li off G Gujarat
j t&R Rajasthan
j th
• Houseboats (Dhungas), Kashmir
• Houses in North‐Eastern State
• Bangla & Bungalow, Bengal
Vernacular Architecture of South India
• Palaces & Theatres in Kerala
• Chettinad houses and palaces in Tamil Nadu
• Colonial influence of Vernacular Architecture
• Traditional
T diti l Goan
G H
House
• Franko‐Tamil houses of Puducherry
• Mattancherry settlements
DESERTS OF GUJARAT & RAJASTHAN
 DESERTS OF GUJARAT & RAJASTHAN

Geographical
h l location:–
l The
h Thar
h desert
d off Rajasthan
h and
d the
h Kutch
h regions off
Gujarat.

Climate: Arid region,

region Scorching heat and erratic rainfall.
rainfall The harsh conditions of
the desert and sparse population have resulted in small rural settlements and a
few towns.

Geological: Occasional rock outcrops, plains of dry clay, characterized by sand

dunes.

Vegetation: With no vegetation or moisture to hold the soil, even moderate winds
gain momentum as they travel, turning into sand blasts. Wherever the sand blasts
are obstructed by obstacles, they deposit the entire sand content, resulting in
raised platform of the dwellings. Due to this nature, the houses are open in the
centre and are closed in the periphery.

Culture:
C l S i l distribution
Spatial di ib i based
b d on different
diff castes and
d communityi groups
which are dominant factor in the zoning of the settlement pattern and in the
evolution of built form.
 VERNACULAR ARCHITECTURE OF GUJARAT
Bhunga houses in kutch
Material: Mud and Grass
Deserts of Kutch – Gujarat

Bhungas are single cylindrical structures put close to each other to form a house.
house Each bhunga
is equivalent to a room in a house.
 VERNACULAR ARCHITECTURE OF GUJARAT
Deserts of Kutch – Gujarat
j
Bhungas ‐ constructed mud or stone.
Walls are thick that makes the surface
less penetrative for the heat.
heat
Bhungas have small openings.
Roofs – thatch
Roof overhang is quite low and casts
shadows on the walls and protects the
walls
ll from
f the
h direct
di sunrays.
The circular shape reflects the heat
making it more comfortable during
the hot season.
 VERNACULAR ARCHITECTURE OF RAJASTHAN

In vernacular architecture of
Rajasthan, the conception of
space
p begins
g with a single
g cell
shelter. This is irrespective of
the form and the material
which may vary from one
context to another.
 VERNACULAR ARCHITECTURE OF RAJASTHAN

Settlement Pattern:
The settlement pattern can be categorized into three divisions:

Dhani – Small independent clusters of dwellings occupied by closely related

people. It is often a single family sharing certain spaces, and at the same time,
separate enclosures for their grown up sons. Such a cluster is called ‘Dhani”.

Village – A group of clusters with each having a few or several dwellings

constitutes a village. A village has more than one family and often more than one
communityit type.
t Th
There i a certain
is t i amountt off dependence
d d b t
between diff
different
t
communities.

Town – Caste groupings still dominate the towns.

towns Spatial complexity and large
size of caste groupings.
VERNACULAR ARCHITECTURE OF RAJASTHAN
 VERNACULAR ARCHITECTURE OF RAJASTHAN

Space: The
h idea
id off space is i linked
li k d into
i a single
i l cellll space. This
h could
ld be
b circular
i l
or rectangular, but it always has an independent existence.

In Rajasthan,
Rajasthan the single cell space is called “Jhompa”
Jhompa and in Kutch of Gujarat it is
called the “Bhunga”.

• The process of village making has been an incremental process where a

number of Dhanis come together. Each house is a little Dhani.
• The houses have evolved as a process of multiplication of single cell spaces –
both round and rectangular.
rectangular
• In the spatial organization there is a clear identification of the individual
dwelling unit. Since the houses were not built at one time, it was a common
practice to leave space between them resulting in the formation of
courtyards.
• The common materials used are mud blocks and at places wooden sticks
plastered with mud.
mud Stone slabs are also used in certain places.
places
DHORDO VILLAGE, RAJASTHAN
Vernacular Architecture
 HAVELIS OF GUJARAT & RAJASTHAN

Havelis ‐ The Persian origin of this word means

“an enclosed place”.

Haveli generally means a mansion. But, in

totality it symbolizes generation who articulated
totality,
their lifestyle that includes architecture, customs
and practices,
practices arts,
arts crafts and music.
music
 EXPRESSING AN ARCHITECTURAL IDENTITY
The Bohra settlements and houses of
Gujarat, in western India, present an
architectural response of an exposure
to another culture and a desire to
maintain one's own identity.

Traditionally,
y Bohras are p primarilyy
engaged in trade, and first settled in
the port town of Khambat in Gujarat.
They eventually spread to other towns
in Gujarat such as Surat, Kapadvanj,
Dohad, Godhra, Vadodra, Siddhpur,
Dholka, Patan, etc.

Bohras formed a distinct

Neighbourhood in each settlement
called a Bohravad.
Bohravad
 BOHRA HOUSES OF GUJARAT

Bohravads fall into two different categories based on the physical

layout:

1. Organic development
2. Grid iron layout.

Both the developments maintained a closed‐system of streets, sub‐

streets and small open spaces accessible only through a gate linking
to the city streets and the overall urban fabric.

Traditionally Bohravads evolved organically within the confines of

the available land in the fortified city. But the newer Bohravads
evolved due to the Bhoras' contacts with the Europeans and are laid
outt in
i grid
id iron
i pattern
tt and
d are nott constrained
t i d byb the
th shape
h andd
size of the land.
 BOHRA HOUSES OF GUJARAT

The buildings of the Bohra community include a mosque, the

assemblyy hall for religious
g discourse, the local ppriest‘s house, a
travellers' lodge and a community hall for ceremonial occasions.

The Bohras do not refer to themselves as Muslims but refer

themselves as "Bohras". This characteristic reflects the way they
maintain their identity separate from the Muslims and Hindus

The house of a Bohra is a shelter for

• Security,
• Collective living and
• human hierarchy.
 BOHRA HOUSES OF GUJARAT

There are three kinds of architectural forms in which the identity of

the Bohras is manifested:
1. Commercial buildings
2. religious buildings and
3. Residential buildings.
Commercial buildings: the architectural forms more or less
symbolize
b li the
h common regional
i l characteristics
h i i off the
h trading
di
communities of Gujarat with rows of shops on the ground floor on
either side of the street.
The religious places include a mosque, a hall, a priest's house, a
tomb and a cemetery. These distinctly reflect the Bohra identity by
the way of strong geometrical forms are woven with the local
designs making the whole façade very ornamental and decorative.
 TYPICAL BOHRA HOUSE

A typical Bohra house is distinguished by its facade decor, the

treatment of the openings and rich materials of construction.

The basic plan of a Bohra house is similar to that of a Hindu house

which conforms to the general pattern of a medieval row house.
 BOHRA HOUSES OF GUJARAT

The Bohra houses reflect three interesting features:

• The hierarchy maintained in the Bohra's life is found in their

houses by way of vertical and horizontal hierarchy of its spaces,
going
i from
f the
h most public
bli to the
h most private
i enclosures.
l
• The enclosed spaces within the house also reflect their efforts to
maintain a distinct identityy from other religious
g ggroups
p and a
sense of seclusion and privacy from outsiders.
• As many of their houses are built above their shops or in
separate Bohravads,
Bohravads this provides a degree of security against
outsiders. At the same time, these houses do not open directly
on the front street, and prevents quick access into the houses.
BOHRA HOUSES OF GUJARAT

At the
h ground d level
l l one
enters the house through a
75 cms raised portico above
the street level.
level

Through the main door, one

steps into an anteroom,
anteroom
known as dehli separated by
a light screen from the inner
court to ensure privacy
p y
inside the house. This space
usually houses a stair which
directly leads to the upper
floors. From here visitors
are directly led up to the
formal sitting room on the
fi floor.
first fl
 BOHRA HOUSES OF GUJARAT
• Next to the open to the sky court,
court all the services are housed on its side walls.
walls
• The space immediately after the court is fully open on the courtside and referred
to as baharni parsal (external portico).
• This is followed by a room known as andarni parsal (internal portico).
• The last room of the house, the ordo (family room), which is the sanctum of a
Bohra family 's life.
 BOHRA HOUSES OF GUJARAT

• The upper floors are normally organized as independent

rooms on either sides of the court around which the
services
i are located.
l d In
I the
h case off a house
h with
i h more than
h
one upper floor, the stair is also located in the area around
the court. This space is known as ravas.
 BOHRA HOUSES OF GUJARAT

• On the top floor, the ravas becomes a terrace separating

the rooms in the front and at the back.
back
 BOHRA HOUSES OF GUJARAT

• A double lean‐to
lean to roof over both these rooms allows an attic
space underneath known as daglo.
 BOHRA HOUSES OF GUJARAT

Use of Space
• The Bohras rarely use the raised, street side portico, which is
used extensively by other communities for various activities such
as sitting space for elders and play area for children. This could
be attributed to the greater confinement of women in the social
set up of the Bohras.
• The anteroom serves as the second buffer between the inner
and external domain. Generally, light wooden screens are placed
to avoid a clear view into the house from the street.
street This also
serves as a brief meeting point between the menfolk and casual
visitors.
• The staircase to the first floor is located here and directly leads
the guests to the first floor sitting room.
• The family domain (OR(ORDO)O) in the ground floor is opened only to
the close relatives and family friends.
 BOHRA HOUSES OF GUJARAT

Use of Space
• The open to sky court helps to ventilate the whole house besides
letting in light on all floors. The kitchen and other services are
located around the court.
• The court as well as the baharni parsal are used for dining and
lounging and all domestic activities are also carried out here.
These spaces actually are the hub of the family world and used
throughout the day.
• The andarni parsal,
parsal being covered,
covered is generally used when the
court is unusable. Andarni parsal often has a swing which is
popular in hot climates to keep cool.
• The cupboard on the extreme rear wall of ordo is always
designed in Islamic traditions representing the concept of nine
squares
squa es known
o as navkhand.
a a d
 BOHRA HOUSES OF GUJARAT

Construction and building materials

• The construction up to plinth is in stone which protects the
house from the damp rising from the ground and also provides a
base for the facade.
p
• The superstructure in most cases is executed as a systemy of
frame structures in wood with brick masonry infill walls.
• The floors are supported on wooden beams spanning across the
bay and, where the load is heavier, supported by additional
wooden posts. All the wooden posts sit on stone bases to avoid
decayy from dampness.
p
• The roofing is of galvanized iron sheets resting on beams directly
spanning the width of the bay.
 BOHRA HOUSES OF GUJARAT

Facades and Decorations

• The facades of Bohra houses,
houses differ from the Hindu houses with
the dominant variations of European styles.
• Fanciful forms of Renaissance and Baroque
q styles
y are freelyy used
to decorate the sculpture elements, particularly columns,
pilasters and entablatures.
• An effect of great richness is produced by integrating the
mouldings with the capitals, decorated panels, deep cornices,
iron ggrills,, and wooden door works.
 BOHRA HOUSES OF GUJARAT
Facades and Decorations
• The facades do not display any
Islamic characteristics except for
a sense of privacy that pervades
the interior.
• Th
The decorations
d ti extend
t d over theth
entire facade, differing from
house to house in form as well as
colour. However, a very definite
control is achieved by the
interrelation of key elements
such as floor heights, plinths, and
the roof line; other smaller
elements
l t are used d to
t harmonize
h i
and bind the entire facade.
 BOHRA HOUSES OF GUJARAT

Facades and Decorations

• A study of the decorative motifs, in false
ceilings and window panes,
panes reveals that
these are not strictly geometric patterns
but also contain representational motifs
such as the floral patterns.
patterns
• In the facades, a great variety of various
treatment of European styles were
found in components such as doors, doors
windows, columns, and balustrades.
• Arched openings such as the flat, the
semicircular, the segmental, and the
pointed are observed.
• Columns are found to varyy from simple
p
regional designs to variations of the
Greek classical order.
 HAVELIS OF RAJASTHAN
Haveli’s in Rajasthan
j denotes a p
private residence. From 1830s Haveli
became an important building in Rajasthani regions of Shekhawati and
Marwar.

• Havelis of Rajasthan are Colourful, magnificent and are the symbol

of rich culture and heritage of Rajasthan.
• Almost every little village has a haveli, the size and workmanship
varies according to the status of the owner.
• Havelis of Rajasthan incorporate Hindu, Mughal and Rajput styles
with exquisite carvings on walls,
walls elegant facades and elaborate
balconies.
• These havelis are intricately carved and frescoes are important
feature.
feature

The havelis in Rajasthan are widely seen in the areas of Jaisalmer,

Sekhawat region,
region Marwar and other districts where the traders used to
do well.
 HAVELIS OF RAJASTHAN
Havelis of Shekhawati
 HAVELIS OF RAJASTHAN
COMPONENTS OF RAJASTHANI HAVELIS
• PAVILIONS
• BARADARIS AND CHATTRIS
• COURTYARDS
• ENTRANCES
 HAVELIS OF RAJASTHAN
• The main features of these havelis were chhajjas jj ((sunshades),
),
jharokhas (balcony windows) and jalis (screen windows or
chatris).
• Theyy were usuallyy built around a courtyard
y with darwazas done in
beautiful architectural elements.
• The motifs on the walls varied from everyday scenes and subjects
inspired by the west with beautiful and appealing frescoes .
• An amazing feature of these havelis was the intricately carved
wooden doors.
• They were closed from all sides with one large main gate which
provided security and comfort in seclusion from the outside
world.

The havelis of Shekhawati consist of 2 courtyards ‐ an outer one and

an inner one. The outer courtyard is for men. The inner courtyard
(
(aangan)) is exclusively for women. A large Haveli with two or three
storeys can have three to four courtyards.
 HAVELIS OF RAJASTHAN

Ground Floor Plan and First Floor Plan of a Haveli in Shekhawati, Rajasthan
 HAVELIS OF RAJASTHAN
Climate Responsive feature identified in Shekhawati Haveli
 Compact settlement plan – mutual shading by buildings
reducing heat gain
 Narrow streets with tall buildings around – shades the streets
and provides comfort for pedestrians
 HAVELIS OF RAJASTHAN
 Courtyard planning
• The havelis of Rajasthan used courtyards / chowks and their elements as the
perfect architectural response to the state’s diverse culture and climate.
• An inward looking open space providing security, privacy and also acts as a
microclimate modifier.
modifier
• The paintings on the walls overlooking the chowk in the havelis of Shekhawati,
depicts Krishna‐Radha Leela, stories related to the owner, stories of Shekhawati
itself the battle scenes to make women aware of them,
itself, them the steam engine to
depict advancement – The manifestations of lifestyle of people.
Air movement caused by
temperature differences
(convection currents) utilized
in natural Cooling / ventilation
of buildings.

Plan and the section of a typical courtyard in Haveli, Jaisalmer.

 HAVELIS OF RAJASTHAN
COURTYARDS
• The courtyards also provided lighting and ventilation to
interior spaces.
• The
Th arcadesd along
l th courtt / high
the hi h wallll around
d it,
it kept
k t the
th
interiors cool.
 HAVELIS OF RAJASTHAN
Inner courtyard
y to
outer courtyard
through transition
space

SSemii open areas around

d
courtyard
Section through Courtyards
 HAVELIS OF RAJASTHAN
 Construction Technology
gy ‐ Heavyy buildingg envelope
p creates a
larger time lag, keeping the interiors cool during daytime while
warmer during nights.
 Wall ‐ 1’6” thick ‐ stone p plastered with lime.
 Columns – Assembled laterite stone or monolithic timber
joints.
 Roofs ‐ Flat roofs with insulation layer ‐ 1 1’ 6
6” thick, double
layered with a layer of stone veneer with lime mortar on it.
Lime , jaggery and hesian are mixed together in the roofing
plaster and applied on stone slabs.
slabs
 A layer of inverted clay pots is then placed on it with a layer of
lime mortar finished with reflective broken pieces of porcelain
which reflects most of the radiation.
radiation
 HAVELIS OF RAJASTHAN
 Small openings
p g with thick shutters,, jjali screens and
Jharokhas ‐ natural ventilation inside the building during day
is not desirable due to hot and dusty winds.

Openings are shaded with projections covered all around with perforated
stone screens known as Jharokhas.

This allows cooling of air by venturi effect phenomenon.

Facade decorated with intricate lattice work with a projecting

p j g
window from the wall, in an upper storey, overlooking a street,
market, court or any other open space.
 HAVELIS OF RAJASTHAN

 Ceiling heights – The habitable rooms have ceiling height of

minimum 15 feet . The uninhabitable spaces are only 9’ high. This
provides a larger air mass resulting in lower temperatures in the
habitable spaces.
 Materials and Construction – Stone with lime mortar
 Light
Li ht coloured
l d External
E t l façade
f d obtained
bt i d from
f natural
t l stones
t
and vegetables.
 HAVELIS OF RAJASTHAN

Havelis of Jaisalmer
 HAVELIS OF RAJASTHAN

Hawa Mahal,
Mahal Jaipur with 953 Jharokhas
 SUBTERRANEAN ARCHITECTURE ‐ GUJARAT

 The step wells originated from the need to ensure water during the
period of drought, and in the deep relationship of faith in the
Water God as conspicuous even in the Vedas of around 1000 BC.
 The wells are approached by descending steps from ground level
top
p reach the water levels.
 The combination of rainwater and ground water filled the wells
during monsoon season and the water level receded as the dry
season progressed.
progressed
 Wells could be as deep as 9 levels from the ground, but mostly they
would have four to five stories deep with sheltered landings at
each level.
 They were the meeting and resting places for men on hot
summer afternoons.
 SUBTERRANEAN ARCHITECTURE ‐ GUJARAT
 Generallyy stepp wells with direct access to ppublic served the
purpose of providing water in the desert regions.
 The Hindu structures built through royal Patronage are often
elaborate
l b t with ith sculptures
l t off deities,
d iti animals
i l and d finely
fi l
sculpted elements.
SUBTERRANEAN ARCHITECTURE ‐ GUJARAT

A typical step well

 ADALAJ STEP WELL

 Located 18 kilometers
North of Ahmedabad in
G dhi
Gandhinagar .
 Built during the reign of
Queen Rudabai, a
Muslim ruler. Also
know.n as Ruda Vav
 Built in sand stone
bestowed with dense
ornament.
 octagonal in plan , built
on intricately carved
Pillars with five stories
d th
depth.
ADALAJ STEP WELL
 ADALAJ STEP WELL

 The step well at Adalaj has a cruciform plan.

 Steps from the east, south and west lead down to meet at the
landing, from where the form faces northwards towards the
well, steps leading further down to it.
 The overlap off the cruciform
f is the landing, a square, but
stone beams stretching at 45゜across its four corners cuts the
skyy out in an octagon.
g
 Climbing down facing the well in the interior, on both sides of
the walls, beams stretch across supported by columns
standing
t di between
b t th steps.
the t
 In the passage space they create a three‐dimensional lattice,
with the stone floor slabs runningg across,, interrupting
p g light
g
and creating a rhythm of light and shade.
 ADALAJ STEP WELL
 At the bottom, a square stepped floor descends like a funnel
to the bottom‐most plane, which is cut out into a circular
well.
 Column and beam,
beam wall and arched openings wind around
the square stepped floor, forming a backdrop.
 The upper part of the well is a vertical space open to the sky.
 At the four corners of the square are stone beams stretching
at 45゜forming an octagonal cut out tubular space.
 ADALAJ STEP WELL

• Four small rooms

with windows decorated
with minutely carved
brackets are provided at the
landing level, at the four
corners.
corners
 ADALAJ STEP WELL

 Typically Indian style

with traditional
trabeat with
horizontal beams
and lintels.
 Motifs of flowers
and graphics of
Islamic architecture is
used as decorative
elements.
 Temperatures inside
the well is about five
degrees lower than
the outside summer
temperatures.
temperatures