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3590 900 1410 2250 2200 1820 2550 1820 2200 2250 1410 900 3590 4940

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3590 900 900 1650 1200 1300 1200 1000 3400 1000 1200 1300 1200 1650 900 900 3590 4940

3590 900 1410 2250 2200 1820 2550 1820 2200 2250 1410 900 3590 4940 31830

31830
 LVL.
+11190

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+9900

LVL.
+8000

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+6390

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+4100

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+1900

LVL.
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FRONT ELEVATION
SCALE - 1:75

LVL.
+11190

LVL.
+9900

LVL.
+8000

LVL.
+6390

LVL.
+4100

LVL.
+1900

LVL.
±00

SIDE ELEVATION
SCALE - 1:75
L
OUI
SI.KAHN
2018
Acknowledgement:

We want to sincerely extend our gratitude to Dawood Ibrahim (4 times UNESCO Heritage
Award Winner) and his group for sharing their experience and KBSS Associates for educating us
about the vernacular materials. and our college AIT-SAP Gr.Noida. Finally the thanking The
Patodia’s for allowing us to document their dwelling and making us feel at home.
We express our profound thanks to Prof. Sangeeta Bias for guiding us through the whole
documentation and walking beside us in ways we did not express. And all those who have
indirectly guided and helped in putting together this documentation.
INTRODUCTION:
Fondly known as "the land of Havelis" or "open air art gallery", this miniature town of
Nawalgarh is located around 30 kms away from the town of Jhunjhunu and does absolute
justice to the name given to it. This small colourful town is busted with various Havelis, usually
owned by big business families that have settled abroad or other parts of the country. On a
Casual note, the town is so colourful that you will also be able to find colourful rickshaw.
Maharaja Nawal Singh (Songara Rajput) founded Nawalgarh in 1674 AD at the village site
of Rohili, before abolition of Jagirs in Rajasthan. Many great business families of marwari
community have their origins from Nawalgarh. Nawalgarh was a tazimi thikana of Jagmal Ji Ka
Songara. Nawalgarh was encircled by the high Parkota (walls) consisting of four Pols (gates) in
different directions, namely Agoona Darwaja, Bawadi Darwaja (literally - 'door near the well' in
the north), Mandi Darwaja(literally - 'door near the market') and Nansa Darwaja. Each gate has
iron doors. Bala Kila Fort is situated in the center of the Thikana, and Fatehgarh Fort is situated
outside the Parkota as an Outpost. The market place of the town and layout of the havelis
indicate that the original city was well-planned before construction. Nawalgarh was considered
to be the most modern towns of Shekhawati. The Rulers of Nawalgarh belong to the sanganer
sub-clan (Jamal Ji Ka Sept) of Deora i.e. The Sanganerias, Dynasty of the earlier Sikar State
LOCATION:
Coordinates: 27°51'19"N 75°16'19"E
State: Rajasthan

District: Jhunjhunu
Distance from:

 Capital City of Jaipur: 116Kms

 Pakistan Border: 263Kms

 Aravali Range: 35Kms

In context to Haveli:

 Outside the gate of the walled city of Nawalgarh.

 Near Bawadi Gate

 102m from Bauli

 450m away from Gopinath Temple (Main temple of Nawalgarh, centre point)

Accessibility:

 By Air - The capital city of Rajasthan state namely Jaipur is at a distance of

hundred kilometers from Nawalgarh. Jaipur happens to be the nearest
airport that connects Nawalgarh with the oth er major cities of India by air.

 By Rail - In terms of rail transport the railway station at Nawalgarh caters to

the tourists and other travellers of train from the neighbouring areas.

 By Road - The road network links Nawalgarh with most of the major towns
of Rajasthan. Once you reach Nawalgarh you may opt for hiring jeeps or auto
rickshaws to travel locally. At Nawalgarh food and accommodation are easily
available. There are budget hotels and other restaurants that cater to the
needs of the tourists of varying pocket sizes.
STRUCTURE:
Structural System:
The particular method of assembling and constructing structural load bearing components of
a building so that they support and transmit applied loads safely to the ground without
exceeding the allowable stresses in each of the individual members constitutes its structural
system. The basic types that have been utilised here:

 Plinth

 Load Bearing Wall

 Post and Beam

 Arches

 Vaults
The use of different structural systems creates a multiple combination of spaces in haveli.
Stone Plinth: The substructure of the haveli is made up of stone and is extended above the
ground level.
Load Bearing Wall System: In this system masonry wall has been used as a structural system to
transmit the load of the wall and roof above in addition to its own weight to the foundation and
subsequently into the ground. The walls had to be thickened according to the proportion to the
forces it had to resist i.e. its own weight, the dead load of floors and roof, the live load of
people, as well as the lateral forces of arches, vaults, and wind. The walls in havelis have
therefore been made much thicker towards the base, where maximum load accumulates.
Post and Beam: This system consists of horizontal element that act in bending and vertical
member that acts in compression. Column and beam used in combination constitutes of post
and beam system. The horizontal element beam carries superimposed loads as well as its own
weight and transmits the same to the foundation through the vertical element through the
column. The post and beam system has been frequently used for creating openings in havelis
and in combination with walls and stone slabs has also been used to cover various spaces.
Arches: In havelis have been frequently used in combinations with columns. The arch as a
curved architectural member has been utilised to span an opening and support loads from
above. Wedge shaped blocks of stones or bricks that form the arch mutually support each other
at the top by the key stone and at the bottom by columns, piers or abutments. The arch acts in
compression and transfers the super imposed load through the column the foundation. This
system has been used frequently to create large openings in the havelis. Some arches were
made out of stiff materials like single stone slabs and have been used merely as decorative
features held in place by a frame of stone beams and columns. These are non-structural in
nature.
Vault: The structural system used to cover spaces is by using vault system. Corbelled vaults
have been commonly used in havelis for spanning the space enclosed by walls. In this system
each brick projects slightly beyond the course of that below, thus narrowing the span
progressively to bridge the distance.

NATURAL SETTING:
Planning of Nawalgarh is done in Grid Iron Planning hence all of the havelis in Nawalgarh
follows but Patodia haveli doesn’t follow this planning. Hence it is not built according to the
sun.

JUSTIFICATION OF CHOICE:

It’s a state full of beautiful architecture. Here in one finds breath taking ornamentation on the
physical skin of the built up not necessarily for the exterior beautification only but also has
additive benefit of responding to the climate. Throughout different parts of Rajasthan, one may
find diverse ornamentation and structural styles but all have same functions.

Rajasthan being the land of extremes the architecture of this land sustains all of the climatic
extremities. As the courtyard acts as heat absorber in summers and radiator in winter.

Nawalgarh is town with a grid iron planning.

In this walled city of Nawalgarh our haveli is located just outside of the town’s northern gate i.e.
the bawadi gate and adjacent to town’s wall. The king of Nawalgarh made an exception for
Patodia family by breaking the wall of the town to make them the part of the town. Later on,
the walls were torn down from various spots for the expansion of the town.

Patodia haveli earlier had four courtyards. Out of which first courtyard was dedicated to the
caretakers and munshi (accountant), second courtyard for mardana, third for zenana and fourth
for cattle. Later on, the fourth courtyard was donated by the family to one of the caretakers of
the family.
The fresco paintings in Patodia haveli has been untouched since the time they were first made.

Whole plot has always been used as residential and commercial from the very beginning of its
existence.
Patodia’ and their family lineage has been residing in this haveli since the beginning.
HISTORY AND EVOLUTION:

The Shekhawati region's background is fascinating. It was established in the 18th century along
a caravan trade route, and ruled by the Shekhawat Rajputs. The region was a prosperous one,
with over 100 villages, and 50 forts and palaces spread over an area of more than 30,000 sq km.

Over the next century, many people from the neighbouring Marwar community migrated to
Shekhawati and made it their home. These rich business people commissioned artists to paint
frescoes on their homes as a sign of opulence. Painted havelis cropped up all over the desert
landscape. The art was kept alive for nearly 300 years. However, eventually, more and more
families settled elsewhere. These days many homes are abandoned, locked up, and neglected.
The Shekhawti region also has a special place in Hindu mythology. During the Mahabharata
period, the northern part of Rajasthan that included Bikaner and Nagpur was called Jangladesh
while the eastern part was known as the Matsya kingdom.

Shekhawati was part of the Matsya kingdom that extended to the now extinct river Saraswati.
The kingdom found itself in the center of the feud between the Pandavas and the Kauravas
when the exiled cousins took refuge here in the final year of their exile when they were
supposed to live incognito. It was when they were discovered that the kingdom was attacked by
the mighty Kauravas who flushed out the five brothers who came out in support of the king
who had unknowingly given them refuge. It was this battle that eventually led to the full-
fledged 18-day war that tore into the very heart of the empire.

From the turn of the 19th century till about 1822, a vast amount of trade was diverted
through Shekhawati and more and more merchants got attracted into the region.
This also was the meeting point of the camel caravans from the Middle East, China and India.
Trade in opium, cotton and spices flourished. This was one reason that the merchant
community grew then and it is still a prominent class in the Indian society – the Marwaris. The
huge amount of money that they dished out was to pay for the sheer volume of artistic
expression that adorns the walls of Shekhawati.
These Marwaris and banias built palatial havelis for themselves and memorials for their
ancestors. For, the haveli was to a bania what the fort was to a Rajput.

Physical form:

The region has a vast assortment of residential architecture of havelis as well as forts, temples,
and buildings of mixed use such as forts, temples and a vast historic building stock of
community structures such as dharamshalas, baoris and kuans in addition to funerary
structures and cenotaphs locally known as chattris.
The baniya traders were devout hindus and Marwari would aside a quarter of his income to
plough back into his community through philantrophic acts of buildings, haveli, a temple,
chattri, baoli, kuan and dharamshala.
The haveli originated from the Rajput architectural tradition of introverted planning of rooms
around a central courtyard, a natural response to the harsh climate of Rajasthan and to social
customs that demanded the segregation of male and female areas. The residential architecture
of Nawalgarh is typified by the introverted courtyard-type Rajasthani traditional haveli
planning, with multi-cusped archway and painted frescoes. The number of courtyards depends
on the economic status of the family. Besides the number of courtyards the scale and
ornamentation of the entrance doorways were also often a major of the families social and
economic status.
The havelis in this region were like fortified houses with different sections for the women and
men. The Zenana (women’s apartments) was built around an inner courtyard where the ladies
spent most of their daytime. The internal courtyard provided the screened private space for the
women of the family.
The men conducted their business on the white cotton mattresses of their sitting rooms.
It is said that the Marwaris who were off to cosmos cities like Bombay and Calcutta in search of
work, used to send their hard-earned money back to their homes in Nawalgarh. When their
businesses started to flourish, they sent back artists to Nawalgarh in order to build plush
palaces and show off their wealth. This led to the rich architecture of this little town in
Rajasthan.
Most of the havelis here are constructed in a similar fashion, and only the size and detailing
differ. The havelis represent the triumph of the artist over the patron. They are three-
dimensional canvases on which a rural imagination has left its imprint.
In Nawalgarh town one sees two distinct styles of traditional architecture:
the purely Indian style
partly Indian and partly European style features which Is mostly seen on the
later havelis.
All earlier havelis situated mostly to the north of east-west axis of the town were constructed in
the traditional style whose main features are high outer walls up to the roof often extending up
to the upper storey; one or two central courtyards, occasionally the number increased to four
and even eight, an adjoining nauhara and arched gate structures with heavy and intricately
carved wooden doors.

The entrances of havelis in Shekhawati region are typically flanked by raised seats or raised
platforms which are used by pedestrians to rest on. Vendors selling goods would often gather
here and sell their products to members of the household who would sit on the seats and
bargain or check the goods.

There were narrow winding staircases accessible from the inner courtyards and a naal, a
covered tube-like alley used to connect the haveli with the Nauhara, in these mansions. There
was always an outer and then inner courtyard (s).
The height of the platform on which the haveli was raised varied from 3 to 5 feet. A
spacious chabootara in front of the entire width of a traditional haveli was considered
auspicious. The upper brackets under the eaves, arches above the vaults and somewhere
projected balcony forms were liberally used by architect-masons.

The fresco painters were called chiteras who belonged to the caste of kumhars (potters).
The frescoes depicted in bright two-dimensional paintings, consisted of scenes from
mythology, especially of Krishna and Shiva, instances from the “Ramayana” and
“Mahabharata”, local legends, animals and plants, daily lives of men and women, towns
and the Shekhawati rulers. The chiteras used only natural colours like lamp black for black,
lime for white, indigo for blue, red stone powder for red, saffron for orange, yellow clay for
yellow ochre and so on. Mixed in limewater and beaten into plaster, they remained vibrant
for almost as long as the building lasted.

The havelis were invariably and extensively painted. Unpainted havelis were considered
inauspicious by standards of those times. The outer as well as inner walls of the havelis,
sometimes even the vaulted roofs, contained hundreds of beautiful images, sometimes in a
myriad sequence, based on old Hindu mythological themes and scriptures. In spite of the fact
that the painters and masons were illiterate, they worked hard on hundreds of havelis and
exhibited a sort of ingenuity as no two buildings seem similar to each other either in design or
art work.

Their intellectual inputs came from oral traditions. Though the subjects and themes were
common, yet the painters and masons were masterminds in putting minor variations either in
the size of the drawing or in the scheme of colours which could hardly be detected by a casual
observer.
masons and painters worked in close coordination. The earlier havelis were built partially in
stone and partially in lakhauri bricks, made locally.The bricks and stone-chips were fixed in
burnt lime and plastered with this mortar dexterously prepared by mixing and beating jute
fibre, bilva fruit pulp, urad dal, jaggery, guargum or accacia gum, with lime as the base material.
The experience of centuries behind them determined the proportion in which such material
could be prepared. It was mixed and ground in a circular trench by continuously pouring water
on it while a pair of bullock or a camel would drudgery pull a roller over it. Once the primary
coat of plaster on a wall was done, the masons next ordered preparation of yet another kind of
a paste for the second fine coating on the wall. This substance for the second coat was
prepared by sieving water- soluble lime which for several hours was ground with powdered sea
shells until an off-white and extremely fine paste was ready. The masons used this paste to give
a glittering off-white thin coat of plaster upon the wet wall. Only that much surface was
prepared in rectangular blocks in a day as the artisans could use for scratch drawings and fixing
colours in the outline for frescoes. The wall surfaces were painted and also decorated with
mirrors.

SPATIAL ORGANISATION:
Toran Dwar:
Main doorway at the entrance to the haveli defined by a double height cusped archway and a
pointed arch having gokhas or seating spaces on either side. The main arch was elaborately
painted with various motifs and so was the recessed area inside the arch with portraits of gods,
goddesses, ancestors and Rajput rulers. The entrance door was made of wood reinforced with
iron strips and iron spikes for enhanced security.

Gokha:
Open or semi-covered raised seating spaces defined by arched openings located on either sides
of the main entrance to the haveli. Projecting out from the main façade, gokhas were important
elements of each haveli suggesting a degree of interaction at the street level. Arches were
painted in the floral patterns on either side, where as the ceilings had ragmala or similar floral
motifs in a circular pattern. Geometrical and floral patterns were carved on the raised plinths of
the gokhas.

Outer Poli:
Buffer space at the entrance to the haveli, marking the first level of the transition from the
street to the chowk. The space had multiple use, as a sitting and rest area for the guard, play
area for children and space where vendors came to sell their goods. Some havelis had raised
sitting areas in the outer poli with steps leading to a mezzanine floor above the gokhas,
overlooking the street. This area was barely painted in the most affluent merchants got its
ceiling and arches painted in ragmala and floral motifs.

Outer Chowk:
Forecourt of the haveli on its main central axis. It was hub of activities of the male members of
the family and provided good light and ventilation to the surrounding spaces while ensuring
privacy and security. The space was also sometimes used for entertainment in the cool desert
evenings.
Baithak:
Reception space in the outer chowk of the haveli located on the either side of the central axis
meant for receiving guests and transacting business. Baithaks were mostly double height halls
with a mezzanine floor for women to watch proceedings from behind the screens. Small rooms
attached to baithaks served the purpose of storing business records. The interiors mostly had
double vaulted ceiling supported by fine wooden beams running between them. Out of the two
baithaks, interior of one was usually richer occasionally having bangaldar bay windows, walls
decorated wih highly burnished white plaster Shimla, beautiful coloured glasses, intricately
carved or painted wooden beams and doors.

Tibari:
Semi-covered verandahs defined by three arches. Tibaris in the inner chowk acted as
transitional spaces between the chowk and the sal(room). Tibaris were made on each side of
the inner chowk. Tibaris were made on each side of the inner chowk. Tibaris located closer to
the poli face each other and thus had greater privacy and hence were used for relaxing and
leisure time activities. Tibaris facing the poli were used as the preparation area for food before
it was cooked. Later the same space was used for eating. The internal walls of the tibaris had
aseries of niches of varying depth. Te only painted surfaces were the one below the niches or
above the doors where there were floral or geometric borders. Some havelis had tibaris in place
of baithaks in the outer chowk for the purposeof transacting business and receiving guests.
Tibaris in the outer chowk were predominantly male activity spaces. Large cotton mattresses
were on the floor as seating and small rooms attached to them served the purpose of storing
business records.

Deodhi:
Entrance to the inner chowk of the haveli located on the central axis of the haveli aligned with
the toran dwar, outer poli and the outer chowk. Multi foliated cusped arch defining the deodhi
was exquisitely painted with floral motifs and further ornamented with pieces of mica and gold.
Large solid wood door of the deodhi was intricately carved with geometrical and floral patterns.
Above the arch were panels painted in various subjects such as religious, folk, mythology and
everyday life concealed within numerous brackets. Small niches on either side of the doorway
were used to place diyas(eathern lamps) at night. Above the doorway a carved idol of Lord
Ganesha was placed. Attached to the deodhi on either side of it were gokhas that function as
raised seating areas faced with carved stone slabs and decorated with intricate frescoes. Some
times a projected portion above the doorway supported on carved stone brackets functions as
an extension of the women’s domain on the upper floor.
Inner Poli:
Buffer space acting as the second level of transition from outer to inner chowk, from the male
dominated activity area to the women’s domain. It linked the inner chowk of the haveli with
the outer chowk as well as the outside street at the same time ensured privacy for the woman
inside. It acted as an important transitional space being centrally locted on the axis passing
through the toran dwar, outer poli, outer chowk and the deodhi. The entrance door in the inner
poli leading to the inner chowk was purposely staggered to prevent direct link of the two courts
thereby ensuring privacy and security. The wall separating the inner poli from the inner chowk
had a small windowwith a stone jail so that women in the inner chowk could view the activities
of the outer chowk and communicate with visitors. In some havelis the ceiling are well painted
with ragamala themes and floral and geometric patterns.
Inner Chowk:
Centrally located on the main axis of the haveli the innerchowk had no access directly from the
street. Traditionally the space was the centre of activities of the women living in the haveli.
Daily activities from the surrounding areas flowed into this space. This space was also used for
large family gatherings, festival celebrations, marriages and religious activities. The inner chowk
was the most and celebrated space. Ample natural light rendered the space throughout the
day, adding to the colourful charm. The four sides were treatedas canvases for painting various
themes religious, folk, mythology, everyday life and historical events. The wall in the inner
chowk facing the inner chowk facing the inner poli had a niche known as pitar-ji-ko-madh for
worshiping the ancestor of the family. The periphery of the chowk, at a slightly higher level than
the central part of the chowk, wasused as circulation space and remained shaded by the
projecting balcony of the upper floor.

Balcony:
Circulation spaces at the upper level providing access to the rooms. The balcony was supported
on cantilevered stone brackets and its width was governed by span of brackets. mostly these
were open to sky.
Nisherni:
Staircases placed symmetrically on both side of the central axis providing accesses to the spaces
to both upper level and terrace. The width of the nisherni was equal to span of one arch and
was usually placed between rasodo and tibari.
Hamam:
Space used for bathing, it is located on either side of the central axis. The width of the space
was equal to the span of one arch. they had no openings except the entrance door.
Rasodo:

Space used for cooking food, Identical with the food grain storage space. The width of the space
was equal to the span of two arches; one arch accommodated the door and other the window.
The space was comparatively dark and lacked any kind of painting except for plain line boarders

Sometimes a chimney was provided to remove the emanating smoke.

Bhandar:
Storage space for food grains, spices and surplus utensil. Its width was usually similar to rasodo.
This space also lacks ornamentation.
Ghubaria:
Basement rooms below the raised plinth of the haveli used for bulk storage of firewood and
fodder for livestock. The space was located on the periphery of the haveli.

Chhat and Chandini:

Open terrace space approachable from the men and women’s domain. The terrace in the inner
court was used more frequently for sleeping during cool summer nights. Usually high walls
punctured with small rectangular openings were built all around on the terrace forming a
roofless room known as chandini. The walls ensured privacy of the people sleeping on the
terrace while cool breeze blew through the openings in the wall. Small rooms on the terrace
were used to keep bedding and cots.

Nohra:

Service area of the haveli with space for keeping domestic animals, living spaces for attendants
and occasionally toilets.it was a large open space surrounded by high walls located behind the
inner chowk.the space was at times used for keeping rath and paalkis and for tying elephants,
horses or cattle’s. servants used to sleep in nohra
Toilets:
Toilets were not made in most of the earlier havelis.in a few cases, an outside space or nohra
was used for abultions.in the later period, toilets were built on the terrace, with a duct going
down to the service lane on the back side of the haveli.

NATURE OF USE AND PURPOSE

Havelis have a distinct planning and design reflecting the lifestyle and cultural norms of its
inhabitants. The walls may have been same throughout the years but the spatial components
have been used for different purposes according to the need of time.
Courtyards having the benefits of its own it was earlier used as a bonding space. They had
multiple functions of lighting the rooms, acting as heat absorber in summers and radiator in
winter. Courtyards were restricted to certain members of the family. The acquaintances of the
male members of the haveli had access only to the outer chowk of the haveli. Courtyards were
used for different rituals seasonal or social from griha pravesh to marriage ceremonies, etc.
Now this space is used for day to day chore like washing utensils

Servant quarters for the care taker of the family which was initially given around the first
courtyard or the animal courtyard. Now this is used for different purposes for ex. Washroom.

CONSTRUCTION MATERIAL AND TECHNIQUE

Traditional buildings were constructed using a different building technology, materials and skills
before the use of cement and modern equipment’s became prevalent. Havelis in Sekhawati
were constructed using technology, materials and skills very different from the ones used today
in the construction of modern buildings.

Traditional construction technology used in the building of these havelis was based on intuitive
knowledge of craftsmen perfected over generations, which is why much of their work has
lasted for hundreds of years. These traditional craftsmen were aware of the fact that the
foundation upon which a building stands constantly changes being altered by factors such as
climate, rainfall, water table levels and seismic activity. They knew that if a building were to last
for several years it had to allow for this natural movement. The traditional buildings were
therefore designed as flexible structures. The craftsmen who were already aware of the
availability of materials for construction purposes, and used materials that lied within the
radius of 15kms only.
Building components of a haveli are the basic elements that constitute its structure:
The primary structural component being the foundation constitutes of Kota stone and were
used to be around 3ft-5ft underground depending upon the height of the structure. High
platforms were usually given to showcase their social status.
TECHNOLOGICAL AND SCIENTIFIC ADVANCEMENT

 TOILETS
Then: Toilets were considered to be an unhygienic element to be given inside of the
house hence earlier no toilets were built inside of the residence, one was required to go
to the naala to take a dump.
Now: Toilets have been built inside of the house inside of the already existing rooms.

 WATER SUPPLY
Then: There was no direct supply of water to the house. For these people had to go and
fetch themselves amount of water required throughout the day for the whole
household. Every town of the Sekhawat region has at least one bauli which was the
main source of water storage and then there were multiple wells in the town and one
would fetch themselves the amount of water required for the day to day chores.
Now: Every house has got a water storage tank of their own and water is supplied to
these tanks at a fixed hour in the morning and the families residing in these havelis fill
up their water tanks when water is supplied.

 ELECTRICITY
Then: Courtyard system provided the interiors of a house with ample lighting and in the
evening for light the whole haveli used to be lit up with the help of earthen lamps
(diyas) and the architecture of these havelis were in itself sufficient to adapt to the
extremities of this region hence no additional elements were required to provide
comfort.

 Now: Now that there is suchelectricity has become the need of the hour as many basic
things depend on it.

 Because of the western influence people now prefer utmost comfort and hence they
have got Electricity

 DRAINAGE SYSTEM:
Then: There was no much use of drainage in a house as there was no huge amount of
waste water. For chores that required a lot water had a common place for ex. for
laundry was done at dhobi ghat and was done by servats. A common drain used to run
along the town.
Now: All houses have separate drainage which go and meet the main drain. These
havelis now have both kind of disposal of waste semi solid and liquid.
  Then: Once the haveli was built no additive changes or temporary structures were built
on the existing structure.
Now: Temporary structures such as tin shed for shade, nets to get relief from birds etc.
ANALYSIS:

 Load bearing structure with columns and bracket to distribute the weight of the
structure and allowing the load to the ground.
 No reinforcement have been used throughout the structure.
 The havelis was found to be not in favourable orientation to the path of sun.
 This house is in alignment to the Nawalgarh grid.
 Most of the rooms aren’t in use that it was once used for.
 Damaged frescoes have been repainted using wrong method.

INFERENCE:

 Even though there is no reinforcement used and the material used is very basic but it
has proven to be reliable as these structures have sustained for years with minimal
cracks and damage due to weathering, or else the havelis are intact.
 Orientation to sun direction of the haveli is not favourable and has been placed along
the grid of this walled town.
 Material used were half sun dried bricks, lime, Kota stone. These materials are locally
available within the radius of 15kms .
 These materials can be reused, hence these structures may be called zero debris
structure.
 Now that the rooms have been converted into different spaces. For example. Servant
quarters have been converted into toilets.
 Over time due to weathering the frescoes have worn off. It is surprising to see that to
retouch the damaged painting are retouched using wrong techniques. Conventionally
frescoes are painted when ārāyash is still wet. Now it’s just painted over the missing
spot using the natural pigments.
BIBLIOGRAPHY:

 www.meteoblue.com
 www.andremarsh.com