CULTURAL MANIFESTATION THROUGH ARCHITECTURE SPACES

CULTURE MANIFESTATION THROUGH ARCHITECTURAL SPACES DISCERNING THROUGH CASE OF PATWON KI HAVELI RESEARCH THESIS BY SNEHA PERIWAL

A thesis submitted in partial fulfilment of the requirements for the degree of

BACHELOR OF ARCHITECTURE (B.ARCH.) SCHOOL OF ARCHITECTURE GIJUBHAI CHHAGANBHAI PATEL INSTITUTE OF ARCHITECTURE, FINE ARTS & INTERIOR, SURAT @2020

ACKNOWLEDGEMENT It is my privilege to express my sincerest regards to my project coordinator, Ar. Chintan shah , for his valuable inputs, able guidance, encouragement, whole-hearted cooperation and constructive criticism throughout the duration of our project. I wish to express my warm and sincere thanks to Dr. Rajesh Mehta for his support & the facilities provided by him in college.

I deeply express my sincere thanks to our Head of Department for encouraging and allowing me to present the project on the topic “CULTURE MANIFESTATION THROUGH ARCHITECTURAL SPACES THROUGH CASE OF PATWAO KI HAVELI” at our department premises for the partial fulfillment of the requirements leading to the award of B-ARCH degree. I take this opportunity to thank all our lecturers who have directly or indirectly helped in my project. I pay my respects and love to my parents and all other family members and friends for their love and encouragement throughout my career. Last but not the least I express my thanks to my friends for their cooperation and support.

INDEX Certificate Acknowledgement Contents

CHAPTER 1: 1.1 1.2 1.3 1.4 CHAPTER 2:

Understanding terms List of figures Abstract Introduction Aim Objective Research methodology Book reference Literature theory Culture and society

2.1 2.2 culture and architecture relationship 2.3 Haveli CHAPTER 3: Literature case study 3.1 About Jaisalmer 3.2 Case study : patwon ki haveli CHAPTER 4: Analysis of case study 4.1 Analysis on basis of spatial and physical structure 4.2 Analysis of culture in relation to spaces of haveli 4.3 Result of analysis CHAPTER 5: Conclusions • Refrences

6.3 UNDERSTANDING THE TERMS NO.

TERMS

MEANING

1.

BAITHAK

MALE SITTING/LIVING ROOM

2.

BHANDAR

STORE

3.

CHANDNI

TERRACE ROOM WITH OPEN ROOF

4.

CHAT

CEILING

5.

OHRA

BACK ROOM BEHIND COURT

6.

CHOWK

COURTYARD

7.

PARSAL

VERANDA AROUND COURT

8.

DARWAZZA

DOOR

9.

DEHLEEZ

THRESHOLD

10.

GHUDSAL

STABLES

11.

OTTA

SITTING OUTSIDE ENTRANCE

12.

KOTHA

STORE OR ROOM

13.

KHAAI

COMMON TOILET

14.

MOL

SPACE OF ENTERTAINING GUEST ON UPPER FLOOR

15.

NAAL/JINA/SIDI

STAIRCASE

16.

NOHRA

SPACE USED FOR SERVICES

17.

PARINDA

WATERSPACE

18.

POLI/BARSALI

LOBBY/FOYER

19.

PUJA

PRAYER SPACE

20.

RASOI

KITCHEN

21.

SAL

BIG ROOM WITH VAULTED CEILING

LIST OF FIGURES: FIGURES NAMES 1 INTERDEPENDENCE OF CULTURE AND ARCHITECTURE 2 MODEL SHOWING INTERRELATIONSHIP BETWEEN CULTURE AND ARCHITECTURE 3 PATWA HAVELI OF JAISALMER 4 INDIA MAP 5 RAJASTHAN DIVIDED IN REGIONS 6 MAP OF JAISALMER

7 JAISALMER CITY 8 PEOPLE OF JAISALMER 9 DRESSES OF PEOPLE OF JAISALMER

10 FESTIVALS IN JAISALMER 11 POLARITY 12 HAVELI INSIDE 13 :HOUSE ORIENTATION ACCORDING TO NORTH EAST 14 MARKING OF RESIDENTIAL AREAS 15 DIFFERENT INCOME GROUP AND TYPOLOGIES OF HOUSES ACCORDINGLY 16 PATWAO KI HAVELI ENTRANCE 17 PATWAO KI HAVELI FACADE 18 TABLE OF ANALYSIS OF CULTURE OF PATWON HAVELI 19 SITE PLAN (REFERENCE: GOOGLE EARTH)

20 SITE PLAN (REFERENCE: RESEARCH REPORT OF SHIKHA JAIN) 21 SITE PLAN (REFERENCE: DOCUMENTATION OF JAISALMER BY G.C. PATEL INSTITUTE OF ARCHITECTURE

FIGURES NAMES 22 GROUND FLOOR PLAN (REFERENCE: DOCUMENTATION OF JAISALMER BY GC. PATEL INSTITUTE OF ARCHITECTURE) 23 BAITHAK

24 INNER CHOWK/ COURTYARD 25 KITCHEN SPACE 26 VIEWING GALLERY 27 MOL 28 FIRST FLOOR PLAN (REFERENCE: DOCUMENTATION OF JAISALMER BY GC. PATEL INSTITUTE OF ARCHITECTURE

29

C. ROOM

30

SECOND FLOOR PLAN (REFERENCE: DOCUMENTATION OF JAISALMER BY GC. PATEL INSTITUTE OF ARCHITECTURE

31 THIRD FLOOR PLAN (REFERENCE: DOCUMENTATION OF JAISALMER BY GC. PATEL INSTITUTE OF ARCHITECTURE 32 THE CUPOLAS 33 HAVELI ENTRANCE WITH TARAPHUL HOLES 34 FRONT ELEVATION (REFERENCE: DOCUMENTATION OF JAISALMER BY GC. PATEL INSTITUTE OF ARCHITECTURE) 35 JHAROKHA 1(REFERENCE: DOCUMENTATION OF JAISALMER BY GC. PATEL INSTITUTE OF ARCHITECTURE) 36 JHAROKHA 2 (REFERENCE: DOCUMENTATION OF JAISALMER BY GC. PATEL INSTITUTE OF ARCHITECTURE) 37 JHAROKAS AND BALCONIES 38 VIEWS OF PATWO KI HAVELI 39 SECTION CC’(REFERENCE: DOCUMENTATION OF JAISALMER BY GC. PATEL INSTITUTE OF ARCHITECTURE) 40 INNER COURT VIEW

41 ENTERTAINMENT ROOM

FIGURE

NAMES

52 SPATIAL ORGANISATION ANALYSIS

53 SPATIAL HEIRACHY ANALYSIS 54 BUILT PROPORTION ANALYSIS OF PATWAO HAVELI 55 PROPORTION, SYMMTRY AND RHYTM SHOWN IN INNER COURTYARD 56 ANALYSIS OF CULTURAL SIGNIFICANCE OF SPACES INSIDE HAVELI 57 RESULT OF ANALYSIS MODEL OF RELATIONSHIP BETWEEN CULTURE AND ARCHITECTURE OF PATWA HAVELI OF JAISALMER

ABSTRACT As per numerous analysts, "culture" is the primary factor in the arrangement of compositional spaces and plays an important role in social sustainability.

The havelis of Jaisalmer, despite several constraints, are excellent examples of culture and traditions; a house form that represents the architectural responses to the diverse culture; a language of architecture expressed through the way of living, aesthetics, beautiful facades and the rich variations in the elements.

This study investigates the relationship between social, cultural and religious traditions and the architecture of haveli . To understand how organisation of spaces and composition of facade and elements in a haveli reflect culture of the region by case of patwaon ki haveli, Jaisalmer havelis by determining a part model that consists of four parts and is flexible is used. This report analysis the linkages between architectural artifacts selected or devised by a culture, architectural values, social norms and social values.

It also represents a search for answers as to how the cultural traditions of the traditional family, beliefs, values and rituals influence haveli architecture of Jaisalmer and It also aspires to take lessons from the selected spaces in influencing socio-cultural interactions giving rise to recommendations useful for similar socio-cultural domain.

Key words: Patwon ki haveli , Jaisalmer , havelis, culture , socio culture , architecture, .

CHAPTER 1: INTRODUCTION It is known that the formation of haveli and its architectural forms is affected by a wide spectrum of factors, and that the characteristics of haveli are not only determined by physical influences or factors but also shaped by the results of all sociocultural factors within the society. The design of the Patwas haveli of Jaisalmer is influenced by both cultural values and choices. It reflect rules, norms and social relationships. In the same way, houses are replete with symbolic meanings.

Jaisalmer nicknamed ―The Golden city despite facing several constraint is rich in culture and architecture . One such example is the havelis of Jaisalmer . This study shows the various socio- cultural factors affecting the space and form of the patwaon ki haveli through a 4 part model

1.1 AIM : - It aims to study the the influence of socio-cultural factors in formation and composition of the Patwon ki haveli of Jaisalmer .

1.2 OBJECTIVE : - To study the relationship between form of haveli architecture and culture .

- To identify socio – cultural factors and their influence on form and spaces of Patwon ki haveli.

- To study the linkages between architectural artifacts selected or devised by a culture, architectural values, social parameters and cultural parameters with respect to case of patwaon ki haveli.

- To study the history, culture (family structure, beliefs , traditions, neighbourhood, hospitality), social hierarchy and the local materials which influences the spatial organization, architectural elements and façade composition of haveli of Jaisalmer.

- To derive how the cultural manifests in architecture form and spaces of haveli.

1.3 METHODOLOGY OF RESEARCH : • • • •

In order to achieve the objective of research a qualitative approach is taken.

Theoretical studies.

Literature case study.

This relationship between the patwon ki haveli form and space and sociocultural factors has been explained using a four-part model, and through that analysis will get that which shows the culture reflection in architecture. This model can be used as a methodological tool for exploring and understanding the relationship between a particular culture and its architecture and also to learn about the value and meaning of specific architectural artifacts.

1.4 BOOK REFERENCES: • • • •

SOCIETAL VALUES AND ARCHITECTURE BY SANJOY MAZUMDAR AND SHAMPA MAZUMDAR HAVELIS OF RAJASTHAN – FORM AND IDENTITY – BY SHIKHA JAIN VISTARA: THE ARCHITECTURE OF INDIA‟ -BY UNKNOWN ; REPUBLISHED BY SHARMILA CHAKRAVORTY SHALMALI WAGLE PRASENJIT BHOWMICK AYISHWARIYA BALAGOPAL CHRISTINA D‟SA INDIAN ARCHITECT & BUILDER MAGAZINE RELIGION HERITAGE AND SUSTAINABLE CITY - BY YAMINI NARAYANA

CHAPTER 2: LITERATURE THEORY 2.1 CULTURE Culture is defined as the ideas, customs and social behaviour of particular people or society. The behaviours we are accustomed to and have been taught are the factors determining the kind of spaces we need to live in.

According to British anthropologist Edward Taylor, “Culture is that complex whole which includes knowledge, belief, art, morals, law, custom and any other capabilities and habits acquired by man as. a member of society”.

Culture refers to the patterns of thought and behaviour of people. It includes values, beliefs, rules of conduct, and patterns of social, political and economic organisation.

These are passed on from one generation to the next by formal as well as informal processes. It expresses itself through social habits, customs, economic organisations and political institutions. This people coming togather forms a society .

Culture is intangible in form . It includes norms, values, beliefs, myths, legends, literature, ritual, art forms and other intellectual-literary activities. These are expressed by tangible aspects such as architecture , house design , technology , etc.

These are said to be usually interdependent on each other.

2.2 CULTURE AND ARCHITECTURE: Architecture is a manifestation of the cultural context in which it resides. The form and relationships of buildings and spaces act as a kind of "cultural marker" that can be read, similar to the way one might read a newspaper or road map for information, to describe the way of life and social status of its inhabitants. It is basically physical expression of culture.

FIG 1 :INTERDEPENDENCE OF CULTURE AND ARCHITECTURE

“Architecture as a matter of human life reflects the culture in every society interacting closely with structural, historical, political, economic and social features of society.

People in every country try to follow their norms and maintain their values in making of architecture by applying the material things. Changing the cultural and social attitudes in communities has the greatest impact on the architecture. Therefore, the role of culture in promoting architectural identity seems essential”.

This relationship between architecture and culture could be represented through a socio-physical model of the relationships between culture and its architecture. The four-part model shows the linkages between architectural artifacts selected or devised by a culture, architectural values, societal norms and societal values.

CULTURAL/ SOCIAL CULTURAL PARAMETERS

SOCIAL PARAMETERS

INTANGIBLE

ARCHITECTURAL ARCHITECTURAL VALUES

ARCHITECTURAL ARTIFACTS TANGIBLE

FIG 2: MODEL SHOWING INTERRELATIONSHIP BETWEEN SOCIETY AND ARCHITECTURE

The relationship between the Haveli form and socio-cultural factors can be explained through a model. Therefore, in this report , a model that consists of four parts and is flexible is used. It shows the linkages between architectural artifacts selected or devised by a culture, architectural values, social norms and social values.

2.3 HAVELIS IN ARCHITECTURE: Haveli means a mansion, and the word was derived from Arabic. Probably taken from the Persian word Hawli, meaning an enclosed place.

The havelis are an excellent examples of regional character and traditions; a house form that represents the architectural responses to the diverse culture as well as the climate; a language of architecture expressed through a way of living, aesthetics, beautiful facades and rich variations in the elements. Most fascinating are the courtyards, which not only define the perfect spatial organisation of those times, but were also the centres for rituals, marriages, festivals and social gatherings.

Haveli architecture is a unique vernacular architecture form that flourished in the 18th and 19th century in the pre-Partition western India, particularly in Rajasthan and Gujarat.

The conception, realization and usage of a particular architectural form are rooted in an ideology or worldview. In this context, `world view' indicates a way of life as a response to the social, economic, political, religious and environmental issues. THIS FEATURES HELP IN FORMATION OF HAVELI Influenced by cross-cultural currents from central Asia, Islamic Persian and Rajput architecture, the Haveli architecture was a direct response to the regional climate while being a mirror of local art and landscape.

It a language of architecture expressed through a way of living aesthetics beautiful facades and rich variations in the elements.

The patwa haveli of jaisalmer a varient example of culture reflected in FIG 3 : PATWA HAVELI OF JAISALMER architecture.

CHAPTER 3: CASE STUDY : 3.1 UNDERSTANDING CITY- JAISALMER: 3.1.1 HISTORY : • •

•

•

Jaisalmer is located in the arid plains of west Rajasthan in the midst of the vast Thar desert. It is a region of deficient rainfall averaging about 15cms a year and therefore only sparse vegetation is found.

It represent the rich cultural heritage and traditional legacy of the bygone era. The vibrant and dynamic lifestyle of the local indigenous inhabitants of Jaislamer is reflected in the various socio-cultural and religious festivities of the place which is celebrated with great enthusiasm and fervor.

It was established in 1156 AD by Maharaja jaisal as the capital for his territory on the site, which was protected by high sand dunes. It is built of yellow sand stone, located on top of a hillock; it is a compactly built city with a dense mass. The strategic position of Jaisalmer brought it great wealth through the merchants and townspeople, these wealthy people built magnificent Havelis, decorated with carving on wood and goldenyellow sandstone.

Longitude: 69.3 to 72.2° East

FIG 4 : INDIA MAP

Latitude: 26.01 to 28.02° North

FIG 5: RAJASTHAN DIVIDED IN REGIONS

FIG 7: JAISALMER CITY

FIG 6: MAP OF JAISALMER

3.1.2 CULTURE OF JAISALMER • PEOPLE The population predominantly are marwari merchantes and Rajput‘s which comprise of the marwaris, Oswal jains, Sindhin, Muslims, Bhati clan and Brahmins and. Other tribes like Jats, Sonis, Khetris, Hazuri, Bhils, Jogis and Oswal jains can also be seen in this area.

FIG 8: PEOPLE OF JAISALMER

• DRESSES Women wear patterned bodice, long frilled skirt and deep dyed wimple with contrasting border. The dress of the Bhatis consists of a tunic; lose trousers, a scarlet colour turban, a dagger in the waist band, shield in the left shoulder and a sword braced in the belt. The dress of the common people is the dhoti and a turban. Muslim ladies wear cusped trousers under the skirt, long sleeved blouse and a long scarf and men wear long shirt and an embodied cap. Women also wear ivory chuda (series of armlets) in addition to gold and silver ornaments.

• FAIRS AND FESTIVALS The Hindu celebrations of Sawan, teej, Gangaur and Akshya Tritiya are observed. The Jain celebration of the Mahavir Jayanti can also be seen because of many Jains in that area. The annual sand dunes festival is set up into the Sam sand dunes in the desert towards the southwest of the city which held in February.

These festivals evolve from the rural agrarian life, later on became an accumulating religious connotation.

• LANGUAGE The people of Jaisalmer speak Marwari one of the four Rajasthani languages which is widely popular in the Thar Desert region.

FIG 9 : DRESSES OF PEOPLE OF JAISALMER

FIG 10 :FESTIVALS IN JAISALMER

ECONOMY: Being the most influencial trade routes of 17th and 18th century lots of traders and rich marwadi merchants invested in the architecture by creating havelis as symbols of influence. And later this turned as great attraction for tourists .

3.1.3 SCOIETY: : It was a male dominated society where women were restricted inside the house. The men performed the outside activities and women took care of all the household matters.

The caste and occupation was organized in the similar pattern and also in the built form.

Each dwelling had a balance of the male and female activities. The women folk are unaware of the outside world and men folk are equally unaware of the happening inside the haveli.

The management of the food grains, production of various spices, pickles, eatables, and control of the servants were under the female members. All religious activities were carried out in the inside by the female and specific men would participate. This also demarcated the role of women.

It was a clear-cut demarcation between the activities, thus the workspaces and there was hardly any visible interaction between the two genders. This demanded a segregation of space as we find in terms of minimum of two courtyards.

FIG 11 : POLARITY

FIG 12 : HAVELI INSIDE

Cultural , Religious and ritual set-up The owners of most of these Havelis were Hindus belonging to different castes-traders, Brahmins, warriors etc. the rituals for all of them were more or less the same. Most of the rituals were performed around fire- the rituals of birth, marriage, death, festivals etc. The earliest medieval towns of Rajasthan indicate agriculture based society and the fairs and festivals like Holi, Diwali, Gangaur, Basant Panchami, Teej etc.

Later on these festivals also became part of the religious rituals associated with various gods and goddesses and each community or caste interpreted them with their local myths. All festivals are related to the phases of moon and life of a man in the medieval times revolved around this time cycle. The Polarity of Nature was also reflected in the social Structure with the sun and moon representing the male and female of the society.

Other than climatic suitability, courtyard appropriately served the purpose. The courtyards came alive during extended celebrations of marriage/festival.

The status of family and there stand in political and economical value decided the size of the land plot and the location in the city .

The size and caste of the family decided the type of housing.

According to region the style of tying turban, type of moustaches, and type of mojaris tend to change. The language and the previous ruling clan are the two of the strongest determinants for defining perceived space among the people in Rajasthan. It symbolizes generations who articulated their life style that includes architecture, customs, manners, course arts, crafts and music.

3.1.4 HOUSING PATTERN

FIG 13 : HOUSE ORIENTATION ACCORDING TO NORTH EAST

FIG 14 : MARKING OF RESIDENTIAL AREAS

•

Compactly built, the city has many tall buildings, up to seven stories high, giving it a fairly dense and vertical effect.

• The city structuring manifests itself in two strong ways: the location of the Royal Quarters on top of the hill with the strong fortification and secondly the dispersal of communities is affected by caste groupings making distinct residential zones of different communities.

• There is little evidence of class distinction which is evident from the manner in which some of the houses of the rich and the poor are dispersed in both the upper and the lower cities.

• The spaces acquire nonspecific character. They change in their use as the morning changes to noon and the noon changes to evening. They are also used differently in have special significance under such situations.

• The whole idea of a house in Jaisalmer is developed around the idea of 'privacy'.

TYPOLOGIES OF HOUSING PATTERN IN JAISALMER:

Low- income

Middle income

FIG 15 : DIFFERENT INCOME GROUP AND TYPOLOGIES OF HOUSES ACCORDINGLY

Havelis

3.1.5 HAVELIS OF JAISALMER: Havelis were generally developed by the Rajput Thakurs and land owners who built to differentiate their dwellings from the common man and to associate their power to the rulers.

The haveli as a meaning will have a different meaning for different caste and profession. Majority of the havelis belonged to the Marwari‘s (trader class), Rajput‘s, Brahmins in jaisalmer.

The havelis in and around Jaisalmer Fort (also known as the Golden Fort), situated in Jaisalmer, Rajasthan, of which the three most impressive are • Patwon Ki Haveli • Salim Singh Ki Haveli • Nathmal-Ki Haveli, deserve special mention.

These were the elaborate homes of Jaisalmer's rich merchants. The ostentatious carvings, etched in sandstone with great detail and then painstakingly pieced together in lavish patterns, were commissioned to put on show the owner's status and wealth.

Around Jaisalmer, they are typically carved from yellow sandstone. They are often characterized by wall paintings, frescoes, jharokhas (balconies) and archways The Patwon Ji ki Haveli was the first erected in Jaisalmer. It is not a single haveli but a cluster of five small havelis. The first in the row is the most popular, and is also known as Kothari's Patwa Haveli.

FIG 16 : PATWAO KI HAVELI ENTRANCE

3.2 CASE STUDY: PATWON KI HAVELI 3.2.1 HISTORY AND CULTURE: This magnificent structure dates back to 18th century. Once the residence of rich traders of Jaisalmer Patwas, the Haveli was constructed in the span of fifty years starting in the year 1805 of the 19th c. by Guman Chand Patwa for his five sons as a gift.

A true specimen of Rajputana sculpture, the Patwon Ki Haveli is famous for its exclusive mirror work and fine wall paintings.

Amongst the five Havelis which form the entire complex, one has been converted into a museum which displays a vast collection of antique furniture and decorative goods.

Besides this, the third Haveli or mansion in the premises also houses rich items that include traditional art and craft work of the local craftsmen.

It is the most interesting piece of architecture and is most important in the havelis of Jaisalmer, An architectural wonder of the bygone era , This is precisely because of two reasons : ▪ It was the first haveli erected in Jaisalmer .

▪ It is not single but cluster of 5 havelis.

Unfortunately, the lives of the Patwas took a ‘u‘ turn after their return to Jaisalmer and their fortunes started dwindling. As believed by the priests words. Care taker of the first haveli approached Mr.Jeevanlalji Kothari, who was a native of Jaisalmer and like patwas had left Jaisalmer to explore better opportunities. Mr.Kothari, with a view to remain connected with his native place, decided to buy the first haveli. Hence it was renamed as the Kothari‘s Patwa Haveli.

FIG 17 : PATWAO KI HAVELI FACADE

➢ OCCUPATION : • Patwa was a rank given by the Maharaja to the Jain community artisans specialized in gold and silver thread work. Patwas were immensely successful businessman or rich merchants spanned across banking & finance, silver, brocade and opium trade. Eventually, Patwas rose to such heights that they were called upon to finance the state deficit. Thus came up the five grandiose havelis facing the Jaisalmer Fort. The havelis are also known as the ‘mansion of brocade merchants’. This decided the status of family and there stand in political and economical value decided the size of the land plot and the location in the city .

➢ CASTE , RELIGION AND SOCIETY, RITUAL AND CULTURE •

•

•

Patwas were hindu marwadi traders have been known for a tightly-knit social solidarity and social conservatism". The latter aspect is particularly evident in the status of women within the Marwari.

Role of man and women: It was a male dominated society where women were restricted inside the house. The men performed the outside activities and women took care of all the household matters. women are less educated than those of even other wealthy communities and there main aim was to enhancing domestic life of the family . They used to handle the household chores and servants . Most of the rituals were performed around fire- the rituals of birth, marriage, death, festivals etc. fairs and festivals : Holi, Diwali, Gangaur, Basant Panchami, Teej etc. Later on these festivals also became part of the religious rituals associated with various gods and goddesses and each community or caste interpreted them with their local myths. All festivals are related to the phases of moon and life of a man in the medieval times revolved around this time cycle. The Polarity of Nature was also reflected in the social Structure with the sun and moon representing the male and female of the society.

➢ FAMILY STRUCTURE: •

The culture of the region favored a joint family system in which three or more generations lived in the same house. After marriage, the son brought his wife home and they both resided with his parents. This led to large domestic formations inclusive of all of the family members and servants that helped with household chore

FIG 18 : TABLE OF ANALYSIS OF CULTURE

3.2.2 SITE CONTEXT: • • • •

The haveli is aligned in a narrow lane in the heart of the city because it was the foremost haveli to be built in the city and save itself rough sandy winds. located at prestigious positions on the main commercial street Located in the center of the settlements The patwa haveli belonged to Marwari havelis are most often present as fraternal clusters with a collection of single court havelis, each belonging to one brother opening into a common forecourt. Hence family size affected haveli making

FIG 19 : SITE PLAN (REFERENCE: GOOGLE EARTH) FIG 21 : SITE PLAN (REFERENCE: DOCUMENTATION OF JAISALMER

BY G.C. PATEL INSTITUTE OF ARCHITECTURE

FIG 20 : SITE PLAN (REFERENCE: RESEARCH REPORT OF SHIKHA JAIN)

3.2.3 PLANNING AND ELEMENTS OF HAVELI • • •

Out of five, two havelis are under the authorization of the Archaeological Survey of India and one serves as private accommodation.

Kothari‘s Patwa Haveli is made up of yellow sand stone which can easily be carved and also a good insulator of heat.

Each of these havelis are five storied. The main gate is on a high plinth of about 7‘or 8‘high reached by a flight of steps and is located in north east direction as according to traditional planning of havelis.

RASODA/ KITCHEN

KOTHA

KOTHA

KOTHA

OTTA PARINDA BAITHAK COURTYARD/ ZENNANA

DEHLEEZ

CHABUDARA

KOTHA

KOTHA

FIG 22 : GROUND FLOOR PLAN (REFERENCE: DOCUMENTATION OF JAISALMER BY GC. PATEL INSTITUTE OF ARCHITECTURE

FIG 23 : BAITHAK

POLI

FIG 24 : INNER CHOWK/ COURTYARD

WOMENS ENTRANCE

FIG 25 : KITCHEN SPACE

•

THE CENTRE -THE CHOWK (COURT) /ZENNANA

Is a primary space and is square in shape .This is also known as the zenna where day to day activites of women such drying of mirchi , khutti and many more culture such as marriage are followed here with transitional spaces such as kitchen ,water or parinda and pooja space etc.

The back room behind court was divided into two or three rooms called ohra or ovaro or kotha which were used for storage and chabura. These spaces were connected by poli which meant foyer or lobby.

•

ACCESS TO THE CENTER – THE ENTRANCE :

The next step after defining the centre is marking the entrance or the access. In single court havelis as this, this serves as the main entrance and is located in the north east corner also an indirect entrance was provided for privacy of women.

The main entrance comprises of otla that acts as a transitional space between building and street . Here the otla (platform) planned along the main gate is partly covered and the ceiling of mol (drawing room) covers this space.

• MARDANA The first court or male section of haveli comprises baithak (literally place to sit),mahal (or sheesh mahal) and rang mahal.

The baithak could be a regular room or a tibari with an overlooking balcony above.

It functioned as a status symbol of the household and was generally a lavishly decorated area. Male members used the tibari in the outer court as a sitting space and also in this case it was used workspace where the accountant would sit with his bahikhata (accounts record).

KOTHA

FIG 26: VIEWING GALLERY

MOL/ MAHAL

BED ROOM

STAIRS

COMMON ROOM

STAIRS

BED ROOM

BED ROOM

FIG 27: MOL

FIG 28 : FIRST FLOOR PLAN (REFERENCE: DOCUMENTATION OF JAISALMER BY GC. PATEL INSTITUTE OF ARCHITECTURE

The mahal (literally, palace) or mol, was the most ornate space in the havelī usually located on the first floor over looking the street. The lavish baithak on the ground floor and mol on the first floor are adorned with gold plated ceiling as at the Patwa Haveli in Jaisalmer.

FIG 29: C. ROOM BED ROOM

KOTHA

STAIRS

BED ROOM

COMMON ROOM

BED ROOM KOTHA

STAIRS

FIG 30 : SECOND FLOOR PLAN (REFERENCE: DOCUMENTATION OF JAISALMER BY GC. PATEL INSTITUTE OF ARCHITECTURE KOTHA

COMMON ROOM

KOTHA

STAIRS

FIG 31: THIRD FLOOR PLAN (REFERENCE: DOCUMENTATION OF JAISALMER BY GC. PATEL INSTITUTE OF ARCHITECTURE

3.2.4 EXTERIORS - THE ENTRANCE AND OPENINGS: • • •

Street facing facade, each of the five havelis has been well decorated with splendid carvings, jharokas, baris, sun holes and kanwals (oriel windows).

The main gate is on a high plinth of about 7‘or 8‘high reached by a flight of steps.

Rooms are well lit ventilated and by holes pierced in the form of taraphul (starshaped) holes. The lowest levels are provided with small openings So as to see who is outside providing maximum privacy to women to allow maximum cool air to pass.

FIG 32: THE CUPOLAS

FIG 33: HAVELI ENTRANCE WITH TARAPHUL HOLES

FIG 34: FRONT ELEVATION (REFERENCE: DOCUMENTATION OF JAISALMER BY GC. PATEL INSTITUTE OF ARCHITECTURE)

➢They have an image of Lord Ganesha in a niche above the entrance. The havelis are richly decorated which features a beautiful arched gateway with a delicately carved façade. This was a demacraction of richness and a symbol of status.

•

•

•

The outer wall mostly acts a screen wall with laced carvings on Jaali,balconies and Jharokhas, to filter heat and light penetrating the building.

The haveli has 60 balconies (Jharokhas) that overlook the street and courtyard.

The amount of Jharokha are more on the upper floors as compared to the lower floors.

The exterior façade has been provided with cupolas on either side of the terrace to give a good view of the city and also for the warning from the enemies.purpose of security and privacy.

FIG 37: JHAROKAS AND BALCONIES

The size of openings in lower floor is smaller as compared to top floor and are provided with small openings with size as maximum as peeping window and also allow maximum cool air to pass. Windows or jharokas are covered with decorative jalis each at an angle of 45 deg. so as to provide maximum privacy .

FIG 35: JHAROKHA 1(REFERENCE: DOCUMENTATION OF JAISALMER BY GC. PATEL INSTITUTE OF ARCHITECTURE)

FIG 38: VIEWS OF PATWO KI HAVELI

FIG 36: JHAROKHA 2 (REFERENCE: DOCUMENTATION OF JAISALMER BY GC. PATEL INSTITUTE OF ARCHITECTURE)

3.2.5 INTERIOR OF HAVELI The inner court is square in shape and the court elevations are symmetrical.

• All inner court elevation ,a square court all four sides echo similar divisions. Depending on size the court elevation shows 5 equal divisions also known as bay.

FIG 39 : SECTION CC’ (REFERENCE: DOCUMENTATION OF JAISALMER BY GC. PATEL INSTITUTE OF ARCHITECTURE)

FIG 40: INNER COURT VIEW

FIG 41: ENTERTAINMENT ROOM

FIG 42: SECTION AA’ (REFERENCE: DOCUMENTATION OF JAISALMER BY GC. PATEL INSTITUTE OF ARCHITECTURE)

3.2.6 ORNAMENTATIONS: •

The halls or rooms have cornice, panihara (niche), beel (projected slab above the arched doors or windows) where objects of interests were placed as decorative pieces. Small niches (ala) meant for oil lamps are splendidly carved and ornate, to show a good light and shadow effect in the interiors. Separate lamp-stand in stone was carved out in the wall.

FIG 45: FLORAL WORK IN ROOM MUGHA LI SHAILI

FIG 43: MIRROR WORK

•

FIG 44: TRADITONAL ART WORK IN ROOM

The mirror work helps in the reflection of light. The murals and interiors is inspired from the Rajput, Mughal as well as Victorian architecture. Hindu and Muslim craftsman from Gujarat, Malwa and Sindh worked in constructing these havelis.

• ELEMENTS OF HORIZONTAL DEMARCATION The exquisite carvings done on sandstone show a stylistic similarity to details in wood carvings. It can probably be due to near visual resemblance of the golden sandstone with wood and an urge of the rich merchants to imitate rich wood carving patterns from facades of Havelis in Gujarat in their own local materials. Golden sandstone to give their works a long lasting identity.

This suggests a major influence of strongly linked culture relating to the art of wood carving.

Jalis ,overhangs and parapet were carved out of yellow stone this showed the equisite detail work , and richness of family and also demarcated the status of symbol in the area.

Also the jalis were carved at 45 degree angle so as to maintain privacy of women inside the house.

FIG 46: JALI CARVING OUT OF STONE

FIG 47: BRACKETS OF BROCADE

FIG 48: PARAPET

• ELEMENTS OF VERTICAL DEMARCATION The ceilings and pillars are exquisitely carved. The lotus petal carvings indicated the status of family. There were two type of column in the haveli , outer column was exquisitely carved to show the symbol and status of the haveli , the carvings were influenced from mughal shaili FIG 51 : COLUMN DETAIL (REFERENCE: DOCUMENTATION OF JAISALMER BY GC. PATEL INSTITUTE OF ARCHITECTURE)

FIG 49 : COLUMN DETAIL (REFERENCE: FIG 50: COLUMN ENCARVINGS OF PATWA DOCUMENTATION INDICATING MUGHAL INFLUENCE OF JAISALMER BY GC. PATEL INSTITUTE OF ARCHITECTURE)

CHAPTER 4: ANALYSIS OF CASE STUDY 4.1 Analysis of haveli Architecture spatial and physical structure • SPATIAL ORGANISATION OF HAVELI: The spaces are organised around the central courtyard and A centralised organisation is seen. As built on the principles of vastu shastra .The spaces organization is based on the maximum use of wind-flow in the spaces while preserving the privacy (introvert designing with privacy preservation) FIG 52: SPATIAL ORAGANISATION ANALYSIS

• SPATIAL HIERACHY: The inner semi- public court(the courtyard) is connected to open public space (the street) through transitional public space. Thus, it resulted in privacy and enjoyment of both the interior and exterior.

The haveli’s entrance is indirectly connected to the street through ottla at a height of 7’ to 8’.

FIG 53: SPATIAL HIERACHY ANALYSIS

It is achieved in the façade according to the size of the openings. The size of openings increases from top to bottom. Jharokhas are in a decreasing order from top to bottom.

•

BUILDING CONFIGURATION (MASS , PROPORTION AND SCALE):

The buildings form is rectangular and more of a linear pattern .The central courtyard is usually like a square in proportion (the length and the width are equal) and its height being more than its length and width .Its in proportion of 5 bays.it is as per the hindu rituals.

The ground floor is a combination of the courtyard FIG 54: BUILT PROPORTION ANALYSIS OF PATWAO HAVELI and the close-space and the upper floors are a combination of the courtyard and the closed-space and the semiopen space.

The floor height is of max at the height of 4m or more except the entrance gate height.

The width of the interior spaces is less than their length.

The width of the interior spaces is less than their length (most of the spaces have the ratio of (width to length) 1–2 FIG 55:PROPORTION, SYMMTRY AND RHYTM SHOWN IN INNER up to 1–3) COURTYARD

FUNCTIONAL AREA CLASSIFICATION: •

Services functions; such as restroom, bathroom, kitchen and water-storage with the places for living in winter; were arranged on the ground floor The first floor and the upper floors were used to live in summer

•

MATERIAL CONFIGARATION: •

Whole exterior of the building is made of locally available material that is yellow sand stone done with beautifull encarving that could be said as work of wooden craftmanship ,the thickness of wall is minimum of 18 inches so as to give stabilty and protect against sand storms ,these related to status symbol of patwa.

4.2ANALYSIS OF CULTURE SIGNIFICANCE IN HAVELI SPACES ELEMENTS OF HAVELI

SPACES COMPRISING THE ELEMENTS

CULTURAL SIGNIFICANCE OF SPACES (CUSTOMS, BELIEFS AND RITUALS)

Central courtyard or the zennana

Inner courtyard, poli ,rasoda , paniyara , tibari

built on the principles of Vastu Shastra, which state that all spaces emerge from a single point, that is, the centre of the house.

The Centre of the court is converted into various altars related to the ritual. All festivals are celebrated here hence considered to be heart of space ,tulsi plant at center& in its in connection with rasoda and paniyara .

It concludes as the space was used by women for various household activities like drying clothes, spices, and papad (flat flour cakes) and sleeping in summers And tibyari in winters.

Main Entrance

Main gate, ottla

It was located on the north east side.

In Hindu rituals the floor is first marked at the entrance before commencing a ritual, a way of welcoming a deity with a Rangoli and paglya.

At the top of it the niche is reserved for by the image of Lord Ganesh.

The scale of the actual opening of the haveli is low in contrast to average height of a tall Rajput or Marwari men. This is because of the local custom of greeting called dhok that requires bowing down to pay respects.They were beautifully carved And richly arched to mark status symbol of family, Otla that acts as a transitional space between building and street is planned along the main gate The extension of some house hold activities. Here, however, womenfolk are more restrained and these platforms are used more by the children and the older men.

Peeping window helped main privacy and connected to outside world.

ELEMENTS OF HAVELI

SPACES COMPRISING THE ELEMENTS

CULTURAL SIGNIFICANCE OF SPACES (CUSTOMS, BELIEFS AND RITUALS,ECONOMIC,POLITICAL)

Mardana

Baithak, mahal/mol

Tibari in outer court connecting entrance to inner court known as baithak ,these spaces were restricted to male members of the house. It was an accountants office in the haveli, restricted to male section.

The baithaks were decorated lavishly as to demarcate the social status in the ground floor and mol at first floor decorated with gold ceiling as they were traders of opium and gold.

Service spaces

Staircase , nohra, back entrance

The staircase as a transition zone was often in the form of a dark narrow passage with small niches at the corner on a landing for keeping candles.

A small entrance is provided at the back for entry and exit of women of the household considering the privacy factor.

Nohra term used for the annexe area. It is a big outer court used for keeping the rath and palakis and for tying horses, elephants or cattle. Also used as other term for toilet that’s located at the back side of the haveli as these are activities related to soiling of house and haveli was considered sacred.

Openings and jharokhas

Openings and niches , jharokhas and balconies.

The size of Ground floor opening had small peeping window through niches .This laced façade helps in mainting privacy of women.

These were delicately carved reminding of richness

Interiors and Ornamentation s

Interiors , Vertical demacrcations- brackets , jalis, parapets.

Horizontal demarcations- columns

Light colour interior to reflect light within the space .The murals and interiors is inspired from the Rajput, Mughal as well as Victorian architecture.

The lattice work brackets indicated the trade patwas dealt with.

Delicately carved out of sand stone, representing the status symbol of family.

FIG 56 : ANALYSIS OF CULTURAL SIGNIFICANCE OF SPACES

4.2 RESULT OF THE CASE STUDY ANALYSIS : SOCIO CULTURAL FACTORS AFFECTING CONCEPT AND MAKING OF HAVELIS CULTURAL PARAMETER

SOCIAL PARAMETERS

History Religion Ideology, customs, beliefs and rituals Economic political

There is a distinction between men and women in society ,not inside house .The interior distinction is for foreign men, Extended families Cooperation related sexual distinction Women were required to work from home.

Privacy of women both inside and outside house Sincere relationship with neighbour Welcoming guests Traditions and ceremonies (religious days , visits , celebrations)

ARCHITECTURE VALUE

ARCHITECTURE EELEMENTS

Separate spaces of men and women Openings sizes to provide visual barriers.

Provision of spaces on the basis of polarity of nature Centralised organisation of spaces with court as center Built mass in such a way as to provide comfort in all seasons

Partial organisation of spaCes / planning- AXIS POINT Private –semi public- public spacesHIERACHY Interior and exterior façade compositionHIERACHY AND PROPORTIONAN D RHYTM Horizontal and vertical elements SYMETRY Decorative elements

FIG 57 :RESULT OF ANALYSIS MODEL OF RELATIONSHIP BETWEEN CULTURE AND ARCHITECTURE OF PATWA HAVELI OF JAISALMER

The above culture and social were physically manifested on two levels. On one were requirment of privacy from public led to the development of high walls and minimal fenestration that is composition of haveli which included the composition of entrances and openings .

At second level it was manifested by the planning / organising of haveli – division of the inside ,chowk and baithak , entrance and service spaces. Through this model we a study Haveli focusing on how social values such as religious beliefs and the relationship between the male and female figure, family structure, status of the family in the society, privacy of the family, neighbourhood, hospitality and social values interact and coexist to build form of Haveli in Jaisalmer .

CHAPTER 5: CONCLUSION •

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After studying the PATWON KI HAVELI. JAISALMER and understanding the cultural and social relationship with architecture in detail, following conclusion can be made The Havelis respond most appropriately to society of the place in terms of material selection, spatial organization, and composition of haveli facade.

Patwon ki haveli clearly exhibit sociocultural factors, which affected their formation in general. entrance, baithak , courtyard and service areas are placed in an order from open to semi- open to closed in a hierarchical way.

The houses provide flexible usage for men and women without distinction in the family. The distinction between men and women under societal influence had let to the concept of a baithak and mahal or mardana , different entrances and jharokas to the street. The separate entrances for women and men required a hierarchy like private, semi-public and public order.

The status of the family affected the size of the house, the number of floors and the shape of entrance doors. Moreover, extended family structure created multifunctional rooms that provide flexible usage for day and night, and summer and winter.

Men and women gather separately in chowks and baithak spaces for cultural ceremonies. Only family men member were allowed inside the court /chowk.

Chowk or courtyard was considered to central space around which all activites spaces like kitchen, paniyara etc. were incorporated . The center of chowk demarcated the entrance and also the center of inner court and outer façade.

Entrance was the space that demarcate the relation of members with neighbours.

Also the grandeur in façade and detail demarcations of family status and symbol in the region , the grander the haveli and its detailing richer is the family.

Also the sizes of jharokas and openings were designed in such a way keeping in mind of the privacy of women and also making them connected to the outside world by creation of peeping window in lower level of haveli.

I can conclude my argumentation regarding the Patwon havelis of Jaisalmer that after finding out the sociocultural factors that affect the formation of those very factors in general despite several constraints . Courtyard , entrance, baithak ,services are in proper hierarchy and reflect the social norms and value through various architectural artifacts .

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