AAR 3131 VERNACULAR ARCHITECTURE TRADITIONAL INDIAN THEORY

THE THEORY OF TRADITIONAL INDIAN ARCHITECTURE : Vastu Vidya Vastu Vidya is a programme of architecture in the traditional Indian Architecture. the traditional Indian Science of Architecture and House Buildings. It is the ancient Indian knowledge of architecture is as old as the Vedas that belong to the period of 1500-1000BC. The inception of traditional Indian architectural theory is evident in its first textual evidence in the rig Veda, where Vastospati or the protector of the house is invoked. The rituals associated with architectecture are also described in the later Vedas, Sutras, Purna, Tantras, VAStu Shastra and its compilations until the 15th century AD. The date of its inception as a specialised science dealing with architecture is speculated to be much before the advent of the 1st century AD; by then it had fully developed technically.

The text starts with an invocation of Lord Vishvakarma (Figure1), the divine architect, and goes on to describe the architectural team. The team usually consists of four experts who are said to have their mythological origin form Brahma, the four headed supreme creator of the world. They are: Sthapati (the master builder/ architect); Sutragrahin (the surveyor); Takshaka (the carpenter), & Vardhaki (the painting expert)

Site Considerations After the team has been chosen, land is chosen for building the house. There are numerous guidelines prescribed for choosing a piece of land that would bring happiness, growth and prosperity. The guidelines examine the size, shape, sound taste, colour smell, vegetation and topographical features that indicate its suitability for dwelling upon. Prescribed also some easy, practical soil test to examine the fertility of the soil.

Calculations Calculations are made before the commencement of the work on site to determine the auspicious Nakshatra or stars, Vara or day, Tithi or date, Aya or income, Vyaya or debt, and Ayu or age. In all such formulae, the yielded reminder is of prime significance and it’s the remainder that determines the auspiciousness. These formulae consider the width and length of the chosen land which is then adjusted to arrive at a set of favourable results applied for the commencement of work.

Sutrashtaka, THE TOOLS OF MEASUREMENTS The unit of measurement (figure 2) used for the construction are the multiples of Angula or

VASTU PURUSHA MANDALA THE SUBDIVISIONS

Vastu Purusha Mandala The Vastu Purusha Mandala provides the grid that facilitates the inception of the design, and in addition to bein gthe ‘architect square pad’ where the concept crystallise, each of its lines and divisions hold within them layers of meaning, within which the intricacies of design unfolds. It adopts the shape of the site, and this functional attribute of the Mandala active in the mind of the designer in its ideal form of a square, acquiring a different shape in reality, is a primary example of the inherent flexibility. It is an amalgamation of 3 constituent concepts: Vastu Nama Purusha, & Mandala Vastu Vidya aims towards harmonising these constituent concepts into its universal notion of existence. This worldview enacted in every process of creation is characteristic of traditional Indian art, which is “neither anthropomorphic (or anthropocentric) nor naturalistic (or cosmocentric), but aims at con- forming (anurupa) to the divine archetype (the original Purusha) which is itself reflected in man and in the cosmos.” Baumer, Bettina ed., Rupa Pratirupa, 1982.

THE SUBDIVISIONS

THE SUBDIVISIONS: Sakala, Pechaka, & Pita Mandala In the Mandala of a single square called Sakala (figure 22), the guardians of the four directions, East, South, West and North, which are Aditya or Sun, Yama or God of death, Varuna or God of waters, and Soma or Moon, rule the four sides that make the square. This Mandala is used in constructions for the ritual worship of fire, dinin, and ancestral worship. The second, Pechaka is the Mandala of 4 plots and is used for structures for domestic worship and public bathing. The third Pitha Mandala of 9 plots is ruled by the Isha (north-east), Sun in the east, Agni or personified fire (south-east),Yama in the south, Gagana or the personified sky (south-west), Varuna in the west, pavana or the personified wind (north-west), & Soma or moon in the north, with central plot occupied by Prithvi or the personified earth. In the fouth Mandala called Mahapitha (figure 23), additional divinities are introduced.

Mahapitha Mandala (Archarya, 1980)

The subdivisions of 25 & 36 Plots

Sample Mandalas Paramashayika Mandala after Brihat Samhita Paramashayika Mandala after Mayamata

Paramashayika after Rajavallaha

DOOR POSITIONS (Asterisks show suitability)

CONCENTRIC DIVISIONS of Paramashayika Mandala

The Body Figure 30a shows the graphic imagery of the Purusha (from the text, Rajavallabha, 1911) Figure 30b illustrates the graphic imagery of the Purusha (from the same text)

Contemporary interpretations Figure 32 shows the nine squares division in the design of Jawahar Kala Kendra (A + D, 1991)

Contemporary interpretations Figure 33 shows the Concept of Vidyadhar Nagar (Curtis, 1988)

Contemporary interpretations Figure 34 Demonstrate a play of the 3x3 Mandala, at the Indian Institute of Technology (IIT), Bombay. The Architect makes references to the Vastu Purusha Mandala as the diagram of nine squares representing cosmic elements. His nine squares are the plots of the divinities as in the Pitha Mandala, but like Charles Correa’s Mandala is called the Navgraha or the nine planets. The symbolic, spiritual and the ritualistic roles of the Vastu Purusha Mandala are intrinsic to its principle but so are the potentials of the functional and architectural roles it possesses.

Contemporary interpretations Figure 31 shows the Geometric interpretations of the City of Jaipur and monuments (Volwahsen, 1969)

ORIENTATIONS

ORIENTATION Directions: East, West, North, and South Orientation of Activities Orientation and Vastu Purusha Mandala (Figure 41) Orientation and the 8 Aya Formula (Figure 42) & Table X Contemporary Application: example: Charles’ Correa’s Jawahar Kala Kendra, Jaipur (1986). Figure 46 & Table XII.

ORIENTATION OF VARIOUS FUNCTIONS

Directions: East, West, North, and South

Orientation Design Interpretations Changes suggested for a factory House designed by a master craftman

Orientation Principle: Design Interpretation Figure 46: Charles Correa’s plan for the Jawahar Kala Kerala, Jaipur (1986)

CONTEMPORARY DEFINITIONS Figure 57: ASHOKA Hotel, New Delhi

CONTEMPORARY DEFINITIONS Figure 58: Comparing the built form of old and new

CONTEMPORARY DEFINITIONS Figure 59: The Modern ‘auspicious’ house (B.N. Reddy, 1995)

TO BE CONTINUED NEXT WEEK…. End of PART 1 TO BE CONTINUED NEXT WEEK….