Kerala vernacular architecture

Different types of architectural houses in kerala

1. Kerala is situated between the Arabian Sea to the west and the Western Ghats to the east. Kerala’s coast runs 580 km in length, 35–120 km in width. Geographically, Kerala roughly divides into three climatically distinct regions, Kerala’s coastal belt is relatively flat, teeming with fields, and heavily crisscrossed by a network of interconnected canals and 44 rivers. Type of soil : Laterite soil (common in most of the regions), clayey soil, alluvial soil etc., The eastern highlands (rugged and cool mountainous terrain). The central midlands (rolling hills ). The western lowlands (coastal plains). GEOGRAPHY

2. It lies in the tropic region – type of humid tropical wet climate. Western Ghats preventing The dry winds from the north from entering the state. Daily temperature Maximum: 37 °C; Minimum : 19.8 °C. During Winter - Maximum : 28°C Minimum : 18°C During Summer - Maximum : 36°C Minimum : 32°C Average rainfall : Regions :3000 mm a year Eastern Highlands :5000mm a year Over the plains - 20° C NATURAL HAZARDS Land slides Flooding Lightning Drought Tsunami CLIMATE

3. Kerala has a warm humid climate. The rainfall is very heavy from south west and north east monsoons. To keep the rain and sun away from the walls, the roofs of the building come down very low. They have verandah all round the building protecting the external walls from sun and rain. The width of the verandah varies from 2 ft to 12ft . In rooms were people spend most of their time during day the window openings were brought in at ground level or the windows were small so that there was only subdued light inside or had timber jalis to give diffused light without glare. They have an internal courtyard for better flow of air. The southern wall and western wall are 24 centimeters thicker than the rest of the walls as to withstand the strong and intense rays of sun from the south and also the rays of sun in evening from the west. INFLUENCE OF CLIMATE

4. BUILDING MATERIALS Abundantly found materials in kerala Granite -a strong and durable building stone Laterite, Soft laterite , Lime mortar, Timber MATERIALS USED FOR COSTRUCTION Timber remains the prime structural material ,available in many varieties – from bamboo to teak and rosewood. Clay was used in many forms - for walling, in filling the timber floors and making bricks and tiles . Palm leaves are still used effectively for thatching the roofs and for making partition walls and along with mud . VASTU SASTRA Traditional Kerala architecture is the Vastu vidya having two types of architecture – Residential Architecture(Manusyalaya) under functional architecture –Temples coming under conceptual architecture . Thatchu Shastra, or the Science of Carpentry and Traditional  Vastu , 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 . DOMESTIC VERNACULAR ARCHITECTURE

5. 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. The walls were made of timber abundantly available in the land. 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. 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. The projecting caves cover a verandah all round. The closed form of the Kerala houses are of simple shape. The domestic architecture of Kerala follows the style of detached building; row houses are seen in settlements occupied by Tamil or Konkani Brahmans. EVOLUTION

6. 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. The roof frame consisted of the wall plate which supported lower ends of the rafters, the upper ends being connected to the ridge. The ridged roof pitched at angles between 30degree to 40degree. The roof with intricately carved gables protruding from the roof with overhangs supported by wooden brackets. No nails are used. The roof is kept in position by interlocking with the hole in the rafters. ROOFING SYSTEM

7. The Nairs are the race of people living in the state of Kerala and constitute 16% of the state population. The Nair house is also called a Veedoo. These houses were built following the principles of ancient thachu Shastra or the science of carpentry and developed during the 18th and 19th centuries. The Naalukettu was a typical feature of the Kerala tharavadu tradition, where joint families lived together for generations. TYPES OF NALUKETTU BASED ON STRUCTURE Nalukettus are primarily differentiated based on their structure. Traditionally, Nalukettu has one courtyard with 4 blocks/halls constructed around it in cardinal direction. Some Nalukettus have 2 courtyards, which are known as Ettukettu (8 Blocked structure) as they have altogether 8 blocks in cardinal directions. Some super structures have 4 courtyards, which then are known as Pathinarukettu (16 blocked structure). NAIR STYLE OF ARCHITECTURE

8. BASED ON HEIGHT Nalukettus can be differentiated based on their height and number of floors. Some Nalukettus are single-storeyed and made with wood completely. Other Nalukettus are two-storeyed or sometimes even three-storeyed and have laterite-and-clay mixture as walls. BASED ON CASTE The actual term used for Nalukettus differ based on caste and social status of its occupants. For Nairs Upper - Ezhava and Thiyya classes  other Feudal lord - Tharavadu For Kshatriya -Kovilakoms and Kottarams For Syrian Christians - Medas and Veedus ZONING It is self contained and introvert complex of buildings each enclosing an open to sky courtyard. The central courtyard is the focal point of the house . The main rooms are located on the western ( Padinjattini) block . Rooms on the northern block ( vadakkini ) are used for cooking. The rooms on the southern block ( Thekkini) are used for the daily household activities.  

9. PLAN Steep pyramidal roofs with a 45 degree pitch, deep overhangs, shaded verandahs and cross ventilation are a response to intense sun, heavy rainfall . Depending on the size and importance of the household the building may have one or two upper floors ( Malika ) or further enclosed courtyard by repetition of the nalukettu to form ettukettu (eight halled building) or a cluster of such courtyards.

10. PADIPPURA It is a structure containing a door forming part of Compound wall for the house with a tiled roof on top. It is the formal entry to the compound with the house. These structure faces the sunlight, and in some well-designed Nalukettu, there is excellent ventilation. Temperatures, even in the heat of summer, are markedly lower within the naalukettu. POOMUKHAM It is the prime portico soon after steps to the house. 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 . ELEMENTS OF NALUKETTU

11. CHUTTU VERANDAH From the Poomukham, a verandah to either side in front of the house through open passage called Chuttu Verandah. Chuttu verandah will have hanging lights in equal distance hanging from its slope roof. 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 on these charupady to talk.

12. Ambal Kulam (Pond ) Almost every Nalukettu has its own Kulam or Pond for bathing of its members. At the end of Chuttu verandah there used to be a small pond built with rubble on sides where lotus or Ambal used to be planted. The water bodies are maintained to synthesized energy flow inside . Pooja Room Pooja room should preferably be in the North East corner of the house. Idols can be placed facing east or west and the person praying can face west or east respectively. Nadumuttom Nadumuttom or central open courtyard is the prime center the Nalukettu. There is an open area usually square shaped in the exact middle of the house dividing the house in its four sides. Nadumuttom will be normally open to sky, allowing sunshine and rains to pour in. This is to allow natural energies to circulate within the house and allow positive vibrancy within.

13. The whole being protected with a compound wall or fence. 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. Typically made of teak wood or the wood from wild jackfruit trees, brick, and mud, these houses had superior ventilation and lighting that kept the house well-lit and aerated at all times. The Kailasa mandiram at Kottakkal belonging to the Arya Vaidyasala is a standing example of a three-storied nalukettu complex. RURAL AREAS Nalukettu type buildings are also seen in many villages and towns, occupied by prominent people. The humbler buildings of the population are smaller and simpler centered on the courtyard 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.

14. EKASALA 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 side rooms for activities such as cooking, dining, additional sleeping rooms, front hall for receiving guests etc., The Chappamattam Tharavadu at Chirakkadavu is a classical example of extended Ekasala. If needed Ekasala may also be provided with ancillary buildings for cattle keeping, barn, bathing rooms near tanks, outhouse for guests, gate house etc.   NORTH KERALA SOUTH KERALA

15. The Nambudiri are a  Malayali Brahmin  caste, native to  Kerala . Nambudiri’s owned a large portion of the land in the region of Malabar until the Kerala Land Reforms starting in 1957. They are concentrated primarily in Trichur, Palghat districts in South Malabar. As small clusters in Kottayam, Cannanore and some parts of North Malabar . RELIGIOUS CUSTOMS - VEDIC LEARNING Rigveda Yajurveda Samaveda - AGNICAYANA Koodiyattam (art form) The form of Sanskrit theatre known as Koodiyattam, which is native to Kerala, was traditionally patronised by Nambudiris . NAMBOOTHIRI STYLE OF ARCHITECTURE

16. NAMBOOTHIRI ILLAMS Namboothiri houses (Brahmaalayam,illam) were built according to the Vasthu saasthram in conformity and proportion with the usually large compound or plot. In the early days, they were all built in the form of Chathussaalas (quadrangle or the ancient courtyards) - Kizhakkini (eastern part), Thekkini (south), Padinhaatti (west) and Vadukkini (north), as seperate structures. Ex:KurumathurIllam . In later years, joining these four through Meladukkala, kizhakke Ara, Puraththaalam and Vadakke Ara, came to vogue. The Vadakkini floor was always considerably raised, whereas local custom determined whether none, any or all of the other three had raised floors or not. The Thekkini or Padinhaatti may either be single storyed or two (or more) storyes high. VASTU AND CLIMATIC CONSIDERATIONS The puja room is located on the north or in the east next to the kitchen. The practical reasons for not building on the northern and eastern sides are to allow the escape of smoke and to minimize the chance of an external fire.

17. ZONING AND SPACING OF ROOMS PADIPPURA The gateway entrance to the plot is built on the western boundary in line with the Thekkini veranda. The Padippura will have standing or resting space both inside and outside. This is done to let the passers - by know that the house is a Brahmaalayam, where food will be available. POOMUKHAM Drawing room Place to receive persons of all castes. KOTTIYARAM Verandah connecting poomukham and main house. NADUMUTTAM Inner courtyard or quadrangle CHAVADI Hall type space for Women to Directly enter into the house.

18. PADINJATTITHARA The western wing of quadrangular type of house. Place to receive respected persons and serve them meals. DEENAMURI Sick Room VADUKKINI The northern part Place to do rituals like upavasanam  KALAVARA Store room PAATHRAKKALAVARA Vessel store room VADAKKEAKAM Labour Room   VADAKKEKET Lunch hall THUNDANADUKKALA Dinner hall SREELAAKAM Worship Room   ADUKKALA Kitchen   Women were not allowed to enter into the main courtyard except for their marriage and at death. Accesses to main pooja room and to one or two bedrooms were only through a back door.

19. The black wall portions in the plan shows upstairs.

20. KOOTHAMBALAM Houses the classical art form of koodiyattom laid down by Sage Bharatha’s Natyasastra. Enclosed / built performance space Koodiyattom- the art form originated two millennia ago and relates to Sanskrit theatre of Kerala. LOCATION Koothambalams on traditional lines exist at Vadakunnatha Temple (Thrissur), Koodalmanikyam Temple (Irinjalakkuda), Lakshmana Swami Temple (Moozhikulam) and Subrahmania Swami Temple (Harippad). Koothu , Kutiyattam, Nangiarkoothu are performed at Koothambalams. Besides artists of Kalamandalam, performers from abroad and outside Kerala present different forms of dance, music and other art forms . The Koothambalam built in 1976 is so captivating that performers and the audience are awestruck by its beauty. KOOTHAMBALAM

21. CONSTRUCTION The deity in kerela temples faces east ,west or also south but whatever the direction the diety faces , the koothambalam is to the right side of it. Teak wood and rose wood are used in the construction of the Koothambalam.    

22. The koothambalam can said to have three main parts: Roof Super structure S tone base- adhisthana ROOF The prominent feature of the koothambalam is its roof. It is an enormous rectangular flat structure, steeply sloping downwards ending in fly up eaves with four hooded snake designed at the four corners, their tails meeting at two points on the either side of the roof line finished off with three kalasams. THE STAGE   Usually square   Raised platform   Placed as to face the diety

23. Actor always perform facing to the god. There is a roof within the main roof of the auditorium The entire stage roof is highly ornamented in contrast to the main structure . Behind the stage there is a chamber (green room) and other facilities. ACOUSTICS The stage ceiling is very intricately carved in all the koothambalams in contrast to other elements inside the theatre which are less ornate and in many cases quite severely plain The ceiling and the breaking up of its surface into uneen ornamental section greatly enhance its acoustical quality

24. PILLARS There are three rows of pillars. The outer rows of pillars resting on adisthana. The middle rows of medium height on the prekshagrha floor which is flush with adisthana. The tall ones on the edge of the platform level. On the pillars erected in the Koothabalam there are 108 dance forms engraved. These designs are in consonance with the instructions given in Natyasastra. PLAN

25. CONSTRUCTION PROCESS

26. PLAN

27. SECTION

28. SECTION SHOWING GEOMETRY AND AXIS

29. LOCATION The palace is located near  thuckalay, kanyakumari district  of tamil nadu state but administered by the government of kerala state. Located inside an old granite fortress around 4km long at the foot of western ghats near by a river valley . Once the residence of the royal family of extravagance, is located in southern india adjoining the state of kerala, in a region with high realm, fall and a tropical climate. ORIGIN AND HISTORY The area, known as malabar to ancient traders, was divided into small principalities ruled by local kings. Considerable amount of overseas trade took place here which led to a rich socio-religious mix. It was constructed over 1601 ad by iravapillai iravivarma kulasekhara perumal who ruled travancore between 1592 and 1609 . It grew incrementally over the years into its present form, developed by various rulers of the same dynasty. The palace was at its most splendid during the reign of marthanda verma maharaja.   PADMANABHA- -PURAM PALACE

30. ARCHITECTURE OF PADMANABHPURAM PALACE The variety of styles in the group of buildings which comprise the present palace complex reflects the socio-political background in which they developed. T he inter-resting mixture of styles evident in the later buildings are dominated by the strong unifying characteristics of indigenous building practices lending cohesion to the whole complex. The palace complex is set within a fort of 186.25 acres located strategically at the base of mountains and is defined by a high wall on the western side and by buildings and walls on the others. PLAN OF PALACE

31. ZONING AND PLANNING GROUND FLOOR PLAN The main entry to the palace complex is from the West. The first court is large and consists of an old mint and stables on its sides.

32. From here on, a series of courtyards are established using building blocks and walls, incrementally increasing in privacy as it moves to the core of the complex known as thai kottaram (literally, the generic mother) palace of the complex. The fact that it forms the center piece in the Vaastu purusha mandala (the ancient Indian diagram representing the cosmos) which forms the basis of the design of the entire palace compound. The brahmasthana, or the central crossing point of the two main axes, falls immediately outside of this structure, in line with the Main entry and the side entries punctured in the buildings on all sides. FIRST FLOOR PLAN

33. BUILDING MATERIALS AND COSTRUCTION METHODS Kerala is rich in timber and fine clay – the latter being used for tile and brick making – laterite stone, granite and shell lime. Padmanabhapuram Palace Architecture is a masterpiece of Kerala’s wooden architecture. The walls are made of laterite, granite or bricks or a combination of them. As in the case of planning principles, strict rules also exist for the use of materials and structural design. However, carpentry is the most developed of building sciences and plays a major role in construction. The walls form only a small portion of the total visible structure, and the roof-forms dominate all other elements. Wood and stone pillars support the wooden roof structure, and the walls are infilled with brick or laterite and, in some cases, with non structural wooden screens. These screens filter the light inside, provide privacy and allow, unhindered breeze to flow at habitation level. The carpenters worked out the most complicated angles of rafter positions, holes for interconnecting members in changing positions on the ground. The roofs are however ventilated at the ridge with the use of decorative wooden screens. Metal nails are seldom used and in most cases, the members fit each other so precisely that they form a stable framed whole.

34. MAIN STRUCTURES IN THE PALACE The Padmanabhapuram Palace complex consists of 14 Places And 127 Beautiful Royal Rooms -Mantrasala; the King's Council Chamber -Thai Kottaram, constructed before 1550 -Nataksala ; the Performance Hall -A four-storeyed mansion at the centre of the complex -Thekee Kottaram; the Southern Palace COUNCIL CHAMBER King’s Council chamber is the most beautiful part of the entire palace complex. It has windows, with coloured mica, which keep the heat and the dust away, and the interior of the council chamber remains cool and dark. Delicate and beautiful lattice work can be seen all over the council chamber. The floor is also beautifully done, with a fine and perfect finish. The floor is dark and is made of a mixture of varied substances, including burnt coconut shells, egg white and so on. The remarkable aspect is that this particular floor finish and texture could not be duplicated in any other construction.

35. Queen Mother's Palace Mother’s palace, designed in traditional Kerala style, is the oldest construction in the entire palace complex and is believed to be constructed around mid-16th century. True to the traditional Kerala style, there is an inner courtyard, called 'nalukettu’. In the inner courtyard, sloping roofs from all four sided taper down. Four pillars on four corners support the roof. On the south-west corner of the mother’s palace, there is a relatively small room, called the chamber of solitude or ' ekantha mandapam'. The chamber of solitude has very beautiful and intricate wood carvings of every description all around.

36. Of particular interest is a pillar of single jackfruit wood, with very detailed and beautiful floral designs. SOUTHERN PALACE The southern palace is as old as the ‘Thai kottaram’ (Mother's palace), which would make it about 400 years old. Now, it serves as a heritage museum, exhibiting antique household articles and curios. Collections of items give an insight into the social and cultural ethos of that period.

37. PERFORMANCE HALL This is a relatively new building, constructed at the behest of Maharaja  Swathi Thirunal , who reigned in Travancore from 1829 to 1846. He was a great connoisseur of arts, especially  music  and  dance. He himself composed music and has left a rich legacy to classical  carnatic music . The Nataksala or the hall of performance has solid  granite  pillars and gleaming black floor. There is a wooden enclosure, with peepholes, where the women of the royal household used to sit and watch the performance.

38. CENTRAL MANSION The four-storied building is located at the centre of the palace complex. The ground floor houses the royal treasury. The first floor houses the King's bedrooms. Most of the rooms here and in other parts of the palace complex have built-in recesses in walls for storing  weapons like  swords  and  daggers. The second floor houses the King's resting and study rooms. Here the King used to spend time during fasting days. The top floor served as the  worship  chamber of the  royal household. Its walls are covered with exquisite 18th century  murals, depicting scenes from the  puranas, and also few scenes from the social life of the Travancore of that time. The top floor was supposed to be Sree Padmanabha Swamy's room. This building was constructed during the reign of King Marthandavarma. He was also designated as Padmanabha Dasa and used to rule the Travancore kingdom as a servant of Sree Padmanabha Swamy. Carved ceilings of the palace depict 90 varieties of flowers paintings ,hundred of years old and stone statues are on display on palace grounds.

39. OTHER FEATURES The clock tower in the palace complex has a 300-year-old clock, which still keeps time. A big hall now bare, which can accommodate around 1000 guests, and where ceremonial feasts were held, on auspicious occasions. A secret passage, now blocked, through which the king, his immediate family members, and their entourage could escape to another palace, located several kilometers away in the event of any emergency. Name of this palace is Charottu kottaram.

40. A flight of steps leads to a bathing pond, which has lost its freshness due to neglect and years of disuse. The palace complex also has a section of curios and several interesting objects. An entire room filled with old Chinese jars, all gifts by Chinese merchants. A variety of weapons (which were actually used in warfare), including swords and daggers. Brass lamps, wood and stone sculpture, a variety of furniture and large mirrors made of polished metal. A gallery of paintings depicting incidents from the history of Travancore. A wooden cot made of up to 64 wooden pieces of a variety of medicinal tree trunks. Polished stone cot, meant for cool effect. Toilet and well. INCORPORATION OF RULES OF VAASTU SHASTRA The general slope of the land is towards East and North-East (considered auspicious according to local traditions) and all water tanks are located to the east of the structures. Surface water drainage and sewage disposal through an underground system are also laid towards the South-East. All toilets are located on the first floor with the closets carved out in stone, since the main bedrooms and rest rooms always occupy the upper levels.

41. Another significant structure which forms an annex to the palace complex by virtue of its location is the thecke kottaam or the southern palace. As the name implies, it is located south of the main palace building and interestingly falls outside the Vaastu purusha mandala – like hall where foreigners were received. TRADITIONAL INTERIOR DECORATION ELEMENTS The main walls are finished in lime plaster and white-washed with sea-shell lime, also in abundance in Kerala. The sober white-washed walls are relieved by intricate wooden screens which are often projected out as balconies or seating, while the smaller windows are shuttered in wooden frames and fitted with mica sheets. The effect in the interior is a dramatic play of light and shadow, with the occasional mica-paned window adding color. One of the most significant elements in the design of the Padmanabhapuram Palace, kerala is this sensitive handling of light and the ambiance of sensual repose it creates. The flooring – using shell lime, charcoal and other indigenous ingredients – is finished in black. The aesthetic quality of this palace might be described as a subtle combination of sophisticated understatement in design and a tactile celebration of the material used.