GUTTHU MANE

• Vernacular architecture of KARNATAKA symbolizes houses

L designed and built by people for their own use. It is the form
that a neighborhood or community has arrived at, through a
O system of development, in a precise cultural, climatic and
C technological context.
• The architectural scene after independence presents some
A overwhelming changes, most significant being the influence
T of the western culture.
• The architecture in India is constantly changing and the
I prospect of the modern and the vernacular coming together
• Gutthu Mane - traditional homes of bunt community
O points towards an exciting period of new creativity in our
of coastal Karnataka.
architecture.
N • A rather square complex with ample space for
storage all around.
• The pillars are made of wood.
• There are usually 4 doors, one on each side of the
square complex.
• The roof is of Mangalore tiles.
• The inner square is an open area – A place often
used to dry stuff the natural way using sun.
• Royal houses of the Bunts are called ARAMANE (the
natural way with sunlight).

GUTTHU HOUSE
• The Gutthu Houses of the land owning community of south Karnataka
are large, inward looking Hindu Mansions.
• The typical Gutthu house has a steeply pitched roof, combining single
& double storied blocks around a courtyard.
• It is the isolated home of a well-to-do family designed to deter attacks.
• The facade is usually symmetrical around a central projection, the
tallest and most impressive feature of the house.
• The principal building material is wood. THE KHAMB-WOODEN PILLARS IN A TRADITIONAL BUNT HOUSE
CALLED GUTTHU MANE.

REMARKS AMANPREET SINGH

GAGANDEEP SINGH
REGIONALISM IN ARCHITECTURE BARCH 3RD YEAR
SECTION - A
• The KODAGU (COORG) district in Karnataka is the
KODAVA HOUSES- AYNMANE only region of the south known for its martial
people. Every Kodava belongs to a clan or Vokka.

• There are more than 300 clans within the

community. Every clan lived in a Ain-Mane an
Ancestral house. The Patriarch and Matriarch of the
clan lived in the Ain house with their sons and their
families.

• However as families grew bigger there was a need to

build more living space. Usually the younger sons
moved away and built their own houses.

• Images of sun, moon, flowers etc. adorn Kannikamba and

main doors, signifying that Kodavas were nature
• The KODAGU (COORG) district in Karnataka is the only worshippers. An integral part of Ainmane is Kaimada — an
region of the south known for its martial people. important structure built in memory of the founder of that
family or Vokka. It is a prayer place which is used during
• Every Kodava belongs to a clan or Vokka. There are happy or sad ceremonies. Unique feature about Kodava
more than 300 clans within the community. culture is that men and women share same kind of respect,
status and position.
• Every clan lived in a Ain-Mane- Ancestral house.

• The Patriarch and Matriarch of the clan lived in the

Ain house with their sons and their families.

• However as families grew bigger there was a need to

build more living space. Usually the younger sons
moved away and built their own houses.
• The Ainemane has always been a mirror reflecting the
• About 200 years ago these grand homesteads bustled Kodava culture. This ancestral abode is a remarkable
with activity. structure and a place of unique bonding. The structure of
• Padasale — The rectangular hall around which the rooms
this building is thought to be symbolic of the unity in the
• The granaries were filled with stocks of rice to last a are arranged. Mundu — The inevitable open courtyard in
family. On festivals and important occasions, Vokka (clan)
year. the centre. Kanni Kombara — Prayer place, where a deity is
members gather at the Ainmane and partake in the
installed; Here, the karona(family ancestor) symbolized by a
ceremonies held there.
• Firewood was chopped and stocked to see them lamp is worshipped and offered food at festivals. Kitchen —
through the long monsoon.  sacred; the mud oven/stove should face east.

REMARKS AMANPREET SINGH

GAGANDEEP SINGH
REGIONALISM IN ARCHITECTURE BARCH 3RD YEAR
SECTION - A
WHAT ARE MYTHS THE PARTHENON MYTHOLOGY
• Myths are symbolic tales of the distant past (often
primordial times) that concern cosmogony and AND ARCHITECTURE :
cosmology (the origin and nature of the universe), may
be connected to belief systems or rituals, and may ANCIENT ATHENS
serve to direct social action and values. • Athens reached its peak of power and prosperity in
the mid-fifth century BC. Scholars refer to this period
• Myth is expressive of the total vision of the human of time as the city-state’s ‘Golden Age.’ Although it
situation, human destiny, human inspiration and did not last terribly long, Athens’ ‘Golden Age’ saw
apprehensions. We can say that it is a tradition which an increase in, and not limited to, financial, artistic, The artists created sculptural reliefs so that they could help the
we inherit from our forefathers. scientific, and military excellence. This time period Athenian audience identify themselves against an enemy, the
correlates with the years following the Persian Wars. Persians who attacked them. Familiar imagery of mythology
helped the Athenian to make a connection in ‘good’ vs ‘bad,’ or
ARCHITECTURAL MYTHOLOGY • Athens was destroyed and rebuilt more than once ‘Athenian’ vs ‘barbarian.’ This method ultimately connected
• Architectural mythology means the symbolism of real- during the span of the Persian Wars. In an effort to mythology to actual history and begs the question of history’s
world architecture, as well as architecture described in rebuild the nationalism lost to the Persians during effects on art.
mythological stories. their captivity and reign of several Greek city-states,
• In addition to language a myth could be represented the Athenians, led by Pericles, decided to build a THE PARTHENON MYTHOLOGY
by a painting, a sculpture or a building. temple on the ancient acropolis. The building was Amazonomachy, Centauromachy, and Gigantomachy are a few
• It is about the overall story of an architectural work, part of a larger plan to build over the sites lost in of the main themes of the Parthenon’s mythological-based
often revealed through art. battle. sculptural reliefs. (The Greek word for war is machia). These
• Not all stories surrounding an architectural work themes are not singular to Athens; but as popular mythology,
incorporate a level of myth. These stories can also be were almost commonplace in Athens and the Parthenon.
well hidden to the casual viewer and are often built Research from various scholars suggests a connection
into the conceptual design of the architectural between commonplace mythological figures in relation to
statement. Athenian nationalism.

ROLE OF MYTHS During a time when the Athenians wanted to show the rest of
• Current discussions of mythologies usually include the world that they were strong, civilized, and heroic, the
explanations, interpretations or decoding of architectural Parthenon’s sculptural reliefs helped their ideals along.
artifacts according to their mythological content.
• However, sometimes an ancient myth is deliberately
adopted by a contemporary architect as the theme of his or
her work. THE PARTHENON
• In both cases, architectural elements convey mythological Though the exact use of the Parthenon is debated
content, largely by means of symbolization (i.e. by the use of by scholars, its generally agreed upon that it was
visual images or words which recall in the observer the either a treasury for the Delian League or a
original. temple to the goddess Athena. Its construction
took less than a decade; again, a shining example
of Athens’ prowess in their ‘Golden Age.’

REMARKS AMANPREET SINGH

BARCH 3RD YEAR
MYTH MAKING IN ARCHITECTURE SECTION – A
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