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Wada of Maharashta, an Indian courtyard house form

This study of the Wada of Maharashtra (India) attempts the first systematic overview of the courtyard house form in the present day state of Maharashtra, across its five traditional regions. Between 1700 AD and 1900 AD the wada received royal patronage and proliferated. It was first the Marathas, and later their successors the Peshwas, who patronized this house form which was found not only in Maharashtra but areas around as well, where their rule spread. Previous scholarships concentrated on small geographical regions, whereas this study attempts to evaluate the generalities and the variations across the entire state of Maharashtra. Regional and social variations have been identified while documenting 75 wadas across the five traditional regions of the state, covering over 30 towns. The data is organized in regional and sociological typologies, arriving at a classification of images, plans, sections and elevations. From this classification, the variables and commonalities become evident. These typologies have been studied in relation to the town plan, establishing a link with the broader urban context. Reasons for the development of the plan, its continuity and disruption, have been examined, while considering the determinants of space and form. Socio cultural, historical and geographical factors have been taken into account to understand their implications on space and form. The

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Climate Responsiveness of Wada Architecture

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• First Online: 27 December 2016
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• G. M. Alapure 5 ,
• Abraham George 5 &
• S. P. Bhattacharya 5  

Part of the book series: Springer Transactions in Civil and Environmental Engineering ((STICEE))

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India has vast diversity in climatic conditions, traditional wisdom, and cultural notions which have influenced its vernacular-traditional architecture. The traditional strategies have evolved over time, using locally available materials, depicting a technological peak of its period. Climate is one of the significant factors which influence orientation, form, organization, and pattern of built forms and the use of materials. The research attempts to identify passive-cooling strategies employed in Wada, a vernacular-traditional built form, in the moderate climatic zone of Western Maharashtra. The research study comprises a comprehensive literature review, definition, selection of case studies, and field work. A survey is carried out by recording on-site observations, following an instrumentation setup and measurement procedure. The paper documents the appropriate principles employed in vernacular-traditional built forms that are sustainable and are expected to be of relevance to architects and built form designers.

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Koenigsberger OH, Ingersoll TG, Alan M, Szokolay SV (1975). In:Manual of tropical housing and building climatic design. Orient Longman Pvt.Ltd, Hyderabad, pp 31–51.

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Liay C, Barry D (1998). Traditional buildings in architecture. Thames & Hudson, London.

Mate MS (1959). Maratha architecture. University of Pune, Poona, p 22.

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Department of Architecture & Regional Planning, Indian Institute of Technology Kharagpur, Kharagpur, West Bengal, India

G. M. Alapure, Abraham George & S. P. Bhattacharya

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Fumihiko Seta

Department of Architecture & Planning, IIT Roorkee, Roorkee, Uttarakhand, India

Arindam Biswas

School of Planning and Architecture, Bhopal, Madhya Pradesh, India

RCG School of Infrastructure Design and Management Department of Architecture and Regional Planning, IIT Kharagpur, Kharagpur, West Bengal, India

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Alapure, G.M., George, A., Bhattacharya, S.P. (2017). Climate Responsiveness of Wada Architecture. In: Seta, F., Biswas, A., Khare, A., Sen, J. (eds) Understanding Built Environment. Springer Transactions in Civil and Environmental Engineering. Springer, Singapore. https://doi.org/10.1007/978-981-10-2138-1_3

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Climate-responsive vernacular Wada housing of Pune, India

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Mihir N. Vakharia , Mahendra Joshi; Climate-responsive vernacular Wada housing of Pune, India. AIP Conf. Proc. 8 September 2023; 2800 (1): 020190. https://doi.org/10.1063/5.0162691

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Buildings consume more energy, and this is predicted to continue to rise as people’s living standards improve and the world’s population grows. Energy saving may be done by incorporating proper Climate sensitive components into a structure. Vernacular building design links with microclimate and human thermal comfort conditions and enhances the energy efficiency of the building. People have implemented climate sensitive approaches in vernacular structures all across the world since prehistoric times. Vernacular architecture has many different forms, each with its own set of reasons. This is based on the premise that people from various origins and cultures react differently to a variety of physical situations as well as the interaction of socio-cultural elements. The climatic responsiveness of Wada Architecture in the Pune region of India is discussed in this study, which includes building shape and orientation, envelope design, shading, natural ventilation, interior space layouts, and inhabitants’ activities.

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• Vernacular Architecture

Traditional Dwelling – Wada in Maharashtra, India

WHAT IS A WADA?

• The traditional residence in Maharashtra was called the wada.
• A wada was typically a large building of two or more storey with groups of rooms arranged around open courtyards.
• One which houses many families, like an apartment building of recent times or chawl of Mumbai.(Mostly for the middle class families)
• One in which only one family resided. (Mostly owned by the richer class like relatives of the peshwas and traders)

EMERGENCE OF WADA ARCHITECTURE

• Wadas – which were the traditional residential form of Maratha architecture, evolved under the reign of Peshwas.
• Its style was an amalgamation where features from Mughal, Rajasthan, and Gujarat architecture were combined with local construction techniques.

SETTLEMENT OF PUNE UNDER THE PESHWAS

• Settlements developed around the Peshwa’s residence.
• Land around the Peshwas residence was divided into wards called peths.
• These were self-sufficient units and they were named after the days of weeks or the person who had established the peths.

SOCIAL STRUCTURE IN SETTLEMENTS

• Social life centered around the village community.
• The village communities were economically self-reliant and self-sufficient units, each having it’s own set of ethics and residential enclaves, shops, temples etc.
• The administration was autonomous.
• Town had a multinucleated structure.

NEIGHBOURHOOD OF A WADA

• The streets and roads in the settlement were narrow.
• Roads were never straight as the growth of the settlement was organic.
• The plots for construction of wadas were rectangular and lay right next to the streets.
• A wada never had a garden or vistas leading to it.
• The urban form of the settlement appeared like a maze of two or three storied structures having internal open spaces, placed along the road network with very little open community space.

CASE STUDY: KHARADKAR WADA

Architecture of Indian Cities Nashik – Culture along the banks of Godavari

Nashik is a vibrant city in northern Maharashtra. Tucked away between the 9 peaks of the Deccan Plateau, this city has a lot of historic, mythological, cultural, and social significance. The river Godavari flows through the city dividing it into two parts, mainly the left and the right bank. Each bank is associated with a different era of time and has its own cultural and architectural characteristics.

Historically, Nashik was never a capital, a rich business town, or even an agricultural hub. Yet it was because of the efforts of the several dynasties that reigned the city for centuries, that Nashik has gained its ethnic conglomeration of culture. With its first historic reference during the time of Ramayana, Nashik has come a long way to emerge as one of the fastest-growing cities across the globe.

In Hindu mythology, Nashik has great religious importance because it is believed that during his exile, Lord Ram took shelter in a cave located at the left bank of the river Godavari. Due to this religious association, the entire left bank came to be known as Panchvati and became home to the Hindu Brahman community of Nashik.

Numerous temples and ghats were constructed in this area by the Chalukyas, Peshwa, and Yadav dynasties in the coming centuries. The majority of these temples were made by the Yadav who developed the ‘Hemadpanti’ style of temple architecture. This style was characterized by less ornate sculptures, both in the exterior and interior that thus made the temples visually less attractive and functionally more efficient. The Kalaram Temple built in the 18th C. A.D. is an excellent example of this architectural style. Built out of blackstone with minimum carving and ornamentation, this temple houses a black idol of Lord Ram, thereby justifying its name.

The Chalukyas left their mark in Panchwati with the Gondeshwar temple at Sinnar, the sole temple complex built in the Chalukyan architectural style in the entire vicinity. The larger temples in this area such as the Trimbakeshwar and the Sundernarayan Temple were built by the Peshwas who embedded them with unique Brahmin and ‘Hemadpanti’ characteristics. As the temple architecture in this area became more elaborate with several small and large temples, Panchwati became an important pilgrimage center. This led to the construction of various ghats, dharamshalas and bhojnayalas along the periphery of the left bank of Godavari. The ghats were adorned with various sacred pavilions and temples that signified their spiritual and religious traits. Even in today’s date, the Panchwati region has successfully retained its cultural identity, by isolating itself from the right bank of the river Godavari where most of Nasik’s modernization took place. Today this region is an important religious center and a host for the Sinhastha Kumbh Mela, which is held every twelve years.

Besides temples, Nashik also has a rich history of military architecture. With a total of 11 forts spread on both sides of Godavari, Nashik accounts for one-third of the total forts in Maharashtra. These forts were built by several dynasties over centuries. Most of these forts are located on hilltops and are made of stone. The chief among these forts is the Mulher Fort by the Rathore Dynasty, the Anjaneri fort by the Chaulakyans, and the Ramsej fort by the Marathas. It was the attack on the Ramsej fort that led to the victory of Aurangzeb and the fall of the Marathas in Nashik. In 1636, Nashik was merged into the Mughal Province of Aurangabad and its name was changed to ‘Gulshanabad’.

The Peshwas from Pune won the city in their conquest against the Mughals in the late 17th Century. They took great interest in developing the right bank of the Godavari, which had been ignored for centuries. They invited craftsmen from near and far to construct temples and residential buildings in this region. These buildings were constructed in the form of the typical Maharashtrian Wadas. Wadas are climate responsive vernacular structures that are made from the locally available materials and construction techniques. Each Wada was home to multiple families and was built with a central courtyard, inspired by the traditional chowk system. As traders from diverse cultural backgrounds settled in Nashik, these Wadas became an important binding element of this medieval society.

When the British captured Nashik in the 19th Century, they constructed a new road connecting Nashik with Mumbai. This newly developed territory became the focal point of the city under the British Rule. As most of the British administrative offices developed in this region, it also led to the development of a new urban residential society. These residences were mostly occupied by the educated upper-class Indians of that time.

Based on the principles of modern town planning, these bungalows were constructed in the European and Art Deco architectural styles, with beautiful gardens and proper setbacks. In the 19th and early 20th Century, these modern well-planned settlements dominated the traditional settlements of the city.

Post-independence, Nashik has seen large scale migration from its rural surroundings for better job opportunities and lifestyle. In the last couple of decades, it has emerged as a significant spot for the agro-industries. Subsequently, the city limits and the surrounding areas are equipped with large farms and farmhouses. The industrial sector of the city is growing at a tremendous pace with numerous large-scale investments. Many real estate developers are looking upon the city as the next developing metro city in Maharashtra, as Pune gets saturated with its population and infrastructure. With its ever-growing IT sector, Educational influence, and housing demand, Nashik is believed to have a bright future ahead.

Rishika Sood is a student of architecture, currently in her third year. She has a keen interest in exploring buildings and aspires to work towards the conservation of historic monuments. She is particularly drawn indigenous art, craft and lives of the craftsmen associated with it.

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Wadas – Exploring the Traditional Houses of Maharashtra

• Architecture
• Maharashtra
• Traditional Houses of India

Table of contents

Elements in wada, the evolution of wada architecture, dimensions of wada, wall niches.

Wadas are a treasured architectural legacy in Maharashtra , symbolizing the Marathas’ pride, religion, culture, customs, and stormy past. Wadas, a type of house in the past, are now being re-used and maintained as cultural and architectural heritage. 

The arrival of Mumbai, an international metropolis and home to one of the world’s largest film industries, has greatly influenced the people of Maharashtra. The inhabitants of the state are flamboyant, and they are known to spend lavishly to keep up with the current fashion trends. At the same time, Maharashtra folklore has not totally lost its traditions; they are adapting to changing circumstances while still conserving its forefathers’ legacy. Maharashtra’s people have a rich cultural heritage and beliefs, which are reflected in their religious traditions and architecture.

Maharashtra is well-known for its caverns and rock-cut structures. In the 2nd century BC, Buddhist monks pioneered the formation of these spectacular caverns in search of a tranquil and peaceful setting for meditation. Later, Hindu cave temples at Ellora and Ajanta were regarded as the best masterpieces of human art by UNESCO in 1983. Some of India’s earliest wall murals composed of natural ingredients may be seen here. Even though sculptures of the time are thought to be stiff and unmoving, the famous rock-cut caves have several distinct design elements, such as craving techniques, motifs, and depictions of various postures.

The state may be recognised as a fast-paced state, but it also maintains heritage values in its building styles, particularly in temples and the Wada Housing housing type. Wada is derived from the Sanskrit term ‘Vata,’ which signifies a plot of ground suitable for building a dwelling. The traditional ‘Wada’ dwelling featured residences of many families or simply one family that lived there. It is commonly used to describe a courtyard home mansion. This House form belonged to both the governing classes and commoners. This type is historically, culturally, and economically significant. Despite differences in size, scale, and economic standing, all wadas have some basic aspects and traits.

The roots of history and a rich cultural legacy are wrapped in the minor aspects of these constructions, which showcase the beauty, sense of style, and inventiveness of individuals who made it possible. The soul of the Maratha empire may still be found in the structures constructed during their reign. Various cultural aspects, including rituals and religion, had an impact on architectural design and layout. The shape and design evolved from their everyday activities and the places required to carry them out.

• Osari:It is the verandah or transition space. It is a semi-open place for activities, such as a hallway or a spill out space.
• Dewadi: It is a verandah for guards
• Sadrecha Sopa: Verandah area utilised for administrative tasks that is open to the courtyard, commonly in the first or centre courtyard.
• Kacheri:The administrative department is located in the first or central courtyard.
• Khalbhatkhana: As known as the Negotiation Room, it was a semi-public area where talks and choices were made.
• Diwankhana: It has a large living room with a large hall for formal gatherings. It is to be built close above Osari and Dewadi.
• Majghar: The middle chamber. The private area is separated from the public area by this section. It is mostly used by women and family members. It’s a private room.
• Devghar: A Prayer Room. 
• Tijory : The Treasury.
• Gotha: A cow-pen in a house’s backyard.
• Swayampak Ghar : The Kitchen. 
• Kothar: A Storeroom. 

The Wadas of the Maratha and Peshwa periods, on the other hand, depict the era’s turmoil and customs. Some are gorgeous, while others are quiet, isolated structures on river banks. Wadas, the classic dwelling type of Maratha architecture, originated during the reign of the Peshwas. Its design was a hybrid of Mughal, Rajasthani, and Gujarati elements blended with indigenous building skills. This house design handles air and light, resulting in excellent ventilation of both, and it also addresses security or privacy issues owing to the structure’s façade. Wadas are a type of residential building that first appeared in the 18th and 19th centuries. In 1730, the notion was born during the Peshwa period. The garhis (fortified palaces) featured minimal facades, decoration, and openings, but the wadas’ facades had apertures in every structural bay, as well as highly ornate openings. Topography and climatology also had a part since, depending on the rainfall, people utilised flat roofs in certain locations and sloping roofs in others.

The appearance of the wada was also influenced by social factors such as caste and occupation. Whereas the facades of the trading community were highly ornamented, the facades of the Brahmin were plainer and simpler.

• Wadas are planned in accordance with the local meteorological conditions.
• In general, the layout is linear.
• They are two or three-story rectangular houses with a courtyard in the centre and rooms around them.
• They are two or three-story rectangular residences with a courtyard in the centre and rooms around them.
• The first courtyard is designated as a public place for social gatherings, while the second courtyard is reserved for ladies-only rooms.
• A well is also located within one of the courtyards of the wadas.
• The main staircase for the owners led from the courtyard, while the servants’ stairway was buried between walls and could not be seen.
• The three courts of the wada were used in distinct ways: the first court was used for social gatherings, leading to chambers accessed by visitors. The second court was utilised for the ‘Kacheri’ office and was exclusively accessible to officials. The third court was for private use, particularly by the ladies of the house, and included the kitchen, storeroom, and the balantini kholi (delivery room). It also included the tulsi vrindavan herb for religious purposes.

The spaces adhered to the structural grid. These structural system measurements were determined by the sort of wood available. All of the dimensions of these homes are multiples of the khann unit bays. Different styles of doors represent the owner’s wealth and social standing. The wealthier the family, the more ornamented the door, whereas the modest doors belonged to a middle-class family.

There were two types of windows: half windows and complete windows.  Depending on the weather and the role of the window panels, half windows had four opening panels, two above and two below. The entire windows featured two panes and were created with desires.

The brackets represent the beam’s final features. These elements were influenced by Asian motifs of dragons and lotus, or were influenced by family and ancestry.

It is a feature from the 18th century. It was designed to house candles or diyas, which shield the light from the wind.

Wadas have come a long way since their inception, and while not all of them have survived, these beautifully designed and decorated houses have become an important part of Maratha architecture. The wadas are distinguished from other typologies in India by their unique planning based on a square grid pattern. Though, in today’s scenario, we see a decrease and deterioration of Wadas in Maharashtra maps as they have been erected for years and can no longer withstand the changes occurring around them. Many of the restored wadas are utilised as shrines or museums, but just a handful are liveable. The wadas played an essential part in establishing Maharashtra’s architectural map since the cravings and decorating were not only established but also inspired by Indo-Saracenic, Chinese, and Rajasthani architectural styles. Dhepe Wada, Shaniwar Wada, Nana Wada, Kesari Wada, Vishrambaug Wada, Raste Wada, Bhor Rajwada, Purandare Wada in Pune, Sarkar Wada at Nashik, and  Juna Wada, Gaikwad Wada in Kolhapur are a few noteworthy Wadas that have withstood the test of time and are utilised in movie sets often.

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great article, thx

Thanks Sharon!

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Wada Architecture of Maharashtra: A Harmony of Tradition and Functionality

Shivani chougula, why wada architecture.

Wada architecture holds a significant place in the cultural and architectural landscape of Maharashtra, with notable representations in cities like Pune and Kolhapur. Reflecting the region's rich history and traditions, these traditional Marathi residences showcase a unique blend of aesthetic appeal and functional design. This blog will delve into the regional significance of Wada architecture and explore its planning aspects, with a special focus on the dual courtyard design that separates public and private spaces while fostering family connections.

Regional Significance:

Wada architecture is deeply rooted in the cultural fabric of Maharashtra, with Pune and Kolhapur being key cities that boast exemplary specimens of this architectural style. Historically, these structures served as the residence of affluent families and played a vital role in community life. Wadas were not just homes; they were hubs of social interactions, cultural activities, and familial bonding. The architectural elements of Wadas reflect the socio-cultural ethos of Maharashtra, making them an integral part of the region's heritage.

Dual Courtyard Planning:

One of the defining features of Wada architecture is the incorporation of dual courtyards. These courtyards serve distinct purposes – one separating public and private spaces, and the other fostering family connections. The public courtyard is often adorned with grand entrances, while the private courtyard, known as the 'antarpat,' is a more intimate space reserved for family gatherings and rituals.

Grand Entrances:

Wadas are renowned for their grand entrances, marked by vibrant colors, intricate niches, and exquisite carvings. These entrances not only serve as a visual spectacle but also symbolize the prestige and welcoming nature of the household. The vibrant hues and detailed carvings create a lasting impression, inviting guests into a world where art and architecture intertwine seamlessly.

Tulsi Katta:

The private courtyard often features a sacred space known as the Tulsi Katta. This area, adorned with a Tulsi plant, serves as a center for family rituals and religious ceremonies. The Tulsi Katta symbolizes the spiritual connection within the family, fostering a sense of unity and tradition. It is a sacred space where generations come together to perform various rituals and strengthen familial bonds.

Arched Windows:

Mughal-inspired arched windows are a hallmark of Wada architecture, found in both Pune and Kolhapur. These windows, adorned with wooden railings below, not only enhance the aesthetic appeal but also provide cross-ventilation, ensuring a comfortable living environment. The Mughal influence adds a touch of grandeur, showcasing the architectural diversity that Maharashtra has embraced over the centuries.

Decorative Brackets:

Wadas feature decorative brackets that support balconies and eaves, adding an extra layer of artistic expression. These brackets often depict mythical creatures, showcasing the rich cultural tapestry of Maharashtra. The intricate carvings and mythical representations not only serve a structural purpose but also contribute to the overall visual harmony of the Wada.

Wada architecture in Pune and Kolhapur stands as a testament to the region's cultural identity and architectural prowess. The dual courtyard planning, grand entrances, Tulsi Katta, Mughal-inspired windows, and decorative brackets with mythical creatures collectively create a unique architectural narrative that continues to captivate and inspire.

As we celebrate the legacy of Wada architecture, we also recognize its enduring relevance in preserving Maharashtra's rich heritage for generations to come. Wada architecture and it's heritage is a topic worth exploring for your architectural thesis.

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URBAN DESIGN & KIMAYA 2022 shaniwar wada

Though Shaniwarwada in Pune is a historic landmark and a nationally protected site the work done here represents Urban Design as applied to a heritage site where healthy creative and Urbane activities promoted in a city core can demonstrate good manners towards a national monument, it can unravel and clarify the significance of a race that once dominated the country before the British Colonial Rule and create space for enriching urban living.

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WADA-Part II Description of the Architecture of the Adil Shah Dynesty of Karnataka and the Peshwas of Pune -the ubiquitous houses with court yards

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The designer from urban India has a very responsible and significant role to play in the revival of this country’s traditional arts and crafts. In my professional journey covering diverse medias of expression and communication, I had soon found myself in this fascinating world of traditional design expressions. Each time my design skills were called upon to contribute in this area, I have had to journey through numerous doubts and confusions in an attempt to understand and discover the true nature of such a role. This quest for appropriate answers has been a very revealing and inspiring experience. I wish to share with the readers this ongoing personal evolution as a designer through a brief account of my own relevant work in this field.

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