Compliance Engineering Journal ISSN NO: 0898-3577

Transformation of Vernacular Houses in Coastal Andhra Pradesh

Venkata Krishna Kumar Sadhu1, Dr. Srikonda Ramesh2

Research Scholar / Associate Professor, School of Planning and Architecture,
Vijayawada,
Professor, School of Planning and Architecture, Vijayawada
[email protected], [email protected]

Abstract
Dwellings in rural areas of India are examples of indigenous construction
techniqueswhich were evolved from time to time. Architecture is understood to be a result
of informed decisions taken by the people based on beliefs, geography, geology and
climate. Thus, residential dwellings of rural areas are a result of time tested beliefs,
climate, locally available building materials and socio-economic aspects of the respective
regions. Vernacular architecture is closely related to culture, climate, materials and
construction techniques of a time and place. However, the present trend of globalisation
and industrialisation has led to changes in various aspects like availability of building
materials, urge to tide along with modern building styles as well as construction
techniques, lack of skilled human resources who can execute old construction methods
using old materials, finishes etc. The reasons for transformation may vary from place to
place and from one case to the other more as a response to available means and actual
needs of every place. The users may be or may not be in favour of transformation but the
physical fact is that transformation is observed in vernacular houses. In the said scenario,
it is pertinent and rational to ascertain the level of acceptance of people towards
vernacular houses. The purpose of this paper is to describe the scenario and causes of
transformation of vernacular houses in selected districts of coastal Andhra Pradesh of
India and ascertain the level of attachment of people to vernacular houses.

Keywords: Vernacular, architecture, causes of transformation, attachment, level of

acceptance

1. Introduction

Vernacular architecture is the regional or local lingo, the common language of the
particular region or a building form. Vernacular architecture of a region is the
development of relationships among economic, social factors, climatic conditions, culture
and technology prevalent in that region. The globalisation had a major impact on the
human lives, since the beginning of the 21st century. We humans put a continuous effort
in bringing more and more comfort and convenience into our daily life style, as a result of
which is the continuous transformation patterns observed over time in different regions.
Vernacular architecture is transforming or evolving over ages as a result of trial and error
methods. Yash S. Khandekar (2017) [12] opines that it is the informal functional
architecture of structures, often in rural areas of India, built of local materials and
designed to meet the needs of local people. Deniz ErġNsel Önder (2010) [3] mentions that
“Home reflects a person’s view, and his or her place and status in the society and
collectively contains a different meaning than shelter” while according to Bachelard
(1964), home is defined as the nucleus of one’s personal space. Arias (1993) [2] asserts
that meaning of home is variable, depending on the perception of the user. Smith (1994)
[11] discusses about the necessity of continuation, self-expression, personal or family’
identity and social relations for a shelter to become the home.

Venkata Krishna Kumar Sadhu*

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India is one the oldest civilizations of the world. The building traditions of a particular
region are not static but keeps on transforming or evolving with time, with due integration
of the changing circumstances where the building forms also adapt to and reflect the
changing needs. Oxford institute for sustainable development estimated that over 90% of
current structures throughout the world has been designed by the users itself (P.Oliver,
2003 [8]; Ramesh, 2016 [10]) number of dwellings estimated according to this is about
800 million (A.S Dill, 2010 [1]). Vernacular architecture can be explained as a style of
architecture where design decisions are influenced by tradition, cultural significance and
climate responsiveness. Vernacular architecture varies from place to place according to
the topography, local materials and technical knowhow (P Jayasudha, 2014 [7]; Ramesh,
2015 [9]).

2. Transformation in vernacular houses

Kotharkar, R (2012) [5] points that transformations of settlements whether urban rural
or tribal, is an inevitable phenomenon. But changes occurring in the past were natural and
took place from within. It was a gradual process and occurred with due respect to climate,
community and cultural needs as a process of refinement. With the forces of
modernization, the societies have witnessed the change in their patterns of living, which is
more intense in the developing countries. To understand the direction of growth, it is
imperative to map the pattern of change seeking clues for future trends. The
transformation may be quantitatively partial if its due to the repairable state of an existing
vernacular house or it be full if it’s a new additional construction beside the existing
vernacular house. The said transformation may be observed with reference to Plan, Walls,
Openings, Roofing, Flooring, Columns / Beams (Struc. Supports), Mouldings, exterior
open spaces like Courtyard, Outside seating, Manduva and other visual features. In
addition, the transformation in the aforementioned components may be in terms of the
material used, ornamentation, colour, finish etc.
The transformed houses may bear resemblance to the vernacular houses despite the use
of new materials and construction techniques or they may be a totally different typology.
Thus, the reasons for transformation in vernacular houses vary from place to place and
from one case to the other, more as a response to available means and actual needs of
every place. The users may be or may not be in favour of transformation but the physical
fact is that transformation is observed in vernacular houses. In the said scenario, it is
pertinent and rational to ascertain the level of acceptance of people towards vernacular
houses. Deniz ErġNsel Önder (2010) [3] demonstrated the use of t-test, Mann-Whitney U
test and chi-square test for measuring user participation and degree of satisfaction in the
context of after-earthquake houses in Düzce, Turkey.
In this context, vernacular houses in Pippara village of West Godavari district and
Ghantasala village of Krishna district of Andhra Pradesh (A.P) were studied for mapping
the transformations. Location of the selected villages is presented as Figure 1. A brief
introduction and the scenario of transformation of each of the said locations is presented
chronologically with Culture, climate and tradition which are understandably integral part
of vernacular architecture. Hence, focus of this paper is on physical aspects of the
transformations which took place in existing vernacular houses, and on ascertaining the
acceptance and attachment of people to vernacular houses.

Venkata Krishna Kumar Sadhu*

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Pippara

Ghantasala

Figure 1: Location of Pippara and Ghantasala in A.P

Source:https://www.google.com/maps/place/Pippara,+Andhra+Pradesh+534197/@16.717
0341,79.3038334,7z/data=!4m5!3m4!1s0x3a37caed0fa1b5dd:0x57ec58c362185ef8!8m2!
3d16.7108663!4d81.5418158, accessed 29.10.19

3. Case I - Pippara vllage, West Godavari district, Andhra Pradesh

Pippara is one of the villages of West Godavari district situated at a distance of 12 km
from Tadepallegudem and 65 km from Eluru town which is the district headquarter.
Population of the village is nearly 7,700 with 2,200 houses as per the Census of India,
2011.

3.1 Climate

It falls in the hot and humid climate region with relatively longer duration of the year
bearing Summer season.

3.2 Culture

This village is an example of rich culture and tradition. One can observe the traditional
aspects of design in many of the village settlements in this region. The streets follow
Grid-iron pattern as shown in Figure 1. There is a gradual transformation in the spatial
organisation of previously existing plans, in line with the changing needs of users from
time to time. The apparent reason may be the changing socio economic condition of the
people and other circumstances.

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Figure 2: Layout of Pippara Village, West Godavari district, Andhra Pradesh

Source: https://www.researchgate.net/figure/Map-of-Pippara-Village-with-grid-iron-
Street-pattern_fig1_315597555 accessed on 24.10.2019

A dwelling of nearly 100 years age has been studied for its transformation over a
period of time. The dwelling built up area is nearly 500 sq.m on a plot admeasuring nearly
1000 sq.m. A joint family occupies the house and the principal bread earner is a third-
generation farmer.

3.3 Salient features of the vernacular house of Pippara

The elements which depict the vernacular character are namely, the exterior semi-open
spaces, detached kitchen, wooden carvings, ceiling drops, wooden columns, terracotta
tiled roof, Manduva, overall ornamentation etc. Details are presented in Table 1. A few
key aspects, which characterise the selected house, are as follows:
 Mud for wall construction
Mud is used in the form of sun-dried bricks’ leading to a 35-45 cm thick wall. The
houses extend a good thermal comfort where the difference between indoor and
ambient air temperature levels is more than 7 degrees Celsius, during the discomfort
hours of average hottest day in the hottest month of May.
 Lime for mortar and plaster
Raathi sunnam as its locally called is used for mortar as well as fine plaster for the
walls. This is also considered as one of the factors to aid the indoor thermal comfort.
 Pitched roof
The vernacular houses in the village are predominantly pitch roofed with terracotta
tiles wooden rafters. The clear height of the ridge is 4-5 metres, depending upon the
size of the main living area of the house and also as per the economic condition of the
house owner of the then time.
 Manduva / internal courtyard
This is a puncture in the pitched roof through which rain water is collected into a pit
dug on the floor of the living room. This internal courtyard is in addition to the front,
rear and side courtyards.
 Spatial organisation
The whole dwelling has two detached portions each measuring of 355 Sq.M and 110

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Sq.M, used for living and kitchen portion has space for cooking, dining and storage of
grains and grocery.

Table 1: Vernacular character of the house in Pippara

S.No. Components Image Significance

 Shaded seating
 Slender timber columns
 Shaded verandah
 Raised traditional
verandah
View of the
 Sloped roof
1 house from
 High plinth
abutting road
 Timber drop from the
roof
 Ornate columns
supporting the timber
beam in the verandah

 Terracotta Tiled roof

 Timber supports
Front view of
2  Traditional windows
the house
with Iron Grills
 Main entrance door

 Traditional door frame

 Turmeric painted
threshold of main door
Entrance
3 frame.
door
 Non-figurative timber
carving
 Cornice work

 Roofing of verandah
 Purlins with insulated
planks
Roof drops
 Cornice work
and
4  Painting to stop termite
underside of
attack.
the ceiling
 Ornamental drop to
protect from the direct
beam

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S.No. Components Image Significance

 Teak wood door frames

and door shutters
 Secondary doors thin
frames
Internal
5  Ornamental pelmet for
doors
door to support the door
curtains
 Redoxide pigmentation
to the IPC flooring

 Security grills
 Roof drop in timber
painted in blue (synthetic
enamel paint).
Rear profile  Iron grill in MS fixed at
6
of the house 750 mm level on a low
wall, plastered with cow
dung.
 Place for washing dishes
and clothes

 Cut-out covered to
collect the rain water and
to dispose with the help
Roofing and of a PVC pipe.
7 lighting - sky  Cut-out covered with a
light disk for glazing
 Central place of a house
and slits for ventilation
 Rooms on either side
 Cut-out covered with
disc
 Drain pipe to collect the
rain water into the floor
Manduva and dispose further
(Transformed  Glazing all around the
8
from open water collection disk for
courtyard) daylighting
 Redoxide mixed cement
concrete flooring
 Stone slab to cover the
water harvesting pit

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S.No. Components Image Significance

 Religious images as wall

hangings
Shelves, wall  Living space with seats
9 hangings and  Shelf with timber
seating shutters
 Ceiling with timber
rafters

 Bracing in timber
Structural
 Floral carving work
10 support and
depicting
treatments

3.4 Transformation scenario

The house underwent transformation in three different stages since the year 1960, till
date. The transformation was more in terms of spatial organisation in two stages, which in
turn lead to transformation in the overall roof form as well as the internal spatial volume
in three stages. The same is presented in the Figures 3 to 7.

 Stage-I (Plan form, Roof form): As learnt from the house owner, the plan form of
the house in the year 1960 or Stage-I is presented as Figure 3. By the said year, the
house had eight rooms altogether, including Kitchen and Store rooms in the
detached portion of the overall house. The house had a central courtyard which was
the focal point of the house, where people of the house gathered for various
domestic and social activities. Roof of the house at Stage-I is presented as Figure 5.

 Stage-II (Plan form, Roof form): The plan of the house at Stage-II in the year 1990
is presented as Figure 4. The transformation happened in spatial organisation or
plan form as well as in the roof form. Transformation from Stage-I to Stage-II is as
follows:
o A full-fledged Living room has been laid out in the place of Puja room,
Bedroom and part of internal courtyard
o Study room on the north west has been converted into a bedroom
o Paddy room beside the Kitchen on the south east has been converted into Dining
room including the modification of toilets on the south west
o Form of the earlier roof was rectangular with an oblong cut-out above the
central courtyard. However, owing to the change in the plan form, the roof in
Stage-II which was rectangular with the oblong cut-out was replaced by two
smaller square cut-outs. Roof of the house at Stage-II is presented as Figure 6

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 Stage-III (Roof form): Transformation was only in the roof form but not in the plan
form. Roof form at Stage-III is presented as Figure 7. Transformation of roof form
from Stage-II to Stage-III is as follows:
o Form of the earlier roof as in Stage-II with two cut-outs of a square form
remained the same
o However, the both the cut-outs are converted into Manduva for collection of
rain water
o Sections showing the transformation from Stage-I to Stage-III is presented as
Figure 8

Figure 3: Plan at Stage-I Figure 4: Plan at Stage-II,III

Figure 5,6,7: Roof form of the house Stage-I, II and III

As per the stage-wise transformation described above, there was a transformation in the
plan form, roof form and internal spatial volume. However, there is no transformation in
terms of building material, construction technique and finishes. This was understandably
due to the attachment, willingness and affordability of the house owner to sustain the
vernacular construction process despite the problem of non-availability of skilled labour

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as well as the high expenditure involved in the process of retention of the vernacular
character.

Figure 8: Section of the house at Stage-I, II and III

4. Case II – Ghantasala village, Krishna district, Andhra Pradesh

Ghantasala is a village in Krishna district, Andhra Pradesh, India. It is situated at a
distance of 60 km from Vijayawada city and 11 km from Machilipatnam town. It was one
of the places of Indo-Roman trade in the yesteryears, besides being a religious centre
along the river Krishna and Bay of Bengal.
There are nearly 3200 houses in the village, as per the Census of India, 2011. Out of
the said number, there are nearly 50 houses which are the surviving ones among the
vernacular style. Most of them are more than 60 ears old wherein third or fourth
generation is using the house.

4.1 Climate

It falls in the hot and humid climate region with relatively longer duration of the year
bearing Summer season.

4.2 Culture

Ghantasala village is one of the prime transit centres of trade in the region due to its
proximity to river Krishna, Machilipatnam and Vijayawada. Limestone columns
belonging to the hypostyle halls of Buddhist monasteries dating to 2nd BCE have been
discovered in and around the place. There are Buddhist edifices like Stupa and many
Hindu worshipping places which indicate the past glory of Ghantasala village. However,
it can be said that there is no visible influence of Buddhist architecture on the built fabric
of the village.

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A dwelling of nearly 60 years age has been studied for its transformation over a period
of time. The dwelling built up area is nearly 400 sq.m on a plot admeasuring nearly 700
sq.m. The house is owned by a joint family and the principal bread earner is a third-
generation farmer.

4.3 Salient features of the vernacular house of Ghantasala

The elements which depict the vernacular character are namely, the exterior semi-open
spaces, outdoor seating / Arugu, wooden carvings, ceiling drops, wooden columns,
terracotta tiled roof, Manduva, overall ornamentation etc. Details are presented in Table 2.
Mud (locally called Paati Mannu / mud) is used in the form of baked or unbaked bricks
for wall bearing 45-60 cm thickness, wood for openings and mouldings, Napa stone for
floor, lime for mortar and plaster. A few key aspects which characterise the vernacular
style of the village are as follows:

 Mud for wall construction

Mud (locally called, Paati Mannu) is used in the form of baked or unbaked bricks
bearing 45-60 cm thickness. The houses extend a good thermal comfort where the
indoor temperature is less by 5-7 degrees Celsius than the outdoor temperature.
 Lime for mortar and plaster
Raathi sunnam as its locally called, is used for mortar as well as fine plaster for the
walls. Mud (locally called Paati Mannu / mud). This is also considered as one of the
factors to aid the indoor thermal comfort.
 Pitched roof
The vernacular houses in Ghantasala village are predominantly pitch roofed with clay
pan tiles and bamboo sections for the roof. The clear height of the ridge is 4-5 metres,
depending upon the size of the main living area of the house and also as per the
economic condition of the house owner of the then time.
 Manduva
This is a puncture in the pitched roof through which rain water is collected into a pit
dug on the floor of the living room. This internal courtyard is in addition to the front,
rear and side courtyards.
 Spatial organisation
The functional spaces in the vernacular house are laid out as per the convenience of
the user and a set of unwritten beliefs. The convenience aspect lead to the location of
Grannary near the front porch, space in the verandah for storing agricultural tools,
kitchen detached from the main house or placed at the rear side of the house, toilets
detached from the main house, front garden, kitchen garden etc.

Table 2: Vernacular Character Of The House In Ghantasala

S.No. Components Image Significance

 Outdoor seating /
Arugu adjoining the
View of the boundary wall
1 house from  Flat roof on the front
abutting road portion and
terracotta tiled roof
on the later portion

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S.No. Components Image Significance

 Flat roof (extension

of the house) and
Side View of
pitched roof seen in
the house from
2 combination
the abutting
 Single flight
road
Staircase to access
the terrace

 Front verandah
Front view of  Newly added tin
3
the house sheet roofed parking
area

 Traditional teak
wood main entrance
door and frame
 Teak wood windows
on either side of the
main entrance door
4 Entrance door  Locally available
Naapa stone for
flooring
 Aloe Vera plant
hung to the ceiling to
keep bad omen at
bay
 Flat Roof of
verandah (left) with
wooden rafters,
terracotta flat tiles
and madras terracing
 Pitched Roof Truss
5 Roof types
of inner house
(right) with wooden
rafters, plain wooden
strips for the
underside and clay
pan tiles atop

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S.No. Components Image Significance

 Car parking porch
with steel columns
and moulded tin
Parking porch
6 sheet roof, in
(transformation)
contrast to the
materials used for
the rest of the house
 Rear portion of the
house with a bed
room added on south
west corner for
reasons of Vaastu
Rear profile of
7  Material and roof
the house
pattern like the main
house
 Tin sheet shading
device added in front
of bedroom
 Original Pitched
Roof Truss of inner
house (left) with
main wooden rafters,
bamboo sections and
clay pan tiles atop
Roofing (Old
8  Transformed pitched
and New)
Roof Truss of inner
house (right) with
bamboo sections
replaced by plain
wooden strips for the
underside
 View of the
surroundings from
View of flat roof portion of
9 immediate the house, showing
surroundings the modern houses
alongside a few
vernacular houses

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S.No. Components Image Significance

 Madras terracing
roof for the flat roof
portion of the main
house
 Thermocol panel
false ceiling added
in one of the
False ceiling in bedrooms of the
9
a bedroom main house due to
termite infestation
for the wooden truss
roof
 Indoor temperature
is a few degrees
celsius more than the
other rooms
 Outdoor seating /
Arugu in front of the
house
Outdoor seating  Typical feature of
10 in front of the vernacular houses in
house rural areas which
acts as an element of
social interaction
and relationships

4.4 Transformation scenario

The house underwent transformation in three different stages since the year 1961, till
date. The transformation was in terms of additional built up area which in turn lead to
transformation in the overall roof form as well as the internal spatial volume. The same is
presented in the Figures 8 and 9.

 Stage-I (Plan form, Roof form): As learnt from the house owner, transformation of
the house is as follows:
o The original house has pitched roof with clay tiles and wooden truss. A
bedroom was added on the south west portion in the year 1978 due to reasons of
Vaastu. The extended portion of the house has the same character of that of the
main house in terms of building materials used, construction technique
employed, roof form and finish.

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Figure 9: Plan of the house showing all stages of transformation

 Stage-II (Plan form, Roof form): The house was extended on the north in the year
2000, to accommodate additional rooms on the front portion.
o This resulted in the reduction of front open courtyard.
o Roof of the extended portion is flat with wooden rafters and madras terracing
atop while the old one has pitched roof.
o A staircase has also been added to access the terrace.

 Stage-III (Plan form, Roof form): A small steel structure was added recently on the
north west portion of the house for car parking.
o Materials used are steel columns for support and moulded tin sheet for the roof
cover
o This is a transformation in terms of materials used as well as the overall
aesthetic appeal

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Figure 9: Section of the house showing all stages of transformation

As per the stage-wise transformation described above, there was a transformation in the
plan form, roof form and internal spatial volume. There was also a transformation in
terms of building material, construction technique and finishes. The house owner said that
the house requires periodical upkeep of the wooden members and all other vernacular
elements and the expenditure is high. Even if one can afford the said expenditure,
sourcing skilled labour and vernacular building materials is a challenge and is time-
consuming. Due to the said constraints, he was forced to undertake the building
extensions in a way that was convenient for him from time to time. This scenario lead to a
doubt whether at all there is people’s acceptance and attachment to vernacular
components, vernacular houses etc. in the present day context. To ascertain the
acceptance and attachment of the house owner in particular, a test was conducted as part
of personal interview with the help of a questionnaire.
Questions were asked to the users of the house about their attachment towards the
original house and towards transformed house in terms of Plan, Openings, Roofing,
Flooring, Columns / Beams (Structural Support), Mouldings, Outside seating, Manduva,
Walls and Open space. Response of the owner was scored on Likert scale and ‘Critical – t’
test was conducted using the scores.

A t-test is used as a hypothesis testing tool, which allows testing of an assumption

applicable to a population. A t-test looks at the t-statistic, the t-distribution values, and
the degrees of freedom to determine the probability of difference between two sets of data.

 The two sets of data are

o attachment of the house owner to the earlier condition of the house
o attachment of the house owner to the present condition of the house (after
Transformation)
( − )
=
The rationale of the test is that
if the Absolute value of the 't' S tan dard Deviation "S " = å (x 1 - x1 )2
1
is higher than the critical 't', (n1 -1)
then it can be construed that
S tan dard Deviation "S2 " =
å(x 2 - x 2 )2
(n2 -1)
(x1 - x 2 )
Testing Hypothesis "t " =
S12 S22
+
n n

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the transformed house is not to the satisfaction of the inhabitants. If the Absolute value of
't' is lesser than critical 't', then it can be construed that the transformed house is to the
satisfaction of the inhabitants.

Table 3: Critical – t test for house in Ghantasala

S.No. Items C Present C Earlier

Z=X- 2 Z=X- 2
X Z X Z
Xbar Xbar
1 Plan 4 1.9 3.61 2 -1.3 1.69
2 Openings 1 -1.1 1.21 3 -0.3 0.09
3 Roofing 3 0.9 0.81 4 0.7 0.49
4 Flooring 1 -1.1 1.21 3 -0.3 0.09
5 Columns 2 -0.1 0.01 4 0.7 0.49
6 Mouldings 2 -0.1 0.01 4 0.7 0.49
7 Outside seating 1 -1.1 1.21 3 -0.3 0.09
8 Manduva 1 -1.1 1.21 4 0.7 0.49
9 Walls 4 1.9 3.61 3 -0.3 0.09
10 Open space 2 -0.1 0.01 3 -0.3 0.09
Total Weightage 21 12.9 33 4.1
mean: X bar 2.1 1.433333333 3.3 0.455555556
SD 1.197219 0.674948558
s-error 0.37859389 0.213437475
T-Test 2.249763967
A+B 0.434613494
t- Level of significance for one
1.833
Critical tailed test 0.05

5. Results and discussion

As per the Table 3, the Absolute value of 't' was 2.249 and the value of critical 't' was
1.833. As the Absolute value of 't' is higher than the critical 't', it can be construed that the
transformed vernacular house is not to the satisfaction of the inhabitants. Furthermore, it
can be concluded that there is people’s acceptance and attachment for vernacular houses.
The scenario of Case - I of this paper was that the vernacular character of the house
was retained despite the problem of non-availability of skilled labour as well as the high
expenditure involved in the process of retention and maintenance of vernacular character.
This shows that the user had acceptance and attachment towards vernacular houses and
the underlying character. The scenario of Case 2 of this paper was that the vernacular
character of the house could not be fully retained due to the problem of non-availability of
skilled labour as well as the high expenditure involved in the process of retention and
maintenance of vernacular character. Nevertheless, the Critical-t test showed that the user
had acceptance and attachment towards vernacular houses and the underlying character
but for his practical ability to retain the vernacular character.

Venkata Krishna Kumar Sadhu*

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6. Conclusion and the way forward

In this context, it can be concluded that there is people’s acceptance and attachment to
vernacular houses and the same may be considered by public housing agencies while
making any proposals for housing in rural areas. Such considerations can lead to
contextual design, happiness amongst the end users and thus culminate in meaningful and
successful housing schemes. It is also recommended that the Government encourage
private housing agencies also to adopt the said practice. The Government may also
incentivise such private agencies so as to eventually ensure cohesion in the housing
scenario as a whole.

Acknowledgements
The Author thanks the members of the house for allowing the documentation, for sharing
their valuable and unbiased opinions regarding their attachment to the original vernacular
house and the transformed vernacular house.

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Venkata Krishna Kumar Sadhu*

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