Bohra Havelis in Siddhpur

BOHRA HAVELIS & BHUNGA HOUSES
GUJARAT ARCHITECTURE
- PRIYANKA GUPTA
A Report on
STUDY OF
URBAN Bohra Havelis

&
RURAL Bhunga Houses
GUJARAT
VERNACULAR ARCHITECTURE
Subject In charge
AR. KAJAL ARSHI
Submitted by:
PRIYANKA GUPTA: - 21020
Batch 2010
Department of Architecture

- PRIYANKA GUPTA
CANDIDATES DECLARATION
I hereby certify that the work which is being presented in this report entitled STUDY
OF URBAN Bhunga Houses AND RURAL Bhunga Houses OF GUJARAT is an
authentic record of my own work under the guidance of Ar Kajal Arshi.
Priyanka Gupta
Roll No.21020/10
University Reg. No. 100312036020
This is to certify that the above statement made by the candidate to the best of my
knowledge is true.
Ar. Kajal Arshi

- PRIYANKA GUPTA
ACKNOWLEDGEMENT
I would like to express my heartfelt gratitude to all the people who helped in different
capacities at various stages that led to the completion of this report.
My earnest gratitude to my teacher Ar. Kajal Arshi, whose knowledge and support,
guided me with constant encouragement and imperative directions throughout.
I am grateful to my parents, Mr. Ramesh Kumar Gupta and Mrs. Santosh Gupta, for
always supporting me.
I am indebted to my friends who have always helped me.

- PRIYANKA GUPTA
ABSTRACT
GUJARAT, being the semi arid state of India, contrasts the architecture of
Urban and Rural development in the region. On one side, where the Urban
Development contrasts the use of Modern Building Techniques in a formal
and decorative style, the Rural Development of Kutch District highlights
the use of vernacular materials in a prominent way making it much and
more earthy and beautiful.
This research includes various case studies. The analysis encompasses
projects that aim at the transmission of self-construction techniques either
through introduction of innovative technologies, or through reiteration of
existing building techniques comparing the Rural and Urban Building
typologies of Urban and Rural Gujarat.
For instance Bohra Havelis in Siddpur ( an urban development) and Nani
Daddhar, a settlement located in Banni region, was rebuilt following the
pre-existing village layout. New dwellings are recognizable thanks to a
different roof (tiles are now commonly used rather then thatch), while
they also appear to perfectly merge into the landscape. A sequence of
thatched and tiled roofs confirms the coexistence of old bhungas and new
ones, while the mural ornamentations provide a common cultural
background to both new and pre-existing houses.
Starting from such case studies, it was particularly interesting to foresee
the potential for development of earthen dwellings in regions where they
are already implemented and accepted by the inhabitants.

- PRIYANKA GUPTA
CONTENT
CHAPTER 1 BOHRA HAVELIS, SIDDHPUR, GUJARAT

1.1
1.2
1.3
1.4
1.5
1.6
1.7
1.8
1.9
1.10
1.11
1.12
CHAPTER 2 BHUNGA HOUSES, KUTCH, GUJARAT

2.1
2.2
2.3
2.4
2.5
2.6
2.7
2.8
INTRODUCTION
LOCATION
CLIMATE SIGNIFICANCE
BUILDING TYPOLOGY
SPACE TERMINOLOGY
TYPOLOGICAL AND TECHNOLOGICAL ANALYSIS
COMPARISON OF TYPICAL PLANS
COMPARISON OF TYPICAL FACADES
BUILDING MATERIALS AND TECHNIQUES
STREETS
STRUCTURE
ARCHITECTURAL ELEMENTS
INTRODUCTION
LOCATION
SETTLEMENT PATTERNS
TYPOLOGICAL FEATURES OF BHUNGA
BUILDING TECHNOLOGIES
2.6.1 TRADITIONAL TECHNOLOGIES
2.6.2 ALTERNATE TECHNOLOGIES
2.6.3 INFLUENCE OF ALTERNATE
TECHNOLOGIES ON LOCAL HABITAT
INTERVIEW WITH RESIDENT - SELF BUILDERS
BIBLIOGRAPHY

- PRIYANKA GUPTA
1. BOHRA HAVELIS IN SIDDHPUR, GUJARAT

1.1
INTRODUCTION
The Bohra settlements are largely located in the central and northern parts of
Gujarat where the climate can be called extreme hot and dry.
The traditional habitats of Bohras in Gujarat, found in cities and towns
such as Surat, Siddhpur, Dahod, Godhra, Kapadvanj, Khamhbat,
Ahmedabad, Palanpur, Bhavnagar, Dholka, Surendranagar, Morbi,
Jamnagar.
1.2
LOCATION
Gujarat is located on the west coast of India.

The Bohra settlements are largely located in the central and northern
parts of Gujarat where the climate can be called extreme hot and dry.
Jamnagar.
1.3 CLIMATE SIGNIFICANCE
Climate has its impact on a number of organizational and construction

elements such as orientation, cluster formation, the use of materials and it
also leads to introduction of special architectural features.
The climate in Gujarat varies from hot extreme desert climate in Kutch to
the hot humid on the coastal areas and the Dang jungle on the east side.
All buildings have to account for the hot weather during almost nine
months of the year.
Sharing of long walls in this typology solve the major problem of heat gain
as it results in a compact geometry where minimum surface areas
remains exposed. All buildings have to account for the hot weather during
almost nine months of the year.
1.4 BUILDING TYPOLOGY
The typical Bohra house is a long, narrow unit between two parallel walls
with various spaces in a hierarchical sequence
The sense of privacy increases as one goes away from the street into the
house.
6

- PRIYANKA GUPTA
Symmetrically and centrally placed doorways lead one from one space to
another.
The spatial activities in the house, particularly the ground floor, change
during the day.
The individual courtyard becomes an air and a light shaft where the cooler
air sink below and the hotter air escapes out of the roof.
The ground floor has a semi-enclosed space at the entrance that
permanently protects it from direct sunlight and rain.
Architectural projections provide shading and reduce sun exposure while
increasing the mass of the building group.
A sense of lofty spaciousness is achieved in the interiors without the loss
of the human scale.
Three to four storeys - high houses arranged in a high density layout.
A special indigenous element of an air-vent was found in some of the
houses and is used to bring cooler air into the house while avoiding the
sun.
Traditional houses in Gujarat are conspicous by the absence of furniture.
In all houses carpet were extensively used.
The open cupboards are used for displaying decorative objects besides
adding to the interior.
Many Bohra houses use the combination of pitched roofs and terraces to
minimize flat surfaces.
GROUND FLOOR PLAN
FIRST FLOOR PLAN
SECOND FLOOR PLAN

- PRIYANKA GUPTA
THIRD FLOOR PLAN
FOURTH FLOOR PLAN
SECTION A-A
Fig 1.1: DRAWINGS OF A TYPICAL BOHRA HAVELI
1.5 SPACE TERMINOLOGY OF A TYPICAL GROUND FLOOR PLAN

8

- PRIYANKA GUPTA
ORDO:
The most important space on the ground floor, very private and formal, used
for entertaining and welcoming family friends, sometimes used as a
sleeping space at night.
PARSAL:
An extension of the avas, the semi-enclosed space.
OTLA:
An open or semi-open space that serves as a connection between the
dwelling and the street, visual and symbolic rather than functional,
occasionally used by women in quiet afternoons.
PARSALI:
This is an ante space to the main room used for relaxing by women in the
afternoons.
AVAS:
The main family space and the focus of the house, ventilated by a skylight
at the top, usually includes the kitchen, store and the water place.
DELI:
The transitional space at the entrance acts as a screen between the private
and the public zones, includes the WC, the stairs and a window seat.
Fig.1.2: TYPICAL VIEW OF AN ORDO IN THE HAVELIS (1 and 2)
1.6 TYPOLOGICAL AND TECHNOLOGICAL ANALYSIS
EXAMPLE 1 TYPICAL HOUSE AT DAHOD

- PRIYANKA GUPTA
GROUND FLOOR PLAN
FIRST FLOOR PLAN
SECOND FLOOR PLAN
SECTION A-A
ELEVATION
Fig 1.3: DRAWINGS OF A TYPICAL HOUSE IN DAHOD
EXAMPLE 2 - TYPICAL HOUSE AT DAHOD
10

- PRIYANKA GUPTA
GROUND FLOOR PLAN
FIRST FLOOR PLAN
SECOND FLOOR PLAN
SECTION A-A
ELEVATION
Fig 1.4: DRAWINGS OF A TYPICAL HOUSE IN DAHOD
1.7 COMPARISON OF TYPICAL PLANS
11

- PRIYANKA GUPTA
SURAT
SIDDHPUR
DAHOD
GODHRA
CAMBAY
KAPADVANJ
Fig 1.5: PLANS OF SOME TYPICAL HOUSES IN VARIOUS REGIONS OF SIDDHPUR
12

- PRIYANKA GUPTA
COMPARISON OF TYPICAL FACADES
SURAT
GODHRA
DAHOD
KHAMBHAT
KAPADVANJ
SIDDHPUR
Fig 1.6: FACADES OF SOME TYPICAL HOUSES IN VARIOUS REGIONS OF SIDDHPUR
13

- PRIYANKA GUPTA
1.9
BUILDING MATERIALS AND TECHNIQUES
Brick was used mainly as a load bearing element and as in-fill and wood as
reinforcement to brick. This use helped reduce the thickness of walls.
Stone and brick was used for foundations that often were made with arches.
Wood was not abundantly available locally in Gujarat, it was extensively
used in the 18th and 19th centuries and was exported mostly from Burma
and the Malabar coast.
The masonry was plastered with lime plaster.
The most common technique of flooring was to lay bricks on wooden planks
with the help of lime mortar and then to do an IPS flooring.
In larger houses, the long wall had either brick or wooden columns attached
to it at intervals where the heavy bean met the walls.
Teak was preferred material in Gujarat used for doors and windows.
The elements such as columns, column capital and brackets were well
developed and were profusely ornamented.
The wooden pitched roofs with tiles are able to provide thermal insulation to
the spaces and reduce the transmission of heat.
The ornamental ceilings were made out of wood or Plaster of Paris.
New materials included cast iron mouldings and railings, glass panels,
ceramic tiles and G.I. sheets.
Its outlet was usually near the water place in the houses.
This water was used for drinking and cooking purposes throughout the year.
Fig.1.7: TYPICAL BOHRA HAVELI FACADE
Fig.1.8: USE OF PLASTER
Fig.1.9: USE OF WOOD
Fig.1.10: DOORS
1.10 STREETS
14

- PRIYANKA GUPTA
The Bohrward streets stand apart because of a sense of order, extreme

cleanliness, well-designed drainage system.
The closely packed houses, site constrains and absence of building
controls result in an organic growth and relatively irregular street pattern.
The passageway with a pedestrian sense of scale creates a series of
vistas as one walks down the street. So the communication between
different areas is maintained.
The streets range from 4m to 10m in width.
The street edge is defined by row houses arranged in a linear manner.
The faade remains the only means of visual communication to the
outside.
Fig 1.11: THE BOHRWAD IN KAPADVANJ
Fig. 1.13: SIDE-VIEW OF A TYPICAL STREET
Fig 1.12: THE BOHRWAD IN SURAT
Fig. 1.14: FRONT VIEW OF A STREET
1.11 STRUCTURE
15

- PRIYANKA GUPTA
Basically a trabeated structural system was used in combination with

masonary walls.
Stone was not available easily expect in Saurashtra. Inspite of that , it was
used in many houses for plinth and the bases of wooden columns.
There were three main methods of traditional construction employed in
Gujarat:
Timber bonding: In this the horizontal timber members were introduced at
intervals of about 120cm within the masonry walls at floor or ceiling, lintel
and in between levels.
Partial framing: In addition to the timber bonding , timber columns were
embedded in the walls where a beam was located in order to take the load
Full framing: This carried it further by having columns and beams in all
short bays regardless of whether the beam was supported by a wall
underneath or not.
In northern Gujarat, the dominant system is partial framing.
The construction was standardized but the wooden members are fully
ornamented with carvings at the faade level to reduce its bulkiness and to
decorate the houses.
The structural members in the inside of the house were not ornamented.
The wooden frame structure often had horizontal members at lintel and sill
levels.
Later on, this structural system was replaced by load bearing, cross-wall
system of construction where the two parallel walls on the longer side took
the weight.
The spanning of the floor was done in wood through wooden beams, joists
and slates.
In the early 20th century, wooden structural system was replaced by the
steel I section or the brick jack- arch technique for spanning, and
thereafter by RCC and cement.
Fig. 1.15: TIMBER WITH STONE MASONRY
Fig. 1.16: WOOD HIGHLY USED IN INTERIORS
1.12 ARCHITECTURAL ELEMENTS
16

- PRIYANKA GUPTA
The varied elements have been crafted with a high level of

excellence.
Wood, used extensively for ornamentation and element making.
A lot of variation was perceived in the types of zarokhas that were
incorporated as a part of the design.
A zarokha is a architectural feature in Gujarat, its evolution is
related to the extreme hot climate of the region.
Discreet visual communication, controlled sunlight, catching of wind
and increased aesthetic property of the built environment are its
values.
The enclosed balcony takes the form of a luxurious window-seat
referred to earlier in the case of the typical house.
The water place (paniara) in another cultural element in a Bohra
house. The significance of the water place is related to the hot-dry
climate and its sanctity in the Hindu culture.
Simple niches are found in the mud houses at the main door on the
outside .They are used for storage and for placing lamps when
there was no electricity.
Fig.1.17: RAILINGS AND WINDOWS
Fig.1.19: DOOR
Fig.1.18: ORDO WITH EXTENSIVE USE OF WOOD
Fig.1.20: FURNITURE
Fig.1.21: HANDLE
Fig.1.22: SHAFT
2 BHUNGA HOUSES IN KUTCH, GUJARAT

17

- PRIYANKA GUPTA
2.1
INTRODUCTION
The Bohra settlements are largely located in the central and northern parts of
Gujarat where the climate can be called extreme hot and dry.
The traditional habitats of bohras in Gujarat, found in cities and towns
Jamnagar.
2.2
LOCATION
Gujarat is located on the west coast of India.

The Bohra settlements are largely located in the central and northern
parts of Gujarat where the climate can be called extreme hot and dry.
Jamnagar.
2.3
Climate has its impact on a number of organizational and construction

elements such as orientation, cluster formation, the use of materials and it
also leads to introduction of special architectural features.
The climate in Gujarat varies from hot extreme desert climate in Kutch to
the hot humid on the coastal areas and the Dang jungle on the east side.
All buildings have to account for the hot weather during almost nine
months of the year.
Sharing of long walls in this typology solve the major problem of heat gain
as it results in a compact geometry where minimum surface areas
remains exposed. All buildings have to account for the hot weather during
almost nine months of the year.
18

- PRIYANKA GUPTA
2.4
SETTLEMENT PATTERNS
Until some decades ago most of the villages of Banni were characterized
by similar morphology. Often a village consisted of several small
clusters,usually separated by vegetal fences. The cluster structure aims at
the segregation of different castes or communities. A cluster usually
consists of a settlement providing shelter to six to ten families, each
familys dominion being well defined by raised platforms.
The cluster, the platform and the bhunga (a traditional dwelling with
cylindrical earthen walls and a conical thatched roof), are morphological
features typical of Bannis villages. In most cases a strongly defined
central space for community life is absent. Generally, free spaces between
different bhungas belonging to the same family are used as meeting
spaces, as well as for the familys outdoor activities. It is rare that the
entire community comes together. This generally happens only during
festivals.
Settlement units usually consist of two, three or more individual bhungas,

built on a common raised platform. The platform becomes the most
important element in the village. The platform connects the bhungas,
which are never built attached but always separate. It is also a response to
environmental factors: since the land in Banni is extremely flat, a few
inches of rain are enough to flood the desert. Elevated platforms protect
homesteads from flooding and water logging.
Fig. 2.1: MORPHOLOGY OF HARIJAN COMMUNITYS CLUSTER IN THE VILLAGE LUDIA

BEFORE THE EARTHQUAKE
19

- PRIYANKA GUPTA
Fig. 2.2: MORPHOLOGY OF A UNIT COMPOSED OF THREE BHUNGAS.
2.5
TYPOLOGICAL FEATURES OF BHUNGAS
The house unit is typically defined by the platform - otla - that is always
raised above the ground, from a few centimetres up to one meter. The otla
defines the domain of the home and the place for outdoor activities. On
this platform rest various structures composing the household: one or
more bhungas (generally up to three), circular houses with diameter
ranging between 3 and 6 meters, covered by a conical thatched roof.
A typical bhunga has a door and three or four small and low windows
symmetrically arranged around the door. In front of the door and against
the wall, lies a low platform, called pedlo, on which traditional furniture are
placed: chaosar kothalo or panjaro, manje, and sanjeero. The chaosar
kothalo, generally placed on the left, is plasterd with earth, and it is
decorated in relief with mirrors. It can be rectangular or cylindrical, and
serves as a grain-food container, while other food is placed on top of it
(butter, vegetables). The manje, placed at the center, is a carved wooden
furniture covered by a pile of patchworked embroidered fabrics - dhadkee produced by the women of the house. This pile increases gradually over
the years and is thoroughly covered with a piece of finely embroidered
fabric called dhadkla (literally, something that covers). The dhadkla is the
most valuable piece of the collection, and shall be brought in dowry from
the bride. To the right of the manje there is a rectangular furniture, known
as sanjero. This has a small front door and contains objects that are
20

- PRIYANKA GUPTA
considered valuable, such as ornaments, as well as various items

purchased in the city markets. It usually contains also items brought as
dowry by the bride.
Often the wall is decorated with small mirrors -amblha . These mirrors that
decorate the walls inside the bhunga also serve to multiply the light. The
design on the walls hence appears to be similar to refined embroidery on
traditional textiles and garments.
The analogy between clay reliefs or paintings on the walls and furniture
and embroidery on traditional clothes is stunning and it is interesting how
communities distinguish themselves through different decorative patterns,
used both in clothing and in wall ornamentations.
Next to the bhunga, but never set against it, there is usually a small
rectangular building, called chowki, which presents small variations: the
largest chowki are used as living spaces, and smaller as kitchens. Smaller
units, about one and a half meter high, not very well shaped and devoid of
roof are sometimes set against the bhunga. These units are used as
functional spaces for storage or bathrooms.
Fig. 2.3: BHUNGA AT DHORODO.
Fig. 2.5: ANALOGY BETWEEN CLOTHING,

TEXTILES AND DECORATIVE
PATTERNS ON WALLS
Fig. 2.4: PEDLO WITH TRADITIONAL

FURNITURE
Fig. 2.6: CHOWKI AND BATHROOM
21

- PRIYANKA GUPTA
2.6
BUILDING TECHNOLOGIES
2.6.1 TRADITIONAL TECHNOLOGIES
The three main traditional building techniques seen in Kuchchh are:

o Earth blocks (adobe)
o Earth reinforced with wood, or sometimes bamboo (wattle and
daub)
o Stack walls or in situ.
Mud blocks and reinforced earth are found mainly in Banni and
Pachccham and stack walls in the coastal village of Tunda Vandh.
Fig. 2.7: ILLUSTRATION OF THE THREE MAIN CONSTRUCTION TECHNIQUES

TRADITIONALLY USED IN THE CONSTRUCTION OF A BHUNGA: ADOBE (MUD BRICKS), INSITU MUD (STACK WALLS) AND EARTH REINFORCED WITH WOOD (WATTLE AND DAUB).
22

- PRIYANKA GUPTA
EARTH BLOCKS
The construction of a traditional Bhunga at Ludia (Gandhi No Gao) is brought

as example for describing this technique.
The components required for the construction of walls and foundations are:
o Clayey soil and rice husk for earth blocks. Rice husk is a fibrous
material, which shatters into small pieces: the disaggregated grains
increase the materials cohesion and blocks strength.
o Cement mortar used for foundations.
o Earth sourced from Banni, cow dung and local earth for plaster. The
earth sourced from Banni is used just for plaster. This special earth is
sourced from Rudramata, 15 km from Bhuj, and its cost is just the
transportation cost. The advantage of using cow dung is that it
contains many fibrous particles, such as rice husk, which increase the
materials cohesion.
o Earth and rubble stones for filling the platform -otla .
Fig. 2.8: MUD BLOCKS BHUNGA IN

GANDHI NO GAO
Fig.2.9: EARTH, WATER AND RICE

HUSK FOR BLOCKS
CONSTRUCTION
Production stages of mud blocks are as follows:

o A catchment is formed with the earth sourced from Banni, water is
poured in to moist the soil and the mixture has to rest for one night.
Rice husk is then added.
o The compound is mixed using feet.
23

- PRIYANKA GUPTA
Fig. 2.10: CONSTRUCTION
o The blocks are shaped in wooden moulds. After removing the moulds,
they are left to dry and harden in the sun for a day on one side, and
then turned on the other side to dry faster. It takes two or three days to
complete this process. The average block size is 20x30x10 cm.
Fig.2.11: BLOCKS MOULDING
Fig. 2.12: WOODEN MOULDS
DESCRIPTION OF CONSTRUCTION PHASES:

LAYING OF FOUNDATIONS AND CONSTRUCTION OF THE WALL:
o A trench 30 cm deep and 45 cm wide is dug. Blocks for foundations are
laid using a local mud plus cement mortar. The process of laying the
blocks is locally called chanter.
o Walls are raised on foundations, using cow dung plus local mud mortar,
mixed with water to make the compound workable.
Fig.2.13: LAYING OF FOUNDATION AND WALLS
o Lintels and doors and window frames are inserted where necessary.
o A platform-otla-is then built using rubble stone and earth, up to a height
of about 45 cm. This is completed by a thin layer of mud, called lipan,
which is applied also on the walls of the bhunga to protect them at the
base.
Fig.2.14: TYPICAL SECTION
24

- PRIYANKA GUPTA
PREPARATION OF PLASTER - LIPAN:

The mixture for the plaster layer, locally called gobar lipan, is made with cow dung
and local mud. Water is added to improve its workability. A first layer is applied on the
outer surface of the wall, and smoothed using hands. It takes about a day to
complete it, and then another layer is applied on the inner surface. These inner and
outer layers are alternated, up to seven layers applied on both surfaces of the wall.
The last layer of Lipan is done using earth sourced from Banni and cow dung.
Fig.2.15: WOMEN APPLYING LIPAN
The components required for roofs construction are as follows:

o One horizontal beam adi - of diameter 15 to 18 cm.
o A base for the vertical kingpost - patli - size 5x7x25 cm
o A central kingpost ranging from 180 to 270 cm, diameter 10 cm.
o A cone - mann - at the top of the kingpost, diameter 40 cm, 45 cm high.
o Babool wood rafters forming the backbone of the roof vali -, having a
diameter between 6 and 8.75 cm, 365 cm long. Between 20 and 24 of
those are distributed on the walls circumference. Eventually another
wood, called Nilgiri, can be used if this is available.
o Culms of split bamboo which constitute the secondary warping - khapatis diameter 2 .5 cm, length 365 cm. 23 bundles with approximately 20
elements per bundle are required. Nabool wood was traditionally used, but
because of lack of nabool, bamboo is the current option.
o Rope - kathi -, 1.25 cm thick. 30 kg of rope are required.
o Straw - kheep - for roofing. 500 bundles are required. The branches of
this dense plant are very resistant and have few leaves: Their linear nature
helps them to shed the rain.
Stages of roof construction are as follows:
o The beam - adi - is placed horizontally on the wall, perpendicular to the
doors axis. The ends of the beam rest on slightly raised portions of the
wall and are fixed with pegs.
o The base- patli - of the vertical kingpost rest on the middle of the beam adi -. The kingpost stands on the middle of the patli. The cone - mann -is
fixed on top of the kingpost.
25

- PRIYANKA GUPTA
o The joists vali - are fixed at the top of the cone mann- and to each other
with rope kathi .
o Culms of split bamboo - khapatis - fill the span between valis and are fixed
to them.
o Straw bundles kheep- are then tied to the roof structure starting from the
bottom.
o A ropes net is then dropped from the top of the roof in order to hold.
PLACING THE BEAM
FILLING THE BAMBOO

RAFTERS
SETTING THE KINGPOST
SETTING THE THATCHED

ROOF
PLACING THE RAFTERS
SECURING THE ROOF

WITH A ROPE MASH
26

- PRIYANKA GUPTA
Fig.2.16: ILLUSTRATION SHOWING THE
COMPONENTS OF A BHUNGA
Fig.2.17: STRUCTURAL VARIATIONS IN

THE CONSTRUCTION OF
BHUNGA
o In some cases the roof is supported by a taller central post that reaches
the plinth, instead of resting on the kingpost supported by a beam.
Instead of being supported on the wall, the beam -adi- can eventually rest
on two posts placed outside the wall, which are completely independent.
These members help to reduce or cancel the pressure on the two support
points of the beam on the wall, so that the wall bears a more uniform load.
o For the design of wall decorations, the walls of the bhunga are covered
with a paste made of donkey dung, earth and Fevicol (a glue). Decorative
patterns are incorporated onto this surface. For colors, minerals are
extracted from a dam near Khavda. These offer a range of five colors:
ochre, red, brown, white and dark gray. The minerals are milled, mixed
with water and used to paint the walls of the bhungas.
o Inside, the mural relief decorations are accompanied by functional
elements such as niches and shelves. The size of a bhunga may vary
depending on limitations imposed by the size of the available wooden
structural components, but generally the diameter ranges from 3 to 6 mt.
The shape of the buildings also varies: rectangular buildings like chowkis
display same materials and construction techniques, along with a pitched
roof.
o The source of materials may also vary. If the earth sourced from Banni is
suitable for mortar, more often local earth is used as a readily available
and appropriate material. Instead of cement mortar, a mixture of cow dung
and earth is also appropriate for foundations.
o Mangalore tiles are sometimes used as roofing components instead of
thatch. Although insulating performance is not the same, small openings
for ventilation can be left between tiles, while taking care to prevent water
seepage.
Fig.2.18: DECORATION OF EXTERIOR

WALLS
Fig.2.19: DECORATION OF INTERIOR

WALLS
IN SITU:
Stack wall or in-situ is probably the most instinctive of the three construction
methods analysed. A mixture of clayey soil is moulded into loaves and stacked
using hands to create the wall of the bhunga. This process results in a very
27

- PRIYANKA GUPTA
resistant monolithic form. A mud coating is then applied to smoothen the surface.
Such dwellings are seen in the coastal village of Tunda Vandh.
WATTLE AND DAUB:

In reinforced earth construction (wattle and daub) branches are used as wall
structure, which is then covered with earth.
Stages of construction of a reinforced earth Bhunga:
o Branches are sunk into the platform, about 40 cm deep, with a height above
the floor of about 170 cm. The branches are arranged along the wall, leaving
an opening for the door.
o Smaller twigs fill in the gap left between the main branches. Branches and
twigs are bound together with straw rope in order to improve the stability of
the structure.
Fig.2.20: BRANCHES SUNKED INTO PLATFORM
o A mixture of dung and clayey earth is then applied onto the wooden structure.
This mixture is applied both inside and outside the membrane.
Fig.2.21: MIXTURE APPLICATION
o The lipan, a smooth layer of plaster obtained with a mixture of earth, cow
dung and water, completes the construction of the wall.
28

- PRIYANKA GUPTA
Fig.2.22: FINAL OUTCOME OF THE HOUSES (1, 2 and 3)
2.6.2 ALTERNATE TECHNOLOGIES: THE INTRODUCTION

OF STABILIZED EARTH
After the 2001 earthquake appropriate construction technologies have been
introduced in order to improve seismic performance of bhungas and of other
earthen buildings. The use of stabilized earth (with cement) was introduced and
fostered, both in the form of blocks and rammed earth. People affected by
earthquake wanted to keep the traditional form of their homes, while improving
their durability. One of the key factors for the introduction of stabilized earth was
that it does not require a constant and laborious maintenance, which is indeed
needed for unstabilized earth buildings.
Compressed Stabilized Earthen Blocks (CSEB)

o This is a simple technology in which cement is added to earth (in
proportion of 7-8%) and the mixture obtained is compressed in a
press. This technique was first developed in Colombia in the 50s
and is being used in India since many years. Most probably its most
intensive use can be seen in Kachchh, where more than 100
villages were built so far using this technology.
o The use of stabilized earth has spread rapidly since it is a simple
and cost effective construction system, which does not require
skilled workmanship and with the advantage that blocks can be
produced directly on site, while following very simple technical
standardization. In addition, stabilized earth is an eco-friendly
material that provides a good thermal comfort.
o The mixture of soil and cement (92-93% of soil, consisting of sand
up to 75% clay up to 15%, and silt for the remaining, to which
cement is added up to 7-8%), is mixed and the blocks are produced
with this compound using the Mardini press. The blocks are then
cured on a platform for 21 days.
29

- PRIYANKA GUPTA
Fig.2.23: DIFFERENT SHAPES OF COMPRESSED S TABILIZED EARTHEN BLOCKS
Fig.2.24: LAST STAGE OF CONSTRUCTION OF A BHUNGA (1 and 2)
Stabilized Rammed Earth

o Like stabilized earth blocks, Stabilized rammed earth is obtained by
adding about 7-8% of cement to the soil and ramming the mixture with
appropriate tools within a wooden formwork in order to obtain a
monolithic wall. The main advantage of this technique is that a wall can
be completed in only one stage, since the earth and cement mixture
can be poured directly and the process does not require skilled
wormanship. For this reason, if compared to stabilized earthen blocks,
rammed earth wall construction is more stable and economic, fast and
robust since there are no joints. Limitations that must be taken into
account are as follows:
Rooms sizes are limited by the formworks size
Shrinkage cracks can develop, which will have to be filled
30

- PRIYANKA GUPTA
Fig.2.25: SETTING UP THE FORMWORK FOR
STABILIZED RAMMED EARTH WALLS
CONSTRUCTION
Fig.2.26: CONSTRUCTION OF A STABILIZED

RAMMED EARTH WALL
Critical points of rammed earth construction:

o Composition of earth must be ideal. Too much clay generates
shrinkage cracks.
o Earth must be sieved in a 4-6 mm mesh. Coarse grains may later
produce inconsistencies.
o Dry and wet mixing should be done evenly, otherwise it might lead to
wearing of the surface. Thickness of the layers should not exceed 12
cm. Thicker layers generate uneven compaction, and strength and
performance of the structure over a long term would be affected.
o To get good strength and good performances curing must be done
perfectly.
2.6.3 INFLUENCE OF ALTERNATE TECHNOLOGIES ON

LOCAL HABITAT
The adoption of stabilized earth came in response to the inhabitants needs:

being already aware of the bioclimatic performance of earth as a building
material, as well as of the structural strength and cultural value of round
shaped bhungas, they accepted enthusiastically the proposal to use a local
material like earth along with technological additions. This choice was justified
mainly by low production costs, and also by greater durability achieved
through stabilization, hence avoiding the periodic maintenance of the house.
With the promotion of handicrafts as main source of livelihood, time to
dedicate to house maintenance has been sensitively reduced. Women are
now engaged in production of manufactured goods for trade rather than just
for household use. Nevertheless, an earthen home is generally considered
synonymous with poverty and concrete or stone building are usually
preferred, whenever possible. As seen during the site visits, in many cases
stabilized rammed earth bhungas are also plastered with cement to avoid
periodic renewal of lipan, although this is not necessary. Unfortunately, with
stabilization part of the thermal inertia of earth is lost, and this loss is even
greater if a cement plaster is overlapped. Instead of cement plaster, the use of
simple painting is encouraged, or lime plaster as a better option, although the
latter is hardly available in the region.
Where preexisting bhungas are found, like in Nanni Daddhar, they are mostly
neglected and reduced to storage. This phenomenon took place in spite of the
general awareness about the enhanced thermal comfort of old bhungas
compared to new ones. In the same village structures like chowkis are still
built using mud blocks, but they are afterwards plastered with cement to avoid
maintenance work.
Traditional skill of building with earth still exists and is widespread in the
region. There is quite considerable scope for these skills to be utilized in
coming years as well. Recent advances in research are fostering traditional
earthen building in Kachchh region. Without stabilization, it is also possible to
31

- PRIYANKA GUPTA
incorporate seismic safe features in earthen building. Soon the supply of

earthen building processes and materials in the region will be even more
diverse, thanks to the study of prototypes that combine the bioclimatic
properties of unstabilized earth with recent advancements in earthquake
engineering.
2.7
INTERVIEWS WITH RESIDENT SELF-BUILDERS
The interviews reported here are punctual: unfortunately due to time and language
limitations it was not possible to further investigate the sociological aspects of this
research. The purpose of the interviews is to try and understand the level of
knowledge of the technologies used and how people perceive their habitat, both in
terms of bio-climatic performance, and of structural safety.
Interview with Juda Ali, during the measure drawing of a chowki in the village
of Nani Dadhar, 5 September, 2006.
C.C
.
J.A.
C.C
.
J.A.
C.C
.
J.A.
C.C
.
J.A.
C.C
.
J.A.
C.C
.
J.A.
C.C
.
J.A.
C.C
.
J.A.
C.C
.
J.A.
When was this chowki built?

Three years ago.
Do you use more indoor or outdoor space?
The indoor space is used mainly as storage, and outdoor space for various
activities.
Who built this house?
I myself along with my family.
How many people participated in the construction?
15 or 16 people.
How long did it take?
From 15 to 20 days.
Which months have you built the house?
During the summers, during the month of Phaguna .
How are you using the building at present?
We are not using it, repairing is going on.
Which problems are there for repairing?
No problem, but the necessary material was not directly available here.
Why do you use cement plaster?
Because it becomes stronger, and then you can use it over and over again,
while we must renovate the lipan every time.
32

- PRIYANKA GUPTA
C.C
.
J.A.
C.C
.
J.A.
C.C
.
J.A.
C.C
.
J.A.
C.C
.
J.A.
C.C
.
J.A.
C.C
.
J.A.
C.C
.
J.A.
C.C
.
J.A.
C.C
.
C.C
.
J.A.
C.C
.
J.A.
C.C
.
J.A.
C.C
.
Do you know that the use of earth keeps houses cooler compared to cement
plaster?
Yes, we know, but because of maintenance we prefer cement plaster.
Is this house a bhunga or a chowki?
Chowki.
What is a chowki?
A living room and a storage.
Why did you first use earth during the construction of the chowki?
Because there was no cement, and also because with earth the environment
is cooler.
If there had been cement, it would have been used?
Yes
Do you think people will continue to build houses out of earth?
It depends on economic factors, when somebody has more money he builds
with cement.
Are these Bhunga built with cement (stabilized earth) cooler than the
traditional bhunga?
No, because the former bhunga had thatched roofs and were made of earth,
while these bhunga have tile roofs and walls with cement, therefore they heat
faster.
These new bhunga are made with cement to protect them from earthquakes
or rain?
Both.
From where did you get the earth?
From the pond.
How do you make the sun dried blocks?
A wooden mold is prepared, and then a mixture of earth, cow dung and water,
mixed using feet, is poured in the wooden forms.
For how long do you dry them in the sun?
From 8 to 10 days.
Which are the dimensions of the block?
1 x 1.5 feet
How long did it take to make the wooden roof?
One or two days.
Who buys the wood, the carpenter or you?
33

- PRIYANKA GUPTA
J.A.
C.C
.
J.A.
C.C
.
J.A.
C.C
.
J.A.
We go with the carpenter to buy the wood.

How much did the house cost?
From 30 to 40,000 rupees.
How much would it cost to do it with cement?
From 70 to 80,000 rupees.
Do you feel safe to live in this house?
Now there are some pieces of metal inside this Bhunga, and it is also more
secure, and even earlier bhunga, made out of earth, were safe, but these are
safer. In any case, everything depends on God will. During earthquake
Maccan (rectangular) houses have fallen, but these did not fall, they are still
standing. Therefore they are safer.
Table 2.1: INTERVIEW WITH THE RESIDENT
Cultural and economical factors related to building with earth
In Kachchh various forms of crafts are still intimately linked to various aspects of
life. Also the construction of the house follows the rhythms of traditional life, by
adjusting to seasonal cycles. Very often a house is built over the lapse of time
between one and another activity, and usually is completed in conjunction with
the marriage of the future inhabitants.
Unstabilized earth construction is more laborious than stabilized earth and it is
marked by several stages, to which the inhabitants of this region are used to, as
to other long and complex procedures necessary for the production of their
refined handicrafts.
Earthen buildings, often completed by refined decorations, are an integral part of
the cultural landscape of Kachchh. Kutchi people are aware of this fact, and this
is also why bhungas could be proposed as permanent shelters during the
reconstruction process.
Communities of builders, like the Harijans, are thoroughly familiar with the
traditional technologies currently in use, and especially with the structural
features of bhungas. Craftsmen engage in woodcarving and leather
manufacturing with endless passion, while women are mainly into embroidery. All
these activities are industrious and creative, similarly to the construction and
decoration of a bhunga. Fatigue associated with maintenance of the house is
usually accepted, knowing that earthen plaster ensures a better thermal comfort
than a cement one. Renovation of Lipan results in a collective ritual during the
festival of Diwali, after monsoons.
These practices are bound to disappear when new economic factors intervene to
modify the local life style. In most remote villages, like Dhumado, earthen building
is the only possible option and at the question of whether concrete would be
preferred to mud, the coherent answer is that cement is good for the city, not for a
village like Dhumadho.
In villages located closer to main roads, like Dhorodo, where trade has already
triggered a certain degree of economic welfare, traditional habitat was altered
with introduction of concrete buildings, of villas and often chaotic urban forms,
34

- PRIYANKA GUPTA
which do not match with the regional morphology of kutchi villages. In many
cases the inflow of funds for reconstruction has contributed to the spreading of
pucca houses, for which almost everybody strives.
Only in case of economic restrictions stabilized earth was chosen as a viable
alternative, and cost effectiveness remains at present the main incentive to
continue building with earth.
2.8
EXAMPLE 1:
Date: 31/08/2006
Period of construction: 2001, post earthquake
Typology: Bhunga
Interventions posterior to earthquake: none
Location: Nava Vas village, Near Ludia, 70 km north of Bhuj
Fig.2.27: LOCATION MAP
Fig.2.28: MUD BLOCKS BHUNGA
DRAWINGS:
35

- PRIYANKA GUPTA
Fig.2.29: DRAWINGS OF HOUSE
BRIEF DESCRIPTION OF THE CONSTRUCTION PROCESS:

Generally adobe construction starts with the dry season, at the end of monsoon.
Blocks are made out of clayey soil and rice husk; their size is 20x30x10 cm.Stages
of adobe construction areas follows:
A trench is dug, 30 cm deep and 45 cm widht. The blocks for foundations are
layed using a compund of local soil and cement for the mortar.
Walls are built in continuity with foundations, using a mortar made out of cow
dung and local soil, mixed with water until the compound is workable.
Lintels, door and window openings are inserted where necessary.
The platform -otla- is then built using stone and soil, until a height of about 30
cm or more. The otla is then coated with a thin layer of clay, which is applied
also on the walls of the bhunga protecting them at the base. The finishing
layer, locally called lipan, is composed of clayey soil and dung.
MATERIALS USED:
Bearing walls: adobe.

Roof: bearing structure of wood and bamboo, tatched roof tightened with
rope.
Floor: cement.
Fixtures: wood for doors, wood and wrought iron for windows.
Interior plaster: stucco composed of white clay and cow or horse dung,
suitable for relief ornamentations.
Exterior plaster: lipan, composed of clayey soil and cow dung.
Partitions: absent.
Fixed furniture - interior: clay and wood.
Fixed furniture - exterior: soil, cement, wood and mangalore tiles.
for the veranda.
PHOTOGRAPHIC SURVEY:
36

- PRIYANKA GUPTA
1. OTLA AND VERANDA
3. MANJE FOR TEXTILES STORAGE
2. INTEGRATED SHELVES
4. MURAL DECORATIONS
5. PEDLO WITH TRADITIONAL FURNITURE: TWO MANJE FOR STORING TEXTILES AND ONE
KOTHALO
6. CENTRAL SUPPORT
Fig.2.30: PHOTOGRAPHS OF THE INTERIORS (1, 2, 3, 4, 5 and 6)
37

- PRIYANKA GUPTA
NOTES:
This bhunga appears to be structurally sound: a single transversal beam ortogonal to
the doors axes supports the central post, on which the roof rests. The interior is
enriched by traditional ornamentation, a mural relief emphasized by small mirrors
(ambhla). Construction of these traditional bhungas was promoted after 2001
earthquake by NGO Manav Sadhna, which fostered the reconstrucion of several
settlements around Ludyia, near Kavhda.
EXAMPLE 2:
Date:02/09/2006
Period of construction: previous to earthquake
Typology: Bhunga
Location: Tunda Vandh village, Near Manvi, 60 km south-east of Bhuj
Fig.2.32: MIXED HABITAT IN TUNDA

Stack walls: a compound of clayey soil previously moulded into loaves, is stacked or
thrown with force, and then shaped using hands in order to build the bhungas wall.
This process will result in a very thick and resistant monolithic wall. A final coating the lipan - is then applied in order to protect and smoothen the surface. The roof is
resting on a central post and on the perimetral wall.
MATERIAL USED:
Bearing walls: mud stack walls

Roof: Understructure made out of palm wood sourced from the coastal area
and covered with small twigs tied with rope
Floor: cement
Fixtures: wood for doors, wrought iron for windows
Interior plaster: stucco made out of white clay and horse (or cow) dung,
suitable for relief ornamentation
Exterior plaster: cement on front wall; lipan, made out of clayey soil and cow
dung on back wall.
Partitions: absent
38

- PRIYANKA GUPTA
Traditional furniture: clay and wood

Outdoor finish: cement for the platform- otla.
DRAWINGS:
Fig.2.33: DRAWINGS OFTHE HOUSE
1. NICHE WITH SMALL OPENING
3. CENTRAL POST HOLDING THE ROOF
2. SPIRALLING STRUCTURE
4. PEDLO WITH TRADITIONAL
39

- PRIYANKA GUPTA
FURNITURE
5. ROOFING COMPONENTS ARE TIED WITH

ROPE
6. PRESENCE OF GRASS AROUND THE

WALL INDICATES LACK OF
DRAINAGE
Fig.2.34: PHOTOGRAPHS OF THE INTERIORS (1, 2, 3, 4, 5 and 6)
NOTES:
In Tunda Vandh bhungas showcase a different roofing system. A central post
reaching to the floor holds the roof, which in addition is resting on the perimetral wall.
Rather than by concentric trusses, the understucture is given by a single truss that
unfolds as a spiral and serves to hold together the twigs and other filling elements,
on which the thatched roof is resting. Presence of grass around the perimetral walls
indicates lack of drainage. This problem can be seen everywhere in the village,
where the grass often reaches the roofs of the bhungas.
EXAMPLE 3:
Date: 04/09/2006
Period of construction: 1985
Typology: Bhunga
Interventions posterior to construction: after the earthquake
addition of a post in order to support the damaged bearing structure
Location: Dhorodho village , 70 km north of Bhuj
40

- PRIYANKA GUPTA
Fig.2.36: EARTH BLOCK BHUNGA AT

DHORODHO
DRAWINGS:
41

- PRIYANKA GUPTA
Fig.2.37: DRAWINGS OF THE HOUSE

Generally adobe construction starts with the dry season, at the end of monsoon.
Blocks are made out of clayey soil and rice husk and their size is 20x30x10 cm.
Stages of adobe construction are as following:
A trench is dug 30 cm deep and 45 cm width. The blocks for foundations are
laid using a compound of local soil and cement for the mortar. 2. Walls are
built in continuity with foundations, using a mortar made out of cow dung and
local soil, mixed with water until the compound is workable. 3. Lintels, door
and window openings are inserted where necessary. 4. The platform -otla- is
then built using stone and soil, until the height of about 30 to 40 cm and
sometimes more.
The otla is then coated with a thin layer of clay, which is applied also on the
walls of the bhunga protecting them at their base.
The plaster layer, called lipan, is composed of clayey soil and dung.
MATERIALS USED:
Bearing walls: adobe

Roof: wood and bamboo understructure, thatched roof hold with rope.
Floor: cement
Fixtures : wooden doors and windows
Interior plaster: stucco made out of white clay and dung, suitable for relief
ornamentations.
Exterior plaster : lipan, composed of clayey soil and dung, cement
Partitions: absent
Traditional furniture: clay, wood, cement for the pedlo lining
Exterior finish: the platform- otla - is coated with cement.
1.
SUPPORT FOR THE 2. WOODEN STRUC.
CENTRAL BEAM
SUPPORTING ROOF
3. SANJERO
4. WOODEN WINDOW
SHUTTERS
42

- PRIYANKA GUPTA
5. INTERIOR OF THE BHUNGA WITH STUCCO MURAL ORNAMENTATIONS AND TRADITIONAL

FURNITURE
6. DOOR LINTEL
7. TEXTILE CEILING COVER
8. WOOD AND BAMBOO

ROOF UNDER
STRUCTURE
Fig.2.38: PHOTOGRAPHS OF THE INTERIORS (1, 2, 3, 4, 5, 6, 7 and 8)
NOTES:
This bhunga shows one intervention posterior to earthquake: one post was added as
a strengthening measure in order to hold the damaged central beam. On an overall
the building seems to be well maintained, and displays particularly rich and detailed
ornamentations.
The wall is very thick, providing space for niches and shelves in its
upper part.
This bhunga doesnt show the typical 1:1 ratio between diameter
and roof height, the roof being quite narrowed down. The exterior perimetral wall
shows a white color coating, most probably laid on a cement finish, given the smooth
and regular texture of the walls surface.
The floors are also plastered with cement both indoor and outdoor. Cement plaster
was also applied on the interior wall of the bhunga up to the level where clay
ornamentations start.
EXAMPLE 4:
Date:17/08/2006
Period of construction: 2001
Typology: bhunga
Project KMVS and HUNNAR SHAALA
Location: Rudramata village, 25 km north of Bhuj
43

- PRIYANKA GUPTA
Fig.2.39: SETTLEMENTS LAYOUT

BHUNGA
Fig.2.40: STABILIZED RAMMED EARTH

AT NANI DADDHAR
Stabilized rammed earth: As for stabilized compressed earthen blocks,

stabilization of rammed earth is obtained by adding about 7-8% of cement to
the soil by weight and ramming the mixture with appropriate instruments
inside a wooden formwork in order to obtain a monolithic wall. The main
advantage of this construction technique is that the bhungas wall can be
finalised in one day, thanks to the fact that the soil and cement mixture can be
poured directly without requiring specialized labor. A stabilized rammed earth
wall construction results therefore to be more economic, rapid and robust, as
joints are absent.
Also within a stabilized rammed earth wall horizontal reinforced concrete
bands as well as vertical steel rods have to be incorporated at different levels
as seismic safety measures. Bearing walls: stabilized rammed earth with
vertical steel rods and horizontal RCC bands at various level as seismic
safety measures.
Fig.2.41: ROOF SCHEME DIAGRAM
DRAWINGS:
44

- PRIYANKA GUPTA
MATERIALS USED:
Roofing: wooden understructure, mangalore tiles

Floor: cement
Fixtures: wooden doors and windows frames
Interior plaster: sometimes cement (addition), or absent
Exterior plaster : paint or absent
Partitions: absent
Exterior elements: cement and stone for the platform otla.
45

- PRIYANKA GUPTA
Fig.2.43: CONSTRUCTION PHOTOGRAPHS OF THE TYPICAL HOUSES (1, 2 and 3)
EXAMPLE 5:
Date: 05/09/2006
Period of construction: unknown
Typology: Bhunga
Interventions posterior to construction: none
Location: Ramnagar village, about 50 km north-east of Bhuj
Fig.2.45: WATTLE AND DAUB BHUNGA AT

RAMNAGAR VILLAGE
Wattle and daub : the roof understructure is given by twigs and bamboo tied
together, while it was observed that the prevailing material for wattle and daub
walls in this village is bamboo. In both cases, either wood or bamboo, a
framework is made then a compound of soil and dung is applied on the
supporting framework, with lipan as ultimate layer. The roof is formed by twigs
tied together on a bamboo understructure, and it is anchored to the wall
through wooden angular elements, locally called khuta.
DRAWINGS:
46

- PRIYANKA GUPTA
MATERIAL USED:
Bearing walls: wattle and daub

Roof: twigs fixed with rope
Floor: lipan
Fixtures: plywood for the door, windows absent
Interior plaster: lipan with three natural pigmented clay : white, yellow and
red
Exterior plaster: lipan, natural pigments for ornamentations
Traditional furniture: clay and wood
Exterior elements: lipan for the platform -otla- wood and Mangalore tiles for
the veranda.
47

- PRIYANKA GUPTA
1. KHUTA: WOODEN 2. TRADITIONAL WOOD

ANGULAR ELEMENT
AND EARTH
FOR FIXING THE ROOF
FURNITURE
TO THE WALL
4. PEDLO
5. MURAL DECORATIONS
USING NATURAL
PIGMENTS
3. WALL ORNAMENTATION WITH

PIGMENTED CLAY AND EMBEDDED
SHELVES
6. INTERIOR WITH TRADITIONAL

FURNITURE
7. CENTRAL CONE FOR CLOSING 8. TATCHED ROOF AND MANGALORE

THE ROOF MANN
TILES VERANDAH
9. DETAIL OF
KHUTA
Fig. 2.47: PHOTOGRAPHS OF THE INTERIORS
NOTES:
The roof is made out of twigs tied together with rope and fixed to the wall through
angular wooden elements -khuta - and jute bags for waterproofing are laid.
BIBLIOGRAPHY
48

- PRIYANKA GUPTA
Book on Vernacular ARCHITECTURE FOR KUTCH by SANJAY UDAMALE

Report on Earthen habitat in rural development of Western India by CEPT
UNIVERSITY
www.wikipedia.com/vernacular architecture of kutch
49

Bohra Havelis in Siddhpur

Hochgeladen von

Dokumentinformationen

Originalbeschreibung:

Copyright

Verfügbare Formate

Dieses Dokument teilen

Dokument teilen oder einbetten

Freigabeoptionen

Stufen Sie dieses Dokument als nützlich ein?

Sind diese Inhalte unangemessen?

Copyright:

Verfügbare Formate

Bohra Havelis in Siddhpur

Hochgeladen von

Copyright:

Verfügbare Formate

BOHRA HAVELIS & BHUNGA HOUSES

URBAN Bohra Havelis

BOHRA HAVELIS & BHUNGA HOUSES

BOHRA HAVELIS & BHUNGA HOUSES

BOHRA HAVELIS & BHUNGA HOUSES

BOHRA HAVELIS & BHUNGA HOUSES

CHAPTER 1 BOHRA HAVELIS, SIDDHPUR, GUJARAT

CHAPTER 2 BHUNGA HOUSES, KUTCH, GUJARAT

BOHRA HAVELIS & BHUNGA HOUSES

1. BOHRA HAVELIS IN SIDDHPUR, GUJARAT

Gujarat is located on the west coast of India.

1.3 CLIMATE SIGNIFICANCE

Climate has its impact on a number of organizational and construction

1.4 BUILDING TYPOLOGY

BOHRA HAVELIS & BHUNGA HOUSES

GROUND FLOOR PLAN

FIRST FLOOR PLAN

SECOND FLOOR PLAN

BOHRA HAVELIS & BHUNGA HOUSES

THIRD FLOOR PLAN

FOURTH FLOOR PLAN

Fig 1.1: DRAWINGS OF A TYPICAL BOHRA HAVELI

1.5 SPACE TERMINOLOGY OF A TYPICAL GROUND FLOOR PLAN

BOHRA HAVELIS & BHUNGA HOUSES

Fig.1.2: TYPICAL VIEW OF AN ORDO IN THE HAVELIS (1 and 2)

1.6 TYPOLOGICAL AND TECHNOLOGICAL ANALYSIS

EXAMPLE 1 TYPICAL HOUSE AT DAHOD

BOHRA HAVELIS & BHUNGA HOUSES

GROUND FLOOR PLAN

FIRST FLOOR PLAN

SECOND FLOOR PLAN

Fig 1.3: DRAWINGS OF A TYPICAL HOUSE IN DAHOD

EXAMPLE 2 - TYPICAL HOUSE AT DAHOD

BOHRA HAVELIS & BHUNGA HOUSES

GROUND FLOOR PLAN

FIRST FLOOR PLAN

SECOND FLOOR PLAN

Fig 1.4: DRAWINGS OF A TYPICAL HOUSE IN DAHOD

1.7 COMPARISON OF TYPICAL PLANS

BOHRA HAVELIS & BHUNGA HOUSES

Fig 1.5: PLANS OF SOME TYPICAL HOUSES IN VARIOUS REGIONS OF SIDDHPUR

BOHRA HAVELIS & BHUNGA HOUSES

COMPARISON OF TYPICAL FACADES

Fig 1.6: FACADES OF SOME TYPICAL HOUSES IN VARIOUS REGIONS OF SIDDHPUR

BOHRA HAVELIS & BHUNGA HOUSES

BUILDING MATERIALS AND TECHNIQUES

Fig.1.7: TYPICAL BOHRA HAVELI FACADE

Fig.1.8: USE OF PLASTER

Fig.1.9: USE OF WOOD

BOHRA HAVELIS & BHUNGA HOUSES

The Bohrward streets stand apart because of a sense of order, extreme

Fig 1.11: THE BOHRWAD IN KAPADVANJ

Fig. 1.13: SIDE-VIEW OF A TYPICAL STREET

Fig 1.12: THE BOHRWAD IN SURAT

Fig. 1.14: FRONT VIEW OF A STREET

BOHRA HAVELIS & BHUNGA HOUSES

Basically a trabeated structural system was used in combination with

Fig. 1.15: TIMBER WITH STONE MASONRY

Fig. 1.16: WOOD HIGHLY USED IN INTERIORS

1.12 ARCHITECTURAL ELEMENTS

BOHRA HAVELIS & BHUNGA HOUSES

The varied elements have been crafted with a high level of

Fig.1.17: RAILINGS AND WINDOWS