Ecological Succession. ( ECOSYSTEM, B. Pharmacy, 1st Year, Sem-II, Environmen...
Kerala vernacular architecture
1. BHAVANA CHUNDURU
160160004
ANUHARSHA GRANDHI
160160006
K.V.L.L.L.MANOGNA
160160009
KOTHARU MIDHULA
160160010
THANUJA KAKARLAPUDI
160160012
VERNACULAR
ARCHITECTURE
KERALA
ARCHITECTURE
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. BHAVANA CHUNDURU
160160004
ANUHARSHA GRANDHI
160160006
K.V.L.L.L.MANOGNA
160160009
KOTHARU MIDHULA
160160010
THANUJA KAKARLAPUDI
160160012
VERNACULAR
ARCHITECTURE
KERALA
ARCHITECTURE
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. BHAVANA CHUNDURU
160160004
ANUHARSHA GRANDHI
160160006
K.V.L.L.L.MANOGNA
160160009
KOTHARU MIDHULA
160160010
THANUJA KAKARLAPUDI
160160012
VERNACULAR
ARCHITECTURE
KERALA
ARCHITECTURE
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. BHAVANA CHUNDURU
160160004
ANUHARSHA GRANDHI
160160006
K.V.L.L.L.MANOGNA
160160009
KOTHARU MIDHULA
160160010
THANUJA KAKARLAPUDI
160160012
VERNACULAR
ARCHITECTURE
KERALA
ARCHITECTURE
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. BHAVANA CHUNDURU
160160004
ANUHARSHA GRANDHI
160160006
K.V.L.L.L.MANOGNA
160160009
KOTHARU MIDHULA
160160010
THANUJA KAKARLAPUDI
160160012
VERNACULAR
ARCHITECTURE
KERALA
ARCHITECTURE
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. BHAVANA CHUNDURU
160160004
ANUHARSHA GRANDHI
160160006
K.V.L.L.L.MANOGNA
160160009
KOTHARU MIDHULA
160160010
THANUJA KAKARLAPUDI
160160012
VERNACULAR
ARCHITECTURE
KERALA
ARCHITECTURE
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. BHAVANA CHUNDURU
160160004
ANUHARSHA GRANDHI
160160006
K.V.L.L.L.MANOGNA
160160009
KOTHARU MIDHULA
160160010
THANUJA KAKARLAPUDI
160160012
VERNACULAR
ARCHITECTURE
KERALA
ARCHITECTURE
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. BHAVANA CHUNDURU
160160004
ANUHARSHA GRANDHI
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KOTHARU MIDHULA
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VERNACULAR
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KERALA
ARCHITECTURE
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. BHAVANA CHUNDURU
160160004
ANUHARSHA GRANDHI
160160006
K.V.L.L.L.MANOGNA
160160009
KOTHARU MIDHULA
160160010
THANUJA KAKARLAPUDI
160160012
VERNACULAR
ARCHITECTURE
KERALA
ARCHITECTURE
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. BHAVANA CHUNDURU
160160004
ANUHARSHA GRANDHI
160160006
K.V.L.L.L.MANOGNA
160160009
KOTHARU MIDHULA
160160010
THANUJA KAKARLAPUDI
160160012
VERNACULAR
ARCHITECTURE
KERALA
ARCHITECTURE
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. BHAVANA CHUNDURU
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KERALA
ARCHITECTURE
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. BHAVANA CHUNDURU
160160004
ANUHARSHA GRANDHI
160160006
K.V.L.L.L.MANOGNA
160160009
KOTHARU MIDHULA
160160010
THANUJA KAKARLAPUDI
160160012
VERNACULAR
ARCHITECTURE
KERALA
ARCHITECTURE
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. BHAVANA CHUNDURU
160160004
ANUHARSHA GRANDHI
160160006
K.V.L.L.L.MANOGNA
160160009
KOTHARU MIDHULA
160160010
THANUJA KAKARLAPUDI
160160012
VERNACULAR
ARCHITECTURE
KERALA
ARCHITECTURE
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. BHAVANA CHUNDURU
160160004
ANUHARSHA GRANDHI
160160006
K.V.L.L.L.MANOGNA
160160009
KOTHARU MIDHULA
160160010
THANUJA KAKARLAPUDI
160160012
VERNACULAR
ARCHITECTURE
KERALA
ARCHITECTURE
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. BHAVANA CHUNDURU
160160004
ANUHARSHA GRANDHI
160160006
K.V.L.L.L.MANOGNA
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KOTHARU MIDHULA
160160010
THANUJA KAKARLAPUDI
160160012
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ARCHITECTURE
KERALA
ARCHITECTURE
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. BHAVANA CHUNDURU
160160004
ANUHARSHA GRANDHI
160160006
K.V.L.L.L.MANOGNA
160160009
KOTHARU MIDHULA
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THANUJA KAKARLAPUDI
160160012
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ARCHITECTURE
KERALA
ARCHITECTURE
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. BHAVANA CHUNDURU
160160004
ANUHARSHA GRANDHI
160160006
K.V.L.L.L.MANOGNA
160160009
KOTHARU MIDHULA
160160010
THANUJA KAKARLAPUDI
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VERNACULAR
ARCHITECTURE
KERALA
ARCHITECTURE
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. BHAVANA CHUNDURU
160160004
ANUHARSHA GRANDHI
160160006
K.V.L.L.L.MANOGNA
160160009
KOTHARU MIDHULA
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VERNACULAR
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KERALA
ARCHITECTURE
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.
21. BHAVANA CHUNDURU
160160004
ANUHARSHA GRANDHI
160160006
K.V.L.L.L.MANOGNA
160160009
KOTHARU MIDHULA
160160010
THANUJA KAKARLAPUDI
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KERALA
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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
22. BHAVANA CHUNDURU
160160004
ANUHARSHA GRANDHI
160160006
K.V.L.L.L.MANOGNA
160160009
KOTHARU MIDHULA
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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.
23. BHAVANA CHUNDURU
160160004
ANUHARSHA GRANDHI
160160006
K.V.L.L.L.MANOGNA
160160009
KOTHARU MIDHULA
160160010
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The koothambalam can said to have three main parts:
Roof
Super structure
Stone 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
24. BHAVANA CHUNDURU
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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
25. BHAVANA CHUNDURU
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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
30. BHAVANA CHUNDURU
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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
31. BHAVANA CHUNDURU
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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.
• The 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
33. BHAVANA CHUNDURU
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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
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
