Indigenous Architecture of Kerala - Vernacular Architecture Study

DEPARTMENT OF ARCHITECTURE
VERNACULAR ARCHITECTURE -
REPORT ON KERALA ARCHITECTURE
SUBMITTED TO: AR. KAJAL ARSHI

PREPARED BY : BHANU KHANNA (21008/2K10)
Kerala
..Gods own country..
vernacular architecture of Kerala

ACKNOWLEDGEMENT
I have completed this report for semester IX ,bachelor degree of

architecture with the help of my faculty, my teachers, my dearest
friend and family members, without their help this work was like to
search water in the desert. First and foremost I offer my sincerest
gratitude to my subject in-charge and guide, Ms. Kajal Arshi, who
have guided me and supported me throughout my research over
KERALA ARHITECTURE.
I would like to extend my gratitude to the HOD of Architecture

Department Ar. Bhupinder Pal Singh Dhot for his sharing his
immense knowledge and Ar. Ranjit Kaur Johal for her valuable
suggestion, precious time for the discussion over the topic. I would
like to thank the students of NIT Calicut who helped me in the
secondary data collection.
I would like to express my gratitude to my friends and mates. Finally
I offer my sincerest gratitude to my parents and family for their love
and their support which helped me to cross all the hurdles coming
in my successful education life.
Ms. Bhanu Khanna

B.ARCH IX sem
21008/2k10

ABSTRACT
KERALA is often named as GODS OWN COUNTRY this is not only
because of its traditions but its history geography and mesmerizing
scenic beauty makes it the place next to heaven. Kerala regionally
referred to as Keralam, is a state in the south-west region of India on
the Malabar coast separated by western ghats from top and side.
Kerala architecture is a kind of architectural style that is mostly found
in Indian state of Kerala and all the architectural wonders of kerala
stands out to be ultimate testimonials for the ancient vishwakarma
sthapathis of kerala. The architecture of Kerala has been influenced by
Dravidian and Indian Vedic architectural science (Vastu Shastra) over
two millennium. The Tantrasamuchaya, Thachu-Shastra,
Manushyalaya-Chandrika and Silparatna are important architectural
sciences, which have had a strong impact in Kerala Architecture style.
The Manushyalaya-Chandrika, a work devoted to domestic architecture
is one such science which has its strong roots in Kerala.
The architectural style has evolved from Keralas peculiar climate and
long history of influences of its major maritime trading partners like
Chinese, Arabs and Europeans. The characteristic regional expression of
Kerala architecture results from the geographical, climatic and historic
factors. Geographically Kerala is a narrow strip of land lying in between
western seaboard of peninsular India and confined between the
towering Western Ghats on its east and the vast Arabian sea on its west.
A regional character in construction incorporating the Dravidian craft
skills, unique forms of Buddhist buildings, design concepts of vedic
times and canonical theories of Brahmanical Agamic practices in locally
available materials and suited to the climatic conditions was finally
evolved in Kerala. The climatic factors thus made its significant
contributions in developing the architecture style, to counter wettest
climatic conditions coupled with heavy humidity and harsh tropical
summers. The architectural style of Kerala temples has an inherent
simplicity. Kerala temples have a distinct style of their own by the lavish
use of wood, stone and metals.

1 INTRODUCTION - KERELA .1- 2
2 STATICAL DATA .3- 14
2.1 CLIMATE .7
2.2 GEOGRAPHY
.8
11
2.3 CULTURE
12
2.4 RELIGION
2.5 DEMOGRAPHY 13
2.5.1 POPULATION
2.5.2 ECONOMICS
3 ARCHITECTURE .15- 45
3.1 HISTORY .16
3.1.1 PREHISTORIC VESTIGES
3.2 TEMPLE ARCHITECTURE
CONTENTS
.20
CASE STUDY:
PERUVANAM SHIV TEMPLE
3.3 DOMESTIC ARCHITECTURE .34
3.3.1 THEORY
3.3.2 CONCEPT
3.3.3 CASE STUDY OF TYPICAL
KERALITE HOUSE
4 CONSTRUCTION MATERIALS .46- 47
5 CASE STUDY .48- 54
PADAMABHURAN PALACE
6 CONCLUSION .55
7 BIBLIOGRAPHY .56
5
INTRODUCTION
The cultural heritage of any country is seen best
exposed in its architectural monuments. The ways in
which the buildings are designed, constructed and
decorated speak not only the technical and artistic
capabilities of the craftsmen, but also of the aspirations
and visions of the perceptors, for whom the
construction is only a medium for thematic expression.
From the single dwellings to the magnificent edifices,
architecture also reflects the human endeavour
meeting the ever changing social needs. Kerala
abounds with many such architectural monuments-
prehistoric megaliths, tombs, caves, temples, mosques,
churches, theatres, houses, palaces and public
buildings, built and renovated over centuries
representing a panorama of architectural development.
None of these structures is very big; the aesthetic
appeal of these buildings mainly arise from the
simplicity of form and functional perfection.
The characteristic regional expression of Kerala

architecture results from the geographical, climatic and
historic factors. Geographically Kerala is a narrow strip
of land lying in between western seaboard of
peninsular India and confined between the towering
Western Ghats and the vast Arabian sea. Favoured by
plentiful rains and bright sunshines, this land is lush
green with vegetation and rich in animal life. In the
uneven terrain of this region human habitation is
distributed thickly in the fertile low-lands and sparsely
towards the hostile highlands. Clustered houses are
rarely seen in villages. Large cities are also absent in
Fig. 1.1_POLITICAL MAP OF KERELA this landscape. The architecture of this region has been
of a humble scale, merging with nature. The form of the
buildings with low walls, sloping roof and projecting
caves was mostly evolved from climatic considerations -
for protection from excessive rain and intense solar
radiation. The setting of the building in the open
garden plot was again necessitated by the requirement
of wind for giving comfort in the humid climate.
Fig. 1.3_STATE SEAL OF KERELA
6
Keralas Fame
State symbols of Kerala

Animal Indian elephant
Bird Great Hornbill
Fish Pearl Spot
Flower Golden Shower Tree Flower
Tree Coconut tree
7
Fig. 1.3_TOURIST DESTINATIONS/FAMOUS THINGS TO DO/STATE SYMBLS OF KERELA vernacular architecture of Kerala
STATICAL DATA
2.1 Climate of Kerala
According to Bureau of Indian Standards, India has been divided into five different
regions with distinct climates in which Kerala comes under the warm humid region.
The climate of Kerala is characterized by heavy rainfall and high relative humidity, and
relatively moderate temperature. In effect, Kerala has only two predominant seasons-
rainy and dry seasons. The rainy season lasts for about half of the year, which has
greatly determined the character of built form with its characteristic sloping roof.
Summer comes under the dry season with hot and humid days and nights and intense
solar radiation during the day time.
Wind speed and direction is determined by the season and the temperature differences
between land and sea. Predominant wind direction during monsoon period, i.e., June
to September is west to South west and the effect of land breeze is not dominant
during this period. During October November, wind direction changes from South -
West to North - East. Though predominantly south west, the wind is influenced by the
presence of other topographical features including the presence of large water bodies.
FIG: 2.1 : ANNUAL RAILFALL CHART OF KERELA
With around 120140 rainy days per year, Kerala has a wet and maritime tropical
climate influenced by the seasonal heavy rains of the southwest summer monsoon and
northeast winter monsoon. Around 65% of the rainfall occurs from June to August
corresponding to the southwest monsoon, and the rest from September to December
corresponding to northeast monsoon. Southwest monsoon; The moisture-laden winds,
on reaching the southernmost point of the Indian Peninsula, because of its topography,
become divided into two parts: the "Arabian Sea Branch" and the "Bay of Bengal
Branch". The "Arabian Sea Branch" of the Southwest Monsoon first hits the Western
Ghats in Kerala, thus making the area the first state in India to receive rain from the
Southwest Monsoon. Northeast monsoon: The distribution of pressure patterns is
reversed during this season and the cold winds from North India pick up moisture from
the Bay of Bengal and precipitate it in the east coast of peninsular India. In Kerala, the
influence of the northeast monsoon is seen in southern districts only. Kerala's rainfall
averages 3,107 mm (122 in) annually. Some of Kerala's drier lowland regions average
only 1,250 mm (49 in); the mountains of eastern Idukki district receive more than
5,000 mm (197 in) of orographic precipitation: the highest in the state. In eastern
Kerala, a drier tropical wet and dry climate prevails. During summer, the state is prone
to gale force winds, storm surges, cyclone-related torrential downpours, occasional
droughts, and rises in sea level. The mean daily temperatures range from 19.8 C to
36.7 C. Mean annual temperatures range from 25.027.5 C in the coastal lowlands
to 20.022.5 C in the eastern highlands. 8

2.2 Geography of Kerala
The state is wedged between the Lakshadweep Sea and the Western Ghats. Lying
between north latitudes 818' and 1248' and east longitudes 7452' and
7722', Kerala experiences the humid equatorial tropic climate. The state has a coast
of 590 km (370 mi) and the width of the state varies between 11 and 121 km (2275
miles). Geographically, Kerala can be divided into three climatically distinct regions:
the eastern highlands; rugged and cool mountainous terrain, the central mid-lands;
rolling hills, and the western lowlands; coastal plains. The state is located at the
extreme southern tip of the Indian subcontinent and lies near the center of
the Indian tectonic plate; hence, it is subject to comparatively low seismic and
volcanic activity. Pre-Cambrian and Pleistocene geological formations compose the
bulk of Kerala's terrain. A catastrophic flood in Kerala in 1341 CE drastically modified
its terrain and consequently affected its history; it also created a natural harbor for
spice transport. The eastern region of Kerala consists of high mountains, gorges and
deep-cut valleys immediately west of the Western Ghats' rain shadow. Forty-one of
Kerala's west-flowing rivers, and three of its east-flowing ones originate in this
region. The Western Ghats form a wall of mountains interrupted only near Palakkad;
hence also known Palghat, where the Palakkad Gap breaks through to provide access
to the rest of India. The Western Ghats rise on average to 1,500 m (4920 ft.) above
sea level, while the highest peaks reach around 2,500 m (8200 ft.). Anamudi, the
highest peak in south India, is at an elevation of 2,695 meters (8,842 ft.). The
elevations of the eastern portions of the Nilgiri Hills and Palni Hills range from 250
and 1,000 m (820 and 3300 ft.).
FIG: 2.3 : MUNNAR- HILL STATION OF KERALA
FIG: 2.2 : VIEW OF ANAMUDI HILLS

FIG: 2.4 : PARUVAR- BACKWATERS & BEACHES FIG: 2.5 : PADDY FIELD IN KERALA
FIG: 2.6 : PANAROMIC VIEW OF PERIYAR RIVER 9

Hill and Valleys- The narrow The topography and the geographical relief
piece of land on the eastern features are marked by distinct changes
border, close to the Western from east to west and consists of-The
Ghats, encompasses Western Ghats- The mighty Western Ghats,
precipitous hills, deep valleys a sequence of Rocky Mountains, edges the
and gorges which are covered eastern boundary of Kerala and ascends
with thick woods. Almost all roughly upto 1,500 m above sea level with
the rivers of the state the lofty peaks rising upto 2,500 m.
originate here. Kerala's western coastal belt is relatively flat
to the eastern region, and is crisscrossed by
a network of interconnected brackish canals,
Midland Plains- These plains lakes, estuaries, and rivers known as
which lie along central Kerala, the Kerala Backwaters.
are located in the west of the
hills and mountains.
FIG: 2.7: TOPOGRAPHICAL CHART OF KERALA
Coastal Belt-The narrow belt

of coastal land along the
Arabian Sea is characterized
by paddy fields, rows of
coconut trees and serene,
and backwaters internally
linked by rivers and inland
waterways.
Backwaters and Rivers-The

Backwaters consists of lakes
and inlets of oceans which
straggle out in the land. The
largest backwater is the
Vembanad Lake which
stretches out into the Arabian
Sea at Cochin Port. There are
49 river/lakes flowing in the
state of Kerala among them
46 flows to the west and the
other 3 flow to the east. They
evolve from Western Ghats
and rush towards the west
into the Arabian Sea.
10
FIG: 2.9_ IMAGERY OF TOPOGRAPGHY OF KERALA SHOWING
BACKWATERS AND DELTAS FORMED WITH THE TROPICAL FORESTS
11
Fig. 2.10_PHYSICAL MAP OF KERELA FIG: 2.8 _TOPOGRAPHICAL CHART OF INDIA

2.3 Culture of Kerala
Kerala offers a cultural kaleidoscope in it literature, language, music, dance, theatre and
rituals; the pluralist basis of Kerala culture & architecture of Kerala 4 culture mosaic is
reflected in its art forms. The culture of Kerala is distinct with an admixture of
innumerable facets of various cultures. The tradition of classical arts which has been
existed in Kerala for more than a thousand years Are:
Mohiniyattam (the dance of enchantress): It is one of the gracefully elegant
classical dance forms with lasya as the predominant element.
Kathakali: The spectacular dance drama of Kerala integrates dance,music, poetry,
and histrionics.
Koodiyattam: Sanskrit drama performed in Kerala-the oldest existing classical
theatre form in the entire world, having originated much before Kathakali and most
other theatrical forms.
Folk arts are: Theyyam, thira, Mudiyettu, kaduvakali , Velakali, kakkarissnataka
kakkarissnatakam, Chavittunatakam, Bhadrakalipattu, pulluvanpattu and
Thiruvathirakali are some of Keralas folk art forms.
Martial Arts: Kalaripayattu is an ancient tradition of martial training and Discipline.
Thullal: This art is characterized by simplicity of presentation, wit & humour.
Poorams : Temple festivals usually continue for a number of days. A common
characteristic of these festivals is the hoisting of a holy flag which is then brought
down only on the final day of the festival. Some festivals include Poorams, the most
famous of these being the Thrissur Pooram.
Onam : It is a harvest festival celebrated by the people of Kerala, India. It is also the
state festival of Kerala. Onam Festival falls during the Malayalam month of Chingam
(Aug - Sep) and marks the commemoration of Vamana avatara of Vishnu . It is one
of the festivals celebrated with most number of cultural elements. Some of them
are Vallam Kali, Pulikkali, Pookkalam, Onatthappan, Thumbi Thullal, Onavillu,
Kazhchakkula, Onapottan, Atthachamayam etc.
FIG. 2.11_LEFT UP : THRISSUR POORUM / LEFT DN MOHINIYATTAM / CENTRE FOOD @ ONAM / RIGHT KATHAKALLI 12
2.4 Religion of Kerala
In comparison with the rest of India, Kerala experiences relatively
little sectarianism. According to 2001 Census of India figures, 56.2% of Kerala's
residents are Hindus, 24.7% are Muslims, 19% are Christians, and the remaining 0.1%
follows other religions. The major Hindu castes
are Dalit, Ezhava, Thiyya, Arayan, Nadars, Nair and Nambudiri. The rest of the Hindu
castes, including those in the list of Other Backward Class (OBC), are minority
communities.
FIG. 2.12_STATICAL DATA SHOWING DIFFERENT RELIGIONS FOLLOWED IN KERALA
FIG. 2.13_GRAPHICAL REPRESENTATION OF 4 MAJOR RELIGIONS OF KERALA AND THEIR UNITY 13

2.5 Demographics
2.5.1 Population
Kerala is home to 2.76% of India's population; at 859
persons per km2, its land is nearly three times as
densely settled as the rest of India, which is at a
population density of 370 persons per km2.
Trivandrum is the largest and most populous city in
Kerala. In the state, the rate of population growth is
India's lowest, and the decadal growth of 4.9% in 2011
is less than one third of the all-India average of
17.64%. Kerala's population more than doubled
between 1951 and 1991 by adding 15.6 million people
to reach 29.1 million residents in 1991; the population
stood at 33.3 million by 2011.] Kerala's coastal regions
are the most densely settled with population density
of coastal districts being 2022 persons per km2, 2.5
times the overall population density of the state, 859
persons per km2, leaving the eastern hills and
mountains comparatively sparsely populated. Around
31.8 million Keralites are
predominantly Malayali. State's 321,000 indigenous FIG. 2.14_GRAPHICAL REPRESENTATION OF
POPULATION DENSITY IN KERALA
tribal 1.10% of the population, are concentrated in the
east. Malayalam, one of the classical languages in
India, is Kerala's official language.
Kannada, Tulu, Hindi, Bengali, Mahl and various tribal
languages are also spoken. As of early 2013, there are
close to 2.5 million (7.5% of state population) migrant
FIG. 2.15_LIST OF POLUTAION DENSITY AND RANK
workers from other states of India in Kerala. WISE DISTRIBUTION OF MAJOR CITIES OF KERALA
14
2.5.2 Economics
Prime economy of Kerala consists of three major industries :
1. Fisheries
2. Agriculture
3. Information Technology
The tertiary source also consists of tourism department , transport, storage,
communications, banking and insurance and real estate.
FISHERIES
With 590 km of coastal belt, 400,000 hectares of inland water resources and about
220,000 active fishermen, Kerala is one of the leading producers of fish in
India. According to 200304 reports, about 1.1 million people earn their livelihood
from fishing and allied activities such as drying, processing, packaging, exporting
and transporting fisheries. The annual yield of the sector was estimated as 608,000
tons in 200304. This contributes to about 3% of the total economy of the state. In
2006, about 22% of the total Indian marine fishery yield was from the state. During
the southwest monsoon, a suspended mud bank would be developed along the
shore, which in turn leads to calm ocean water and hence peak output from the
fishery industry. This phenomenon is locally called chakara. The fish landings
consist of a large variety: pelagic species; 59%, demersal species;
23%, crustaceans and mollusks.
AGRICULTURE
Kerala produces 97% of the national output of black pepper and accounts for 85%
of the area under natural rubber in the country. Coconut, tea, coffee, cashew,
and spicesincluding cardamom, vanilla, cinnamon, and nutmegcomprise a
critical agricultural sector. The key agricultural staple is rice, with varieties grown in
extensive paddy fields. Home gardens comprise a significant portion of the
agricultural sector. Related animal husbandry is also important, and is touted by
proponents as a means of alleviating rural poverty and unemployment among
women, the marginalized, and the landless. The state government promotes these
activity via educational campaigns and the development of new cattle breeds such
as the Sunandini.
FIG. 2.16_JUTE HANDLOOM INDUSTRY/MARKET

PLACE IN KOCHI/PALM TREES AND PADDY FEILD
15
ARCHITECTURE
The cultural heritage of any country is seen best exposed in its architectural
monuments. The ways in which the buildings are designed, constructed and
decorated speak not only the technical and artistic capabilities of the craftsmen, but
also of the aspirations and visions of the preceptors, for whom the construction is
only a medium for thematic expression. From the single dwellings to the magnificent
edifices, architecture also reflects the human endeavor meeting the ever changing
social needs. Kerala abounds with many such architectural monuments-prehistoric
megaliths, tombs, caves, temples, mosques, churches, theatres, houses, palaces and
public buildings, built and renovated over centuries representing a panorama of
architectural development. None of these structures is very big; the aesthetic appeal
of these buildings mainly arise from the simplicity of form and functional perfection.
The characteristic regional expression of Kerala architecture results from the

geographical, climatic and historic factors. Geographically Kerala is a narrow strip of
land lying in between western seaboard of peninsular India and confined between
the towering Western Ghats and the vast Arabian sea. Favored by plentiful rains and
bright sunshine's, this land is lush green with vegetation and rich in animal life. In the
uneven terrain of this region human habitation is distributed thickly in the fertile
low-lands and sparsely towards the hostile highlands. Clustered houses are rarely
seen in villages. Large cities are also absent in this landscape. The architecture of this
region has been of a humble scale, merging with nature. The form of the buildings
with low walls, sloping roof and projecting caves was mostly evolved from climatic
considerations - for protection from excessive rain and intense solar radiation. The
setting of the building in the open garden plot was again necessitated by the
requirement of wind for giving comfort in the humid climate.
Kerala architecture is a kind of architectural style that is mostly found

in Indian state of Kerala and all the architectural wonders of kerala stands out to be
ultimate testmonials for the ancient vishwakarma sthapathis of kerala. Kerala's style
of architecture is unique in India, in its striking contrast to Dravidian
architecture which is normally practiced in other parts of South India. The
architecture of Kerala has been influenced by Dravidian and Indian Vedic
architectural science (Vastu Shastra) over two millennium. The Tantrasamuchaya,
Thachu-Shastra, Manushyalaya-Chandrika and Silparatna are important architectural
sciences, which have had a strong impact in Kerala Architecture style. The
Manushyalaya-Chandrika, a work devoted to domestic architecture is one such
science which has its strong roots in Kerala.
The architectural style has evolved from Keralas peculiar climate and long history of
influences of its major maritime trading partners like Chinese, Arabs and Europeans.
The ARCHITECTURE of Kerala is divided into 2 basic categories :
TEMPLE ARCHITECTURE & DOMESTIC ARCHITECTURE 16
3.1 Pre-historic Vestiges
The locational feature of Kerala has influenced the social development and indirectly
the style of construction. In the ancient times the sea and the Ghats formed
impenetrable barriers helping the evolution of an isolated culture of Proto Dravidians,
contemporary to the Harappa civilization. The earliest vestiges of constructions in Kerala
belongs to this period dated between 3000 B.C. to 300 B.C. They can be grouped into
two types - tomb cells and megaliths. The rock cut tomb cells are generally located in
the laterite zones of central Kerala, for example at Porkalam.
Trissur district. The tombs are roughly oblong in plan with single or multiple bed
chambers with a rectangular court in the east from where steps rise to the ground level.
Another type of burial chamber is made of four slabs placed on edges and a fifth one
covering them as a cap stone. One or more such dolmens are marked by a stone circle.
Among the megaliths are the umbrella stones, (kudakkal) resembling handless palm
leaf umbrellas used for covering pits enclosing burial urns. Two other types of
megaliths, hat stones (thoppikkal) and menhirs (pulachikkal) however have no burial
appendages. They appear to be rather memorial stones.
The megaliths are not of much architectural significance, but they speak of the custom
of the primitive tribes erecting memorials at sites of mortuary rites. These places later
became the annual meeting grounds of the tribes and gave rise to occult temples of
ancestral worship. While the custom of father worship can be seen in these cases, the
protecting deities of the villages were always in female form, who were worshiped in
open groves (kavu). These hypaethral temples had trees, stone symbols of Mother
Goddesses or other naturalistic or animistic image as objects of worship. The continuity
of this early culture is seen in the folk arts, cult rituals, worship of trees, serpents and
mother images in kavus.
Historic factors did not allow the continuance of the
cultural isolation of Kerala from the remaining parts of
India which was the arena of cultural invasions of Aryans
and other races. Aryans had spread their culture all over
north India by about 1000 B.C. Kerala also started
experiencing a cultural invasion by the slow ethnic
migration of Aryans in the beginnings of Christian era. In
the second rock edict of Asoka dated third century B.C.
Kerala is referred as one of the border kingdoms of the
Maurya empire. It is possible that Buddhists and Jains
were the first north Indian groups to cross the borders of
Kerala and establish their monasteries. These religious
groups were able to practice their faith and receive
patronage from the local kings to build shrines
and viharas. For nearly eight centuries Buddhism and
Jainism seem to have co-existed in Kerala as an FIG. 3.1_ IDOL TO WORSHIP IN FEMALE FORM
important faith, contributing in its own way to the social
17
and architectural development of the region.
Influence of Buddhism
The nature worship of the early inhabitants of Kerala has its parallel in Buddhism, in
the tree worship owing to the association of Buddha's birth, revelation and preaching
under a tree. Although sculptural relics of Buddhist images have been recovered from a
few places of southern Kerala, there are, however, no extant Buddhist monuments in
this region. But literary references such as Mushika vamsa, a Sanskrit epic of the
eleventh century suggests the fact that Kerala had important Buddhist shrines. The
most renowned of these was the Sreemulavasa vihara with a magnificent image
of Bodhisatwa Lokanatha. This shrine is believed to have been washed away by
coastal erosion. In their design features some of the temples such as Siva temple at
Trissur and the Bhagavathi temple at Kodungallur are believed to be
Buddhist viharas; but there is no irrefutable proof for such beliefs. The Jain
monuments are more numerous in Kerala. They include rock shelters at Chitral near
Nagercoil, a rock cut temple at Kahlil near Perumbavoor, and remains of structural
temples at Alathoor near Palakkad and at Sultanbathery. Sculptured Jain figures of
Mahavira, Parswanatha and other Tirthankara's have been recovered from these sites.
Sultanbathery also has the remains of a Jain basti, known as Ganapati vattam, being
an example of a cloistered temple built entirely of granite. Inspite of the absence of
architectural monuments there is conclusive proof of the influence of the Buddhist
school on Kerala architecture of later periods. The circular temples basically follow the
shapes of the Buddhist stupas, the dome shaped mounds. The apsidal temples are
modelled in the pattern of chaitya halls, the assembly halls of Buddhist monks.
The chaitya window seen repeated in the decorative molding of the thorana around
the temple shrine is clearly a Buddhist motif adopted in Hindu style, according to Percy
Brown. Basically thorana is a gateway provided in the palisade seen in the vertical and
horizontal members of thevilakkumadam, which is a feature seen only in Kerala
temples of the post-Buddhist period. In its most primitive form this construction is
seen in the hypaethral temples enshrining trees and later on the outer walls of the
shrines proper. With the stylistic development of the Hindu temple this form of
palisade is removed from the shrine structure (srikovil) and taken as a separate
edifice beyond the temple cloister (chuttambalam). Historians are also of opinion that
many rituals including the elephant procession during festivals are of Buddhist origin
and adopted in Kerala temples.
FIG. 3.2_ BHAGAVATHI TEMPLE AT KODUNGALLUR

18
Vedic and Brahmanical Influences
Buddhism was co-existent with the indigenous religious and social practices of Kerala
as well as the vedic religion of the early Aryan emigrants. The early
Tamil Sangam literature shows that by the First century A.D. the Ceras ruled the
central regions of Kerala and the Kongu lands (present Salem and Coimbatore region).
Its capital was Vanchi, identified with the Thiruvanchikulam near Kodungallur. At this
time the southern part of Kerala was ruled by the Ay chieftains and the northern parts
by the Nannans of Ezhilmalai. The early period of Christian era - first to third century -
is also marked by the contact with Aryans and their vedic religion rooted in the fire
sacrifices. Between fourth and seventh centuries A.D. Brahmanas appeared to have
settled in Kerala and established their religion. The amalgamation of different cultures
and religious philosophies helped to evolve the architectural styles of Kerala temples.
DYNASTIES PF INDIA CHERA/CERA IN KERALA

FIG. 3.3_ MAP OF DECCAN SHOWING EARLY
The early Aryan religion in Kerala and Brahmanical practices showed a tendency to
adopt and adapt the native rituals and hence exhibit a dual nature. On the one hand
there was emphasis on the pure Aryan practice of fire sacrifice or yagas; on the
other hand there was also a practice of installing deities in temples and worshiping
them by flowers. Traditionally only vedic Gods were invoked in fire sacrifices and all
divinities adopted from the native religion were worshipped in temples
called kottam, kovil etc. The most important of these divinities were Muruga,
Bhagavathi and Sastha. With the bhakti movement of the sixth-seventh century, two
main streams of Brahmanical religions _ saivism and vaishnavism _ eulogised by
the nayanars and alwars respectively became the predominant religions patronized
by the kings. Siva and Vishnu thus became the most important deities of worship. The
two streams, however, were interwoven by Sankara in unified philosophical thought,
and a cult synthesis. In ritualistic worship this is manifested in offering of sandal paste
as well as vilva and thulasi to the devotees of both Siva and Vishnu temples. Examples
of temples with two main shrines one for Siva and another for Vishnu in the common
enclosure are also the result of this cult synthesis. The bhakti movement and the
work of Sankara helped to firmly establish the Hindu religion and completely displace
Jainism and Buddhism from Kerala by about eighth-tenth century.
19
Under the rule of the second Cera Perumals (eighth-eleventh century) most of Kerala
except the extreme north and south got unified. This was highly conducive of
architectural development and renovation of a large number of temples. After the
decline of the Ceras several small principalities developed all over Kerala. By fifteenth
century, Kerala was broadly covered by the suzerainty of four principal chieftains -
Venad rulers in the south, Kochi Maharajas in the centre, samutiris of Kozhikode in the
north and Kolathiri Rajas in the extreme north. They were rulers who patronized
architectural activities. A regional character in construction incorporating the Dravidian
craft skills, unique forms of Buddhist buildings, design concepts of vedic times and
cannonical theories of Brahmanical Agamic practices in locally available materials and
suited to the climatic conditions was finally evolved in Kerala. The theory and practice of
architectural construction were also compiled during this period.
FIG. 3.4_ MAP OF INDIA SHOWING ARYANS AND DRAVIDIAN CULTURE IN INDIA
20
3.2 TEMPLE ARCHITECTURE
The variety of temples, numbering more than 2000 dotting the Kerala state has no
match with any other regions of India. In its stylistic development, the temple
architecture can be divided into three phases. The first phase is that of rock-cut
temples. This earliest form is contemporary to Buddhist cave temples. Rock-cut
temples are mainly located in southern Kerala - at Vizhinjam and Ayirurpara near
Thiruvananthapuram, Kottukal near Kollam and Kaviyoor near Alappuzha. Of these the
one at Kaviyoor is the best example. The Kaviyoor cave temple dedicated
to Siva comprises of a shrine room and a spacious ardhamandapa arranged axially
facing the west. On the pillared facade as well as on the walls inside
the ardhamandapa are sculptured reliefs of the donor, a beared rishi, a seated four
armed Ganesh and dwarapalas. The other cave temples also have this general pattern
of a shrine and an ante-room and they are associated with Siva worship. In the north
similar rock-cut temples of saiva cult are seen at Trikkur and Irunilamkode in Trissur
district. Historically the cave architecture in India begins with Buddhism and the
technique of rock-cut architecture in Kerala seems to be a continuation of similar
works in Tamil Nadu under the Pandya. The rock-cut temples are all dated prior to the
eighth century A.D. The structural temples appear in the second phase spanning the
eighth to tenth centuries, and patronized by the Cera, Ay and Mushika chieftains. The
earliest temples had a unitary shrine or a srikovil. In rare cases a porch
or ardhamandapa is seen attached to the shrine. A detached namaskara mandapa is
generally built in front of the srikovil. A quadrangular building _ nalambalam _
encloses the srikovil and the namaskara mandapa. At the entrance to
the nalambalam is located the altar stone _ balikkal. This basic plan composition of the
Kerala temple is seen emerging in this phase.
21
FIG. 3.5_ BASIC LAYOUT OF TEMPLES IN KERALA vernacular architecture of Kerala
FIG. 3.6_ DIFF. TYPE OF PLANS OF TEMPLES
The srikovil may be built in different plan shapes - square, rectangular, circular or
apsidal. Of these the square plan shows an even distribution throughout Kerala state.
The square shape is basically the form of the vedic fire altar and strongly suggest
the vedic mooring. It is categorized as the nagara style of temple in the architecutural
texts. The rectangular plan is favored for the Ananthasai Vishnu and the Sapta
matrikas. The circular plan and the apsidal plan are rare in other parts of India and
unknown even in the civil architecture of Kerala, but they constitute an important group
of temples. The circular plan shows a greater preponderance in the southern part of
Kerala, in regions once under the influence of Buddhism. The apsidal plan is a
combination of the semi-circle and the square and it is seen distributed sporadically all
over the coastal region. The circular temples belong to the vasara category. A variation
of circle-elipse is also seen as an exception in the Sivashrine at Vaikkom. Polygonal
shapes belonging to the Dravida category are also adopted rarely in temple plans but
they find use as a feature of shikhara. A temple having all these elements is referred as
a Mahakshetra (great temple) or Perumthrukkovil (like Vaikom Perumthrukkovil
Mahadeva Temple in Kottayam).
22
FIG. 3.7_TEMPLE LAYOUT vernacular architecture of Kerala
The shape of the roof is in accordance with the plan of the sanctum below. With a
circular plan, one sees a conical roof, while with a square plan the roof is pyramidal.
The roof is constructed with wood and is covered with copper plates. Most of the
temples seen in Kerala today, have undergone several phases of renovation, given the
perishable nature of the construction materials.
The central sanctum of a Keralite temple is referred to as the SriKovil. It is surrounded
by a cloistered prakara, pierced at one or more cardinal points with a gopuradwara.
The cloistered prakaram has a namaskara mandapam located directly in front of the
sanctum. This prakaram also houses subsidiary shrines. A kitchen is located in the
south eastern corner of ths cloistered prakaram. The mukha mandapam is
integrated with the gopura entrance. The flagstaff or dwaja stambham is located
outside of the dwajastambham. The balipitham may be located in the
mukhamandapam or in the outer courtyard. The outer prakaram or courtyard houses
other subshrines, and optionally a temple tank.
The Kuttambalam or the theater hall of the Keralite temple is located either as a part
of the inner prakara, on the south east corner facing north, or as a separate hall
outside the innermost prakaram, either facing into the temple or facing north. This
has a stage, raised from the rest of the floor, and a backstage area. This is the site of
the performance of Kathakali or Chakkiyar koothu recitals. Thus the kuttambalam
plays a role in educating visitors on the rich legends of the Indian cultural fabric.
The major parts of a typical Kerala temple
Deva Prathishta or Idol

Deva Prathishta or idol of the God or Goddess is the most important
part of a Hindu temple. Idols made of Granite, Panchaloha, or Wood is
usually installed inside the Garbhagriham or Sreekovil. Idols are made
according to the Dhyana Slokams. Apart from the normal daily
worship rituals for propitiating the deities, there are many Thaanthrik
rituals aiming at increasing the glory and power of the deities and
sometimes for atonement for any fading of such power. Image shows
the idol of Kathyayani Devi in Kumaranalloor Devi Temple.
Sreekovil or Sanctum Sanctorum:
Sreekovil may be in square, rectangular, elliptical or circular shape and

may have one two or even three stories covered with copper or gold.
The image shown are the gold covered rectangular sreekovil of
Guruvayoor temple, Gaja prishta sreekovil of Madhur temple and
copper covered circular sreekovil of Thrikkodithanam temple. The
part of the temple where the idol of the God or Goddess is situated
is referred to as the Sreekovil. Position of Sreekovil in the temple is
equivalent to the position of Sahasrara Padmam in a human body.
23
Sopanam:
The holy steps in front of the sanctum sanctorum is called
Sopanam. In many temples the sopanam has stone idols of
guards of the God called as Dwarapalakas. Usually sopanam is
covered with Gold or Bronze. Image shows the gold covered
Sopanam and Dwarapalakas of Sabarimala Temple. Only
temple priests are allowed to enter through this holy steps.
Pradakshinavattam or Akathe balivattam:
It is located just outside the sanctum. The Ashta-Dik-paalakas
(Indra, Agni, Yama, Nruryathi, Varuna, Vaayu, Soma and Isaana),
Saptha Mathrukkal (Brahmani, Maheswari, Kaumari, Vaishnavi,
Varahi, Indrani and Chamundi) , Veerabhadra, Ganapathy,
Sastha, Anantha, Durga, Subrahmanya, Kubera, Nirmalyadhari
and Brahma the guards of the main deity are represented here
by using stones of different shapes and are generally called
Balikkallu. Usually these balikkallus are covered with bronze
sheets. image show the Pradakshinavattam of kazhakuttom
mahadeva Temple and Balikkallu representing Yama of
Anandavalleeswaram Temple Kollam.
Mathrusala:
Mathrusala is located in the South side of Sreekovil. It is an
extended portion of Nalambalam towards Sreekovil to cover
the Saptha Mathru balikkal. Hence the name Mathrusala.
Usually the Utsavabali ritual is performed in the Mathrusala.
The image shows the Mathrusala of Chengamanattu Mahadeva
Temple near Aluva in Ernakulam district.
Namaskara Mandapam:
Namaskara Mandapam is located in front of the sopanam facing
the sanctum. It is used by the priests for Sashtanga Namaskara
after poojas like Usha pooja, Pantheeradi pooja and Ucha
pooja. Hence the name Namaskra manadapam. It is generally
square in shape and has a roof hung by four pillars and usually
has a Tazhikakkudam made of gold or copper. Usually Veda
Japam and Kalasa Pooja is done at the Namaskara Mandapam
and so it is also called Kalasa Mandapam. In Shiva temples it is
called Nandi Mandapam because of the presence of Nandikesa
and in Vishnu temples it is called Garuda Mandapam because
of the presence of Garuda. Image shows the Namaskara
mandapam of Kumaranalloor Devi Temple near Kottayam.
24
Nalambalam and Valiambalam :
Nalambalam is also called chuttambalam. Their function is to
protect the temple as they cover the temple on all sides. They
are less broad on the surrounding three sides and are called
chuttambalam. The one facing the sanctum is very broad and is
called valiambalam. Between the two valiambalams there is a
passage for devotees to enter and exit.
Thidappally :
Thidappally is the kitchen of a temple. Thidappally is
constructed to the left side of the Namaskara Mandapam as an
enclosure in the south eastern corner of the Nalambalam.
Nivedyams to be offered to the deity is prepared in the
Thidappally.
Well :
A well is a must in a temple. Its position is at the North-East, of
the Nalambalam. Its water has to be exclusively used for
abhisheka or preparation of nivedya. Image shows the well of
Navayikkulam Shankaranarayana Temple near Kallambalam in
Thiruvananthapuram district.
Vilakkumaadam:
Another distictive feature of Keralite temples is the use of
Vilakku maadam, or the multi-tiered brass lamps in front of
temples. Lakshadeepam is a spectacular celebration of
traditional lighting where tiers of small oil lamps lining the outer
walls of the inner prakaram are lit. It is located outside the
Nalambalam. In between the Nalambalam and Vilakkumaadam
there may be an open areaImage shows the Temple of the King
(Cobra) Sri Peralassery Subrahmanya Temple
Balikkalpura:
It faces the sanctum and is the extended portion of the passage
in between the valiyambalams. The roof of the Balikkalpura may
have the wooden sculptures of Ashtadikpalaka also in temples
like Koodalmanikyam there is no Balikkalpura for Valiya
Balikkallu. image show the Balikkalppura of Kollam
Anandavalleeswaram Temple and Valiya Balikkallu of
Irinjalakkuda Koodalmanikya Temple
25
Dwaja or Kodimaram:
This tall pillar is visible from a distance. It bears on the top the
deitys vahana as emblem and one can identify the deity of a
temple by seeing it. For ex : Shiva temple has Nandi, Vishnu
temple has Garuda, Durga temple has Lion, Kali temple has
Vethala, Sastha temple has Horse, etc. Ashtadikpalaka idols were
placed at the bottom part of the dwaja. Kodimaram is used for
hoisting kodi or flag during festivals. It is located outside the
balikkalpura and is usually made of wood and covered with
copper, panchaloha, silver, bronze or gold.
Anakkottil:
Anakottil facing balikkalpura is located in front of the Dwaja . It is
the place where elephants stand during festivals. It is also used
for functions like marriage, choroonu, parayeduppu, thulabharam
and bhajans.
Sheevelippura and Pradakshina Vazhi :
Sheevelippura or Shreebalippura is not so common in Kerala
Temples. This is the place used for Kazcha Sreebali. Padmanabha
Swami Temple and Guruvayoor Temple have beautiful
Sheevelippuras.
Oottupura:
Ootupura is the dining hall of a temple. In the past only Brahmins
were allowed to take food from Ootupura. Now a days they are
used for Annadanam and Varasadya. It will have a large kitchen.
In some temples like Vaikom and Ambalappuzha the Ootupura is
as sacred as the temple Sreekovil. Image shows the Oottupura of
Vaikom Mahadeva Temple.
Koothambalam:
The Koothambalam or the theater hall of the Keralite temple is
located on the south east corner of Nalambalam. This is the site
where the performance of Chakkiyarkoothu and Koodiyattom art
forms is held. Koothambalams are usually in rectangular shape
and has three parts. Ramgapeedam or stage raised from the rest
of the floor,backstage area Nepadhyam or green room and a
Prekshaka gruham for viewers. Koothambalams are often
decorated with large number of wood sculptures. Thus the
koothambalam plays a role in educating visitors on the rich
legends of the Indian cultural fabric.
26
Gopuram :
Major temples will have four Gopurams in East, West, South
and North. Thiruvanathapuram Sree Padmanabha Swami
Temple is the only temple in Kerala having a huge Gopuram
with stone works. The four Gopurams of Aranmula
Parthasarathy Temple and Thrissur Sree Vadakkumnatha
Temple are examples of typical Kerala style. The four
Gopurams are connected to the outer compound wall of the
temple. There is the typical Kerala style of architecture of
temple towers and it varies from single to multistoried.
Mathil or Outer walls:
These are the outermost protective coverings of the temple.
Major temples are well protected with huge compound walls
in Anappalla Mathil style if the temple compound is more
than 4 acres. The image shows the Anappalla style compound
wall of Thiruvegappura Temple in Palakkad district.
Theerthakkulam:
Nearly every temple has a sacred pond or Theerthakkulam
and kulappura outside the temple wall if there is no river
nearby. Normaly the temple pond is located on the North -
East corner of the temple. The water of the temple pond is
used for washing ones hands and feet before going into the
temple, bathing, and sometimes for the Arattu cerimonies.
The image shows the Theerthakkulam of Sree Subrahmanya
Swami Temple Harippad in Alappuzha district.
FIG. 3.8_KURUMBA BHAGAVATI TEMPLE ,KODUNGALLOOR, TRISOOR DIST. 27

28
FIG. 3.9_ TYPICAL LAYOUT OF A KERALITE TEMPLE

The Karalite temple is an amalgam of stonework, wood work, stucco work and
painting - harmoniously blended into a structure vibrant with traditions of the region.
The wood work here is of great importance, and it gives the essential verve and
character to the Kerala temple silhouette. The inner skeletal framework of the
temple is of wood, although the base and the structure above are of granite and
laterite respectively. The roof projects out at several levels, in order to protect the
inner skeletal framework from the vigorous monsoons that inundate the region.
FIG. 3.9/3.10_DETAILING OF THIRUVANCHIKULAM TEMPLE
The Kerala temple walls are of coursed laterite stone masonry plastered in mud and
lime. Murals are seen on several of these temple walls.
Karalite temples is the use of vilakku maadam, or the multi-tiered brass lamps in front
of temples. Lakshadeepam is a spectacular celebration of traditional lighting where
tiers of small oil lamps lining the outer walls of the inner prakaram are lit.
The natural building materials available for construction in Kerala are stones, timber,
clay and palm leaves. Granite is a strong and durable building stone; however its
availability is restricted mostly to the highlands and only marginally to other zones.
Owing to this, the skill in quarrying, dressing and sculpturing of stone is scarce in
Kerala.
FIG. 3.11/3.12_ROOFING AND OUTER WALL OF THIRUVANCHIKULAM TEMPLE

Laterite on the other hand is the most abundant stone found as outcrops in most
zones. Soft laterite available at shallow depth can be easily cut, dressed and used as
building blocks. It is a rare local stone which gets stronger and durable with exposure
at atmospheric air. Laterite blocks may be bonded in mortars of shell lime, which have
been the classic binding material used in traditional buildings. Lime mortar can be
improved in strength and performance by admixtures of vegetable juices. Such
enriched mortars were used for plastering or for serving as the base for mural painting
and low relief work.
29
FIG. 3.8_ DIFF. TYPE OF PLANS OF TEMPLES
FIG. 3.13/3.14_WOODEN DETAILING FOUND IN KERAITE TEMPLE
Timber is the prime structural material abundantly available in many varieties in
Kerala from bamboo to teak. Perhaps the skillful choice of timber, accurate joinery,
artful assembly and delicate carving of wood work for columns, walls and roofs
frames are the unique characteristics of Kerala architecture.
Clay was used in many forms for walling, in filling the timber floors and making
bricks and tiles after pugging and tempering with admixtures. Palm leaves were used
effectively for thatching the roofs and for making partition walls.
From the limitations of the materials, a mixed mode of construction was evolved in
Kerala architecture. The stone work was restricted to the plinth even in important
buildings such as temples. Laterite was used for walls. The roof structure in timber
was covered with palm leaf thatching for most buildings and rarely with tiles for
palaces or temples. The exterior of the laterite walls were either left as such or
plastered with lime mortar to serve as the base for mural painting.
The sculpturing of the stone was mainly molding in horizontal bands in the plinth
portion (adhistans) whereas the carving of timber covered all elements _ pillars,
beams, ceiling, rafters and the supporting brackets. The Kerala murals are paintings
with vegetable dyes on wet walls in subdued shades of brown. The indigenous
adoption of the available raw materials and their transformation as enduring media
for architectural expression thus became the dominant feature of the Kerala style
FIG. 3.15/3.16_STONE PLINTH IN KERAITE TEMPLE/ PALM TREES 30

CASE STUDY : PERUVANAM TEMPLE
3.2.1 PROFILE
The Peruvanam temple is at Cherpu comprised in Oorakam village of Thrissur taluk in
Thrissur District. It is located about 10km south of Thrissur town on the Thrprayar
route, near Thayamkulangara bus stop, at a distance of 100 meters south.
FIG. 3.17_THE SHIVA TEMPLE AT PERUVANAM, SINCE 12TH CENTURY. ONLY THE TOP OCTAGONAL ROOF (SHIKARA) IS COVERED WITH
COPPER AND THE OTHERS ARE TILED. A TEMPLE PRECINCT (USUALLY RECTANGULAR) IS ENCLOSED WITH WALLS CALLED NALAMBALAM.
3.2.2 TEMPLE LAYOUT, STRUCTURE AND ARCHITECTURE

The temple stands on a sprawling 7 acre ground surrounded by a tall and hefty
compound wall. The mathilakam (the bounding enclosure) is very extensive and has
two dvarasalas, at west and east, the latter in ruins. Some 10-15 Aswatha trees
punctuate the temple grounds with their wide spreading canopies.
FIG. 3.18_WESTERN FAADE OF
PERUVANAM
31
As one enters the western dvarasala, the make-shift
Koothambalam on an old foundation is seen in front
of the Naalambalam. There are two Balikkals (of 2
mt height) in front of the naalambalam coinciding
with the axis of the two shrikovils, that of
Eratttayappan on the north and that of
Maadathilappan on the south. Of these the
Erattayappan shrine is raised on a circular base
(14.33 mt diameter). It is an ekatala vimana built on
FIG. 3.19_BALIKKALS
a granite adhishtana .
FIG. 3.20/21_CIRCULAR SRIKOVIL AND DWARPALA ON SNAKE MOTIF
There are two dvarapalakas on either

side of the Shrikovil entry, standing on
the coils of a snake. One of the legs
entwines the club and the other rests
on the hood of the snake. The coil of
the snake in turn is placed on a lotus
seat. The garbha-grha is square in
shape enclosed by the circular
shrikovil. Two rows of pillars - the
inner row having twelve and the outer
row sixteen - have been arranged
around the square sanctum.
FIG. 3.22_CARVINGS ON LATERITE STONE AT PERUVANAM
The superstructure (bhithi) is made of laterite blocks, duly plastered and decorated with
Kudya stambhas, niches etc. A recessed mukhamandapa exists, at the top of the flight
of steps in the Sopana, with a free-standing pillar facade and shrine door proper at the
rear wall. The idol consists of two lingas, contributing to the concept of Erattayappan,
the lord in the double, signifying Ardhanareeswara to some and Shankaranarayana to
others. The Sopana is having lateral steps meeting at a common landing, screened by a
carved phalaka in front of the western entrance to the Shrikovil. 32
There are three functional openings and a ghanadvara (dummy door) in the circular
ground plan. Apart from the Shrikovil entry on the west, those in the south and east
accommodate Dakshinamoorthy and Parvathy respectively. The ghanadvara is on the
north, just above the pranala, which is supported on a bhuta-gana figure in the pose of
drinking lustra water from a bowl.
PERUVANAM FROM WESTERN FACADE

FIG. 3.23_VIEW OF TWO DOORS TO
There is a spacious namaskara mandapa in front of the circular Shrikovil, built on a
square plan. As in all traditional swastika mandapas, there are twelve pillars along the
periphery with four numbers larger ornamented pillars inside the mandapa. Its
pyramidal roof, like the conical roof of the main shrine, is covered with copper sheets.
Beautiful wood carvings adorn the mandapa ceiling as well as the pillars.
FIG. 3.24/25_VIEW OF NAMASKARA MANDAPA ADJACENT TO CIRCULAR SRIKOVIL AND PRESERVED TREES WITHIN THE TEMPLE PREMISES
The southern side of the shrikovil has Kiratham katha engraved in wood, starting from
Parvathi's shrine. Another woodwork which is worth mentioning is that of Garuda
swallowing Jeemoothavahana and that of Dakshinamoorthy.
WALLS AND DOORS OF PERUVANAM
FIG. 3.26_WOODEN CARVINGS ON
33
To the south of the Erattayappan shrine is the
Maadathilappan shrine, facing west. It is a tri-
tala-vimana (one of the earliest in Kerala, the
others being the ruined one at Uliyannur and
the one at Parambu Tali) built on a high
podium and approached by long flight of
steps. Two lateral flights of nine steps (one
each in the north and south direction) meet at
a common mid landing from where ascends
the middle flight of fifteen steps in an easterly
direction towards the shrikovil. The ground
tala (floor) constitutes the plinth with the
shrine on the upper tala (first floor). The
ground as well as the upper tala are plastered
over with pilasters and panjaras. Wall
decorations include ghanadvaras in the centre,
kudyastambhas (ornamental pilasters) and
false niches with panjaras. Pilasters are
tetragonal in the lower half and octogonal in
the upper with potikas or bevelled projections
on top. The pranala at the first floor level is a
FIG. 3.27_VIEW OF TRI-TALA-VIMANA 3 FLOOR SHRINE
plain one without any ornamentation and
issues out on the northern side.
Axially, the plan of the first tala consists of a square shrine integrated with a narrow,
pillared mukhamandapa in front. The garbha-grha, which is circular inside has a domical
roof. Above the first story of the shrikovil, rise in succession the dvitala and tri-tala parts
of the vimana. But for the octagonal shikhara with copper roofing, all the floors are
made of tiles; in the upper talas, wood has been used profusely with shukanasa
projections. There is no namaskara mandapa in front of the maadathilappan shrine. A
small Nandi is seen placed on the midlanding.
3RD TIER : TRITALA/CIRCULAR SHRINE
2ND TIER : DVI TALA/SQUARE SHRINE
1ST TIER : TALA/MUKHMANDPPA
FIG. 3.28_DETAIL OF TRI-TALA VIMANA

AND VIMANA
34
3.3 DOMESTIC ARCHITECTURE
3.3.1 THEORY
BREIF
By tenth century, the theory and practice of domestic architecture were codified in
books such as Manushyalaya Chandrika and Vastu vidya. This attempt standardized the
house construction suited to different socio-economic groups and strengthens the
construction tradition among the craftsmen. The traditional craftsman, specially
carpenters, preserved the knowledge by rigidly following the canonical rules of
proportions of different elements as well as the construction details to this day.
Basically the domestic architecture of Kerala follows the style of detached building;
row houses seen in other parts of India are neither mentioned in Kerala texts nor put
up in practice except in settlements (sanketam) occupied by Tamil or Konkini
Brahmans. In its most developed form the typical Kerala house is a courtyard type
NALUKETTU. The central courtyard is an outdoor living space which may house some
object of cult worship such as a raised bed for tulssi or jasmine (mullathara). The four
halls enclosing the courtyard, identical to the nalambalam of the temple, may be
divided into several rooms for different activities such as cooking, dining, sleeping,
studying, storage of grains etc. Depending on the size and importance of the
household the building may have one or two upper storeys (malika) or further
enclosed courtyard by repetition of the nalukettu to form ETTUKETTU (eight halled
building) or a cluster of such courtyards.
PHILOSPHY
'Sala' in Thatchusastra. (They face towards the East, the North, the West or the South)
the edges of the house facing west such a construction is called South). 'Dhwamsyam
The house that faces the East, may have extensions from the northern Dhwamsyam .
Residents in 'dhwams' will suffer from loss of sons, torture from and southern edges, it
becomes a house with three parts. This is called "Sukshetra'. enemies, and
obstructions for everything such other ruins.
Prosperity will flourish if one lives in such a house. If a house is constructed facing
the south and extensions are taken from the made it is called 'Hiranyanabhi'.
Living in such house bring in prosperity and wealth to the eastern and western
edges, it becomes a house with three parts. This is called 'Chulli' as per Thatchusastra.
inmates. Godliness will prevail always in such houses. Residents of such a house will
suffer from loss of wealth, loss of children, diseases for kids increasing enemies etc
kids, etc.
35
By tenth century, the theory and practice of domestic architecture were codified in
books such as Manushyalaya Chandrika and Vastu vidya. This attempt
standardized the house construction suited to different socio-economic groups and
strengthen the construction tradition among the craftsmen. The traditional
craftsman, carpenters, preserved the knowledge by rigidly following the rules of
proportions of different elements as well as the construction details to this day.
Basically the domestic architecture of Kerala follows the style of detached building;
In its most developed form the typical kerala house is a courtyard type -
NALUKETTU. The central courtyard is an outdoor living space which may house
some object of cult worship such as a raised bed for tulssi or jasmine (mullathara).
The four halls enclosing the courtyard, identical to the nalambalam of the temple,
may be divided into several rooms for different activities such as cooking, dinning,
sleeping, studying, storage of grains etc. Depending on the size and importance of
the household the building may have one or two upper storeys (malika) or further
enclosed courtyard by repetition of the nalukettu to form ettukettu (eight halled
building) or a cluster of such courtyards.
The nalukettu is the principal structure of a garden compound. The garden may
contain cattle sheds, bathing tanks, wells, farm buildings, grain stores etc., as
ancillary structures, the whole being protected with a compound wall or
fence. wherein the site (vastu) was divided into a number of grids (padam)
occupied by different deities (devatha) and appropriate grids were chosen to house
the suspicious structures. The site planning and building design was done by
learned stapathis (master builders) who synthesized the technical matters with
astrological and mystical sciences.
Nalukettu type buildings are also seen in many villages and towns, occupied by
prominent people. The humbler buildings of the population are however smaller
and simpler in form but basically derived from the nalukettu. Nalukettu is a
combination of four halls along four cardinal directions, centered around the
courtyard oranganam one may build any one of the four halls (ekasala), a
combination of two (dwisala) or a complex of three (thrisala) depending on the
needs. The most commonly found type in Kerala is the ekasala facing east or north.
Being located on the western and southern sides of the anganam they are referred
as western hall (padinjattini) and southern hall (thekkini) respectively
The core unit of ekasala consists of generally three rooms connected to a front
passage. The central room is used as prayer room and grain store and the two side
rooms are used as living rooms. The core unit may be raised to an upper storey with
a steep stair located in the front passage. The building may also be extended
horizontally on all the four sides adding alindams or side rooms for activities such
as cooking, dining, additional sleeping rooms, front hall for receiving guests etc. If
needed ekasala may also be provided with ancillary buildings for cattle keeping,
barn, bathing rooms near tanks, outhouse for guests, gate house etc. By such
extension the building may become much larger than a nalukettu in space, but it is
still categorized as ekasala with reference to its core unit.
36
There are numerous buildings of the nalukettu type in different parts of Kerala, though
many of them are in a poor state of maintenance. Changing socio-economic conditions
have split up the joint-family system centered around the large nalukettu. The Kailasa
mandiram at Kottakkal belonging to the Arya Vaidyasala is a standing example of a
three storeyed nalukettu complex. Of the best preserved examples of this type are
Mattancherry palace at Kochi and the taikottaram of the Padmanabhapuram palace
near Kanyakumari.
The Mattancherry palace standing in the panorama of backwaters on the east was built
in 1557 for the use of Kochi Maharajas, originally as a gift from Portuguese. Later it has
undergone extensive repair by the Dutch. The double storeyed building follows
the nalukettu plan with a courtyard in the centre housing a Bhagavathi temple. The
different wings of the palace in the upper storey contain the coronation hall, council halls
and bed chambers of kings and ladies. The lower storey has many small rooms apart
from the kitchen and the dining hall. An important feature of the palace is the exquisite
wood work of the ceiling and fine murals on the walls. The ceiling work include a grid of
wooden joints well proportioned and precision moulded with beautifully carved panels.
The murals in subdued brownish tints were executed on wet wall plaster depicting
themes from Ramayana, Bhagavatham and Kumarasambhavam of Kalidasa.
The Padmanabhapuram palace consists of a complex of buildings including the entrance

hall, council chambers, temple and dance halls done in various periods. But the earliest
structure of this group is the taikottaram _ which is a fine example of the
old nalukettu. Being of an earlier period, this shows the concept of the courtyard
building in its purest traditional form.
FIG. 3.29_MODEL OF A TYPICAL OF NALAKETTU
37
NALAKETTU
Nlukettu is the traditional homestead of Tharavadu where many generations of a
matrilineal family lived. These types of buildings are typically found in the Indian state
of Kerala. The traditional architecture is typically a rectangular structure where four
blocks are joined together with a central courtyard open to the sky. The four halls on
the sides are named Vadakkini (northern block), Padinjattini (western block),
Kizhakkini (eastern block) and Thekkini (southern block). The architecture was
especially catered to large families of the traditional tharavadu, to live under one roof
and enjoy the commonly owned facilities of the marumakkathayam homestead.
If all the four structures above are joined as one house it is called a 'Nalukettu.
Among them at the middle of the padnijatini, there will be the pooja muri(place of
worship) and 'nellara' (room for keeping paddy).
On both the sides there will be two bed rooms Thekkini and kizhakkini are meant
receiving The guests.
Vadakkini is for cooking and dinning. (Kitchen and dining room)
In the middle of the structure there will be the central yard which wil be in a
rectangular shape. 'Nadumuttam' (central yard) will be usefull for getting light and
air into the house.
Moreover there will be an underground cave for flowing cut the rain water that falls
in the 'Nadumuttam'.
An 'Ettukettu' is that which is joined by two 'nalukettu's. An 'Ettuketu' will have two
nadumuttams.
FIG. 3.29_PLAN AND ELEVATION OF NALAKETTU
38
3.3.2 CONCEPT
Metaphysical aspects: Vaastu shashtra
The Vaastu shashtra is the ancient Indian treatise that sets forth principles on how
the laws of nature impact human settlements.
The mandala was regarded as the representation of the cosmos and the house was
also considered sacred. If its planning was in sync with the forces of nature it would
result in overall harmony and prosperity.
The mandala is the graphical diagram on the basis of which the houses and even
cities were planned.
The Vaastu Purusha Mandala It represents the metaphysical plan of a building; it
incorporates the supernatural forces. The central space is always an open to sky
courtyard providing the connect to outer space. Various deities/5 elements (air,
water, earth etc.) govern different squares of the mandala and impart their
characteristics to these spaces.
39
FIG. 3.30_VASTU PURUSHA MANDALA vernacular architecture of Kerala
Thatchu Shasthra, or the Science of Carpentry and traditional Vasthu, was the
governing science in this architectural form. This branch of knowledge was well
developed in the traditional architecture of Kerala and has created its own branch of
literature known under the names of Tantrasamuchaya, Vastuvidya, Manushyalaya -
Chandrika, and Silparatna.
Planning cities using the mandala: Mandala zones:

The idea of planning based on the Functions are assigned to different spaces:
mandala was even extended to city Corners: Northeast for the home shrine,
planning. The city of Jaipur is also southeast for the kitchen, southwest for the
based upon a 9 squares mandala. master bedroom and northwest for the
It was planned in the 1700s cowshed, grain storage.
However it encompassed the natural The spaces lying between the corners are
features, topography as well as other for multi purpose use.
functional aspects like military needs,
existing infrastructure etc. and
modified the grid to respond to the
topography.
FIG. 3.30_VASTU PURUSHA MANDALA
Vastu shastra is an ancient concept & the laws of nature to affect human dwellings.
The designs are based on directional alignments. It is primarily applied in Hindu
architecture, especially for Hindu temples.
The foundation of Vastu is traditionally ascribed to the mythical sage Mamuni Mayan
in South and Vishvakarman in North India.
While Vastu had long been essentially restricted to temple architecture, there has
been a revival of it in India, in recent decades, notably under the influence of late V.
Ganapati Sthapati, who has been campaigning for a restoration of the tradition in
modern Indian society since the 1960s.
While the fields are related, Shilpa Shastra explicitly deal with sculpture forms,
statues, icons, stone murals etc.
The doctrine of Vastu Shastra is concerned primarily with architecture building
houses forts temples apartments and other houses, forts, temples, buildings. 40
VAASTU SHASTRA is an ancient science which helps to get the natural benefits freely
offered by the five basic elements of the universe.
These basic elements are Akash (SKY), Prithvi (EARTH), Paani (WATER), Agni (FIRE),
and Vayu (WIND). Vastu Shastra can be applied by keeping in harmony with these basic
five elements of nature..Vastu refers to 'abode' or mansion and Shastra or Vidya
means science or knowledge. Vastu Vidya is the sacred holistic science pertaining to
designing and building of houses.The principles of vastu have been derived from
Sthapathya Veda- one of the ancient sacred books in Hinduism.
VASTU SHASTRA texts prescribe the dimensions of different house types suitable for
different classes. They also give the proportional system of measurements for
different parts of the building all based on the perimeter (chuttu) of the core unit. The
scientific basis of this dimensional system is yet to be enquired by modern studies;
however the system appears to be well founded on traditional computational methods
and rigidly adhered to all sizes of buildings. All over Kerala and specially in villages
where the building activity is still carried out under the control of traditional stapathis,
the system is still a living practice, though it has started disappearing under the impact
of 'modern architecture'.
The ancient relics say that Vaastu is based on two forces "positive and "negative"
which are constantly interacting with each other on the surface of the land. These
forces would get disturbed whenever any structure is erected on a vacant land, to
maintain a balance. If there are more positive energies (forces) than the negative
energies, the result of such a construction would yield more benefits to the inmates
leading to a more successful, healthy, wealthy and peaceful life, contrary to this if the
negative energies dominate the premises the effects could be negative.
As per Thatchusastra the Earth is called Vasthu.
FIG. 3.31_PARTS OF MANDALA AND THEIR ELEMENTS

41

3.3.3 CASE STUDY OF TYPICAL KERALITE HOUSE
SELECTION OF PLACE FOR CONSTRUCTION OF HOUSE
Place where the house has to be built is first selected. In a larger plot, Plot has to be
divided into four equal parts and the North eastern part of the divided parts is taken
for construction of the house
House is preferably built facing East and other options are considered only if there is
no road or access to the plot from the east. Other options of front of the house are
North, West and South in that order.
PADIPPURA
part of Compound wall for the house with a tiled roof on top.
It is the formal entry to the compound with the house.
TRADITIOL PADIPPURA POOMUKHAM

POOMUKHAM
It is the prime portico soon after steps to the house. Traditionally it has a slope
tiled roof with pillars supporting roof. Sides are open.
In the earlier days, the Head of the family called Karanavar used to sit here in a
reclining chair with thuppal kolambi (Spittoon) by the side of chair.
CHUTTU VERANDAH
either side in front of the house through open passage called Chuttu Verandah.
It has hanging lights in equal distance hanging from its slope roof.
CHUTTU VERANDAH CHARUPADY

CHARUPADY
By the side of Chuttu verandah and Poomukham, wooden benches with carved
decorative resting wooden pieces for resting the back are provided.
This is called Charupady. Traditionally the family members or visitors used to sit
42
on these Charupady to talk. vernacular architecture of Kerala
AMBAL KULAM (POND)
At the end of Chuttu verandah there used to be a small pond built with rubble on
sides where water living plant called Thamara (lotus) or Ambal used to be planted .
BATHING TANKS(KULAM)
Almost every house has its own Bathing Tank (Kulam) and hall at the entrance of tank
POOJAMURI NADUKATTILA
The best spot for 'poojamuri' is in the east coner.
usually the position for poojamuri is fixed in the arapurra (central store house for
paddy and other riches) or East must also face the East. closer to the arappura
towards the centre.
The room for worship should not bloacated under any staircase as it is a bad omen
& a call for misfortune
NADUKATTILA
The spot for the central door frame (Nadukattila) for a house facing the east.
Azhiyakam (the room with wooden ventilator) adds to the functional and
architectural value
NADUMUTTOM
Traditionally Nadumuttom or central open courtyard is the prime center
Nadumuttom will be normally open to sky, allowing sunshine and rains the
Nalukettu.
There is an open area usually square shaped in the exact middle of the house to
pour in.
This is to allow natural energies to circulate within the house and allow dividing the
house in its four sides.
Due to this four side division of the house by having a Nadumuttom Houses positive
vibrance within.
A thulsi or tree will be normally Nadumuttom, planted in center of Nadumuttom,
which is used to worship.
Architecturally the logic is allow tree to act as a natural air purifier. 43
Similarly there was Ettu kettu and Pathinaru kettu which are quite rare with two
and four Nadumuttom a house with one Nadumuttom used to be called as
Nalukettu house.
The outer verandahs along the four sides of the Nalukettu are enclosed differently.
While both the western and eastern verandahs are left open, the northern and
southern verandahs are enclosed or semi-enclosed.
The courtyard created at the centre by these four halls is auspicious and is called
NADUMUTTOM/ANAKANAM.
As the Ankanam is usually sunk it is also called Kuzhi(pit)-Ankanam
The inner verandah around the Ankanam is open.
The protruding roofs of the four halls formed shady verandas and protected the
rooms from direct sunlight, keeping them cool even on the hottest of days.
NADUMUTTAM WITH TULSI

PLANT IN CENTRE
JASMINE PLATFORM
(MULLATHARA), AN INTEGRAL
PART OF NADUMUTTAM
SNAKE-MOUND PAAMBUMPUTTU) IN NADUMUTTAM 44

45
FIG. 3.32_PLAN OF KERALITE RESIDENCE vernacular architecture of Kerala
Usual items of use in old Kerala houses
a) Aattu Kattil-It is a swinging piece of wood, wide and long enough for two or three
persons to sit. Four corners of this wooden piece will be firmly fixed with thick coir
to the roof. One or two people will sit and somebody will push it for swinging. It is
used to be fixed in large living rooms in old houses In present day houses also,
people who like this feature fix it mostly in family living area where family
members can sit and swing in this as part of relaxation
b) Kindy-It is a brass utensil filled with water used to be kept at the steps of
Poomukham for cleaning feet of those who enter the house. It has a side opening just
like a tap so that a person can easily use it to clean his feet before entering the house
In present day houses, probably you can see this as an antique item displayed and
nothing more than that
c) Montha-It is similar to Kindy made of brass. Only difference is that it has a wide
opening at top and side tap like arrangement for pouring water is not there. It is not
kept at the entry. It is kept inside the house for storage of drinking water; milk etc.
While milking the cow by the house wife Montha was used to collect milk pressed out
of the mammary of the cow
d) Uruly-It is a larger vessel to cook food for large gatherings and to keep cooked food
stored. Usually made of brass.
e) Arakallu-Grinding stones-It is two pair of stones, one large with a level top and tne
other round in cross section with length less than width of the base stone. It is used for
manual grinding of spices and coconut for preparing curries with the main meal, rice
f) Ural-This is a granite piece almost cylindrical in shape with an opening at top which
has a central portion with slight depth to keep granules to be crushed with a long piece
of wood normally that of coconut wood with two ends fixed with metallic crushing
elements. This long piece of wood used to crush granules to powder by repeated
crushing through forcing by hand up and down by women doing house hold work in
olden days Kerala, is called Ulakka.It was a familiar sight in Kerala houses where many
women used to chit chat and crush granules to powder in their respective Urals using
Ulakka 46
4.0 COMMON BUILDING MATERIALS
vernacular construction in Kerala are mud, laterite and granite stone blocks, lime
mortar, wood, bamboo, clay roofing tile and coconut palm leaves.
Though granite stone is a strong and durable building material, due to its limited
Availability mostly to the highlands, the use of granite is limited to the foundation of
buildings.
Clay was used in many forms - for walling, in filling the timber floors and making
bricks and tiles.
Palm leaves were used effectively for thatching the roofs and for making partition
walls.
Laterite stones and timber are the most common material.
LATERITE
Soft laterite stones are available in most parts of the state, at relatively low depths.
These are quarried and dressed for building the walls.
Laterite stones, called 'Vettukallu' in local language, is abundant in the midlands of
Kerala. These are relatively soft stones that could be dressed and cut with ease.
Laterite stones improve in strength as they are exposed to sun and moisture. This
unique quality makes laterite a material of choice for construction.
Timber
it is found so abundant in the state, is the other most important structural element
used in kerala.
Large number of rivers and water bodies made it easy to transport huge trees from
the hilly regions of the state to the plains.
The elements are dressed and accurately cut on the ground and joined to form the
wooden roof frame, on which then the tiles are spread.
The local artisans use elaborate systems to ensure absolute accuracy in woodwork
without which framing the roof structure would be impossible.
Timber is the prime structural material abundantly available in many varieties in
Kerala from bamboo to teak.
Perhaps the skilful choice of timber, accurate joinery, artful assembly and delicate
carving of wood work for columns, walls and roofs frames are the unique
characteristics of Kerala architecture.
FIG. 4.1_CONSTRUCTION MATERIALS USED COMMONLY IN KERALA 47

From the limitations of the materials, a mixed mode of construction was evolved in
Kerala architecture. The stone work was restricted to the plinth even in important
buildings such as temples. Laterite was used for walls. The roof structure in timber was
covered with palm leaf thatching for most buildings and rarely with tiles for palaces or
temples. The exterior of the laterite walls were either left as such or plastered with lime
mortar to serve as the base for mural painting. The sculpturing of the stone was mainly
molding in horizontal bands in the plinth portion (adhistans) whereas the carving of
timber covered all elements _ pillars, beams, ceiling, rafters and the supporting brackets.
The Kerala murals are paintings with vegetable dyes on wet walls in subdued shades of
brown. The indigenous adoption of the available raw materials and their transformation
as enduring media for architectural expression thus became the dominant feature of the
Kerala style.
FIG. 4.2- COLOR FUL MURALS / USES OF TIMBER/METAL/CLAY IN KERALITE RESIDENCE

Even today this wood work and carving work is used
in high cost houses being built in Kerala with all the
beauty and splendor of yester years. Some of the
wood work now being used can be classified into
following types:
Charupady for sit out and balcony.
Wood paneling of wall on either side of main
door which can be opened as two parts to either
side with carving work and possibly with pictorial
lock like manichitrathazhu.
Wood paneling for round pillars inside the house
Wooden flooring
Wood paneling with top carving work
Stair case posts with carving
Wood carved Mukhappu above tiled sloperoof
Wood carved Thoomanam
48
Aattu Kattil vernacular architecture of Kerala
5.0 CASE STUDY
PADMANABHAPURAM PALACE
The quite essential example of the vernacular architecture of Kerala is the
Padmanabhapuram palace complex, located in Thuckalay of Tamilnadu, very adjacent
to the Kerala border. Founded by the royal family of Travancore, the initial structures
of the complex date from 1400s, with other buildings added incrementally over time.
It is one of the best examples of wooden architecture that has come to symbolise the
vernacular architecture of Kerala. The palace complex is a masterpiece - an intriguing
play of volumes, scale, spatial planning & courtyards, all of which have a strong
underlying cohesiveness. The spaces move from the public spaces on the periphery to
the more private spaces as one moves towards the core, reflected through variations
in scale & proportion, producing very interesting spaces
FIG. 5.1/5.2_VIEW OF PADAMNABHAPURAM PALACE / PADIPURAM OF PALACE
The entrance to the complex is from the west, through a formal version of the
Padipura or the entrance gate, which is common in all the traditional dwellings of
Kerala. The central locus of the entire composition is the Mothers palace or the Thai
Kottaram, around which all the other spaces are organised. There are separate halls
for audiences & gatherings, a large dance hall, feeding halls of various sizes, kitchen,
residences for the king & other dignitaries, weapons store, bath houses, offices and
even a temple. There is also a 4 storeyed Upprika Malika in the complex, constructed
in the 1740s, which is a testament to the technological progress at that time. A 300
year old clock tower in the palace stands witness to the march of time and is still now
in good working condition. Though there is no formal symmetrical spatial layout to be
found as such, there lies a strong organisation principle, which creates a very coherent
& unifying whole. The various built spaces are interlinked & accessed through a series
of courtyards & open spaces which vary volumetrically & in scale depending upon the
level of privacy required, most often, being very intimate in nature. 49
The roof forms are the most dominating element in the whole complex, which through
their wonderful juxtaposition creates an impressive visual composition an ever
changing play of light, shadow & mass. The columns are mainly in wood & stone and
support the wooden roof structure, which has been designed very creatively to be
functional as well as aesthetic. There are strict rules & canons laid down in the ancient
building science of Vastu Shastra, regarding the use of wood, techniques of joints,
angles of roof forms etc, which have been religiously followed over the various periods
during which the complex was built. The overall effect of this being that there exist
cohesiveness throughout the structures, rendering them timeless.
FIG. 5.3_ VIEW OF TILED ROOF FROM INSIDE WITH WOODEN RAFTERS AND JAALIS AND OUTSIDE WITH CLAY TILES
The walls are usually made in laterite or brick & plastered over with lime. There are
non-structural wooden screens called jaalis, which have the function of allowing in
light & ventilation while ensuring the privacy of the person inside. The filtered light
creates a dramatic play of light & shadow in the interiors and ensures a very cool &
comfortable ambience inside, away from the blazing sun. The shaded interiors are
cool, which is a direct derivative of the climatological need to counter the warm
humid tropical climate.
50

Indeed, one of the most significant aspects of the design is the sensitive handling of
the light & shadows to create a wholesome comfortable ambience inside, one that
focuses inside, calming, soothing & contemplating The flooring is unique and is black
in colour, retaining a mirror like polish even now after so many centuries. It is said that
the flooring was done using a mixture of different structures like burnt coconut shells,
egg whites, plant juices etc.
FIG. 5.4_ VIEW OF BLACK MIRROR LIKE FLOOR, WOODEN JALLIS AND NATAKSHALA OR NAVRATRI MANDAPPAM
The walls are usually made in laterite or brick & plastered over with lime. There are
non-structural wooden screens called jaalis, which have the function of allowing in
light & ventilation while ensuring the privacy of the person inside. The filtered light
creates a dramatic play of light & shadow in the interiors and ensures a very cool &
comfortable ambience inside, away from the blazing sun. The shaded interiors are
cool, which is a direct derivative of the climatological need to counter the warm humid
tropical climate. Indeed, one of the most significant aspects of the design is the
sensitive handling of the light & shadows to create a wholesome comfortable
ambience inside, one that focuses inside, calming, soothing & contemplating.
51
Important buildings in the palace include:
MANTRASALA Kings Council Chamber

THAI KOTTARAM Mother Palace (also known as Darbha Kulangara Kottaram)
The Thai Kottaram is the oldest part of the palace.It was built
during the reign of Ravi Varma Kulasekhara perumal, 1592 1620
CE.A secret tunnel over one kilometer long from this building
provided the royal family with an escape route in times of war.
NATAKSALA The Hall of Performance, or of Performing Arts.
UPPARIKA MALIKA The Kings Quarters a four-story building at the center of the
palace complex containing the Kings Treasury, sleeping quarters,
resting and study rooms, and the top floor serving as the worship
chamber of the royal household. Martanda Verma built the Kings
Quarters in 1744 A.D.
THEKE KOTTARAM The Southern Palace, A ceremonial feasting hall, which can host
around 1000 guests.
FIG. 5.4_ INTRICATE WOODEN CARVINGS ON

CEILING AND COLUMNS / KINGS PALKI
FIG. 5.5_ VIEW OF BLACK MIRROR LIKE FLOOR, WOODEN JALLIS AND NATAKSHALA OR NAVRATRI MANDAPPAM 52
PADAMANABHAPURAM PALACE Represents
the most classic Kerala domestic
architecture.
It is also the world's largest wooden palace
made on sloping roofs, granite and
rosewood teak wood work combinations.
FIG. 5.6_ 1.VIEW OF UPMALIKAS/2.VIEW OF MANTRISHALA/3. VIEW OF EKANTA

MANDAPAM/4. INTERIOR OF UPMALIKA-THE SMALL LATTICE WINDOWS/ 5. NATAKSHALA/
6. NAVRATRA MANDAPAM / 7. CEREMONIAL DINING HALL- OOTAPURA / 7. WOODEN
ORNAMENTATION ON STRUCTURAL WOOD : TEAK , SANDAL AND ROSE WOOD.
53
Indeed, the Padmanabhapuram palace, with its amazing vocabulary of sloped tiled
roofs, intricate jaali works, mysterious corridors, intimate courtyards, amazing
woodwork, play of light and shadow, comfortable interior spaces etc, is a timeless
architectural marvel and is a stark reminder to us of our rich tradition of
innovativeness, respect to nature and search for perfection. The graceful simplicity of
the complex stands as a dignified beacon, a reminder of what we should strive for in
these times of mindless architectural gimmicks.
FIG. 5.7_DETAILED PLAN OF PADAMANABHAPURAM PALACE/ SITE SECTION/ SITE PLAN/ TERRACE PLAN SHWING SLOPING ROOFS
54
55
FIG. 5.8_AXONOMETRIC OF PADAMANABHAPURAM PALACE vernacular architecture of Kerala
6.0 CONCLUSION
Socio-cultural aspects of Kerala with is impact of climate and geography developed its
architecture. The art which is close to its tradition. GODS OWN COUNTRY!!....
The evolution of domestic architecture of Kerala followed closely the trend of
development in temple architecture. The primitive models were huts made of
bamboo frame thatched with leaves in circular, square or rectangular plain shapes.
The rectangular shape with a hipped roof appears to have been finally evolved from
functional consideration.
Structurally the roof frame was supported on the pillars on walls erected on a plinth
raised from the ground for protection against dampness and insects in the tropical
climate.
Often the walls were also of timbers abundantly available in the land. The roof
frame consisted of the Bessemer or wall plate which supported lower ends of the
rafters, the upper ends being connected to the ridge. The weight of the rafters and
the roof covering created a sage in the ridge when the ridge piece was made of
flexible materials like bamboo. This sage however remained as the hall-mark of roof
construction even when strong timber was used for the roof frame.
Further gable windows were evolved at the two ends to provide attic ventilation
when ceiling was incorporated for the room spaces. This ensured air circulation and
thermal control for the roof.
The lower ends of the rafters projected much beyond the walls to shade the walls
from the sun and driving rain. This gives an intense feel to house being shorter in ht.
and close to earth or vaastu /site. The closed form of the Kerala houses was thus
gradually evolved from technical considerations. One can see the striking similarity
of this form with the temple structure.
The plinth, the lower most part is still called adisthana, though it is plain or less
ornate. The sthambas or pillars and bhithis or walls are again of simple shape with
no projection or recesses. The main door faces only in one cardinal direction and
the windows are small and are made like pierced screens of wood.
The rectangular plan is usually divided into two or three activity rooms with access
from a front passage. This passage opens to a highly ornamented opening called as
POOMUKHAM which can be related to gopurams of temple architecture-the main
entrance to house.
The projecting caves cover a verandah all round. Since people had larger families in
older times so they planned and informal seating for people to gather and celebrate
times together in the outer verandah as CHUTTUPADY.
An entrance structure PADIPPURA may also be constructed like the gopuram of a
temple. This may contain one or two rooms for guests or occasional visitors who are
not entertained in the main house. The position and sizes of various buildings,
including the location of trees and paths within the compound wall were to be
decided from the analysis of the site according to the prescriptions in the classic
56
texts. This analysis involved the concept of vastupurusha mandala.
7.0 BIBLIOGRAPHY
www.KERALA/Architecture.htm
www.Architecture/Kerala/Wikipedia/encyclopedia.htm
www.vernacular/KeralaWikipedia.encyclopedia.htm
www.vernacular/ArchitectureKeralaTemples.htm
www.vernacular/PradakshinaPeruvanam.htm
www.vernacular/KERALAArchitecture.htm
PDF-264 International Journal of Earth Sciences and Engineering ISSN 0974-5904, Vol.
02, No. 03, July 2009, pp. 264-271
57

Indigenous Architecture of Kerala - Vernacular Architecture Study

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Indigenous Architecture of Kerala - Vernacular Architecture Study

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DEPARTMENT OF ARCHITECTURE

SUBMITTED TO: AR. KAJAL ARSHI

vernacular architecture of Kerala

I have completed this report for semester IX ,bachelor degree of

I would like to extend my gratitude to the HOD of Architecture

Ms. Bhanu Khanna

vernacular architecture of Kerala

vernacular architecture of Kerala

The characteristic regional expression of Kerala

State symbols of Kerala

FIG: 2.1 : ANNUAL RAILFALL CHART OF KERELA

vernacular architecture of Kerala

FIG: 2.3 : MUNNAR- HILL STATION OF KERALA

FIG: 2.2 : VIEW OF ANAMUDI HILLS

FIG: 2.6 : PANAROMIC VIEW OF PERIYAR RIVER 9

Coastal Belt-The narrow belt

Backwaters and Rivers-The

vernacular architecture of Kerala

FIG. 2.12_STATICAL DATA SHOWING DIFFERENT RELIGIONS FOLLOWED IN KERALA

FIG. 2.13_GRAPHICAL REPRESENTATION OF 4 MAJOR RELIGIONS OF KERALA AND THEIR UNITY 13

FIG. 2.16_JUTE HANDLOOM INDUSTRY/MARKET

The characteristic regional expression of Kerala architecture results from the

Kerala architecture is a kind of architectural style that is mostly found

FIG. 3.2_ BHAGAVATHI TEMPLE AT KODUNGALLUR

DYNASTIES PF INDIA CHERA/CERA IN KERALA

The major parts of a typical Kerala temple

Deva Prathishta or Idol

Sreekovil or Sanctum Sanctorum:

Sreekovil may be in square, rectangular, elliptical or circular shape and

FIG. 3.8_KURUMBA BHAGAVATI TEMPLE ,KODUNGALLOOR, TRISOOR DIST. 27

vernacular architecture of Kerala

FIG. 3.9/3.10_DETAILING OF THIRUVANCHIKULAM TEMPLE

FIG. 3.11/3.12_ROOFING AND OUTER WALL OF THIRUVANCHIKULAM TEMPLE

FIG. 3.15/3.16_STONE PLINTH IN KERAITE TEMPLE/ PALM TREES 30

3.2.2 TEMPLE LAYOUT, STRUCTURE AND ARCHITECTURE

FIG. 3.20/21_CIRCULAR SRIKOVIL AND DWARPALA ON SNAKE MOTIF

There are two dvarapalakas on either

PERUVANAM FROM WESTERN FACADE

FIG. 3.28_DETAIL OF TRI-TALA VIMANA

The Padmanabhapuram palace consists of a complex of buildings including the entrance

Planning cities using the mandala: Mandala zones:

FIG. 3.30_VASTU PURUSHA MANDALA

As per Thatchusastra the Earth is called Vasthu.

FIG. 3.31_PARTS OF MANDALA AND THEIR ELEMENTS

vernacular architecture of Kerala

TRADITIOL PADIPPURA POOMUKHAM

CHUTTU VERANDAH CHARUPADY

NADUMUTTAM WITH TULSI

SNAKE-MOUND PAAMBUMPUTTU) IN NADUMUTTAM 44

FIG. 4.1_CONSTRUCTION MATERIALS USED COMMONLY IN KERALA 47

FIG. 4.2- COLOR FUL MURALS / USES OF TIMBER/METAL/CLAY IN KERALITE RESIDENCE

FIG. 5.1/5.2_VIEW OF PADAMNABHAPURAM PALACE / PADIPURAM OF PALACE

vernacular architecture of Kerala

MANTRASALA Kings Council Chamber

FIG. 5.4_ INTRICATE WOODEN CARVINGS ON

FIG. 5.6_ 1.VIEW OF UPMALIKAS/2.VIEW OF MANTRISHALA/3. VIEW OF EKANTA

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