a d a r k r h a p s o d y. . .

an exploration of spatial experiences in south indian architecture

2 3
a dark rhapsody...
Research on the Traditional Architecture of
South India undertaken by SRDA for SIRCLE :
(Spade India Research Cell)

Commissioned and Supported by:

Mr. Hitesh Kumar .P .Kawad
M.D SPR Group, Chennai, India
Email: info@sprgroup.org
Website : www.sprgroup.org

Research Director/Editor:
Samira Rathod
Principal, SRDA, Mumbai
www.srda.co
srda@srda.co

Research Team:
Nikhil Sriram Periaswamy
Rhea Shah
Sunain S Dalwani

Photoraphy:
Pankaj Anand My experiences as a developer affirm the importance of housing. Our cities
http://www.pankajanand.in are growing at an immense pace creating a large influx of people. This
www.facebook.com/pankajanandinfo creates an urgency for a housing system that is quick to construct and
can handle the large densities. In this process of standardized building,
Publisher: architecture has lost its relationship with our lives.
Samira Rathod Design Associates, Vernacular architecture directly relates with people, culture and climate and it
420/421 Unique Industrial Estate, is very important to us to integrate this essence into our work.
Veer Savarkar Marg, Prabhadevi, As a developer that works largely in Chennai and having been raised in South
Mumbai 400 025, India India it seemed natural to look back at the architecture I experienced while
growing up, and to undertake a study of our lost architectural heritage its
Printer: vivid culture and craft of South India.
Mazda Imaging Pvt Ltd, Mumbai Having been familiar with the work of SPADE and SIRCLE (Spade India
www.mazdaimaging.com/ Research Cell), we commissioned Samira Rathod Design Associates to
undertake the research in their unique style and we were not disappointed. I
July 2015 thoroughly enjoyed reading this book and I hope it can bring back the same
sense of nostalgia and awe that it inspired in me.

Hitesh Kumar.P. Kawad

forewor d co ntents

Often trapped in our pursuits of worldly comforts

and a meaningful expense of our time, the 1 I n t r o d u c t i o n 1
The J ourn ey Ma p
significance of the leisurely vagabond day
dreamer is little realized. Indulgence in unyielding
experimentation of ideas, not necessarily propelled 2 g e n e r a l 11
by needs, is often labelled esoteric and a waste. t y p o l o g i e s /
Time and again, history has proved that thinking e vo luti o n
alone leads to innovation and new paths in instilling Te m p l e
living ideologies and even philosophies of time. The
Pa l a c e
lacuna of one such forum in the country is evident.
S et t lemen t s
SIRCLE, Spade India Research Cell, emerges here.

SIRCLE supports studies and explorations in ideas 3 u n d e r s t a n d i n g 35

and interests that have the potential to influence a r c h i t e c t u r e
design thinking. Responses
Tr a d i t i o n a l h o m e s
SIRCLE endeavours to create an archive A rchit ec toni c s
of compacted understandings of our built
Tex t u ra l n a r ra t i v e s
environments, also expressed in different media to
Tr a d i t i o n a l m a t e r i a l s
nurture critically creative thinking in all our realms.
Production of material
- Samira Rathod Light and illumination

4 PEOPLE I NTERV I EWS 12 3

5 c a s e s t u d i e s 131
Ka n a d u ka t h a n
Ag r a h a r a m
Ch et t in a a d h o u s e
G u t t h u h o u s e
Th a r a v a d u h o u s e

6 m om ents 173

7 p h oto es s ays 18 5

8 th e s k e tchb o o k 197
G l o s s a r y
 1
Intr oduction
Our journey through South India introduced
us to a language of building that is completely
characteristic of its people, their nature of living and
the environment. The tectonics of the architecture
were inextricable from culture, narratives, life and
living.

As architects we often get immersed in formalistic

elements, precise drawing, measurement and
the addictive act of making. The Cartesian
grid determines our imagination and limits our
experiences to the quantifiable dimensions.

In the act of building, we often forget the experience

of living.

However, the architecture we observed demanded

that we change our perspective. We could no
longer limit our scope of study to that of an
observer-builder and lose out on the tactile,
immersive intangibles that created these spaces.
We had to shift our focus from the plumb lines and
exactness of measurements to the experiential,
prosaic and poetic.

Our study therefore focuses on the rationale, the

proportions, the light, the shade, the texture and
experience of materiality rather than the details
of embellishments measured to the exactitude of
construction. We had to evolve a method of study,
documentation and representation that allows one
to sensually experience the craft and skill at use
and learn from it without needing to replicate it.

8 introduction introduction 1
 the j our ney m ap
The study was conducted in 3 states of Southern
6 India; Kerala, Tamil Nadu and Karnataka.

Starting at Tiruvananthapuram, we visited

Thuckalay, Sivagangai-Chettinad, Thrissur,
Palakkad and Udipi Districts. Each place was
selected for the uniqueness of its typology
of architecture. Along with different housing
typologies, we also looked at the institutional
architecture of temples and palaces. Following
is the list of the places visited along with their
a a. karnataka
b. kerala corresponding typology:
c. tamil nadu
5
c 1.Trivandrum - Padmanabhaswamy Temple
b
2.Thuckalay - Padamanabhapuram Palace
3.Kanadukathan - Chettiar Houses
4 Agraharams
the 3 states studied in southern india
1. trivandrum
4.Thrissur, Avittathur - Copper Roof Temple
3
2. thuckalay 5. Kalpathy, Ottapalam - Namboothiri Houses
3. kanadukathan,
sivagagai district Agraharams
4. thrissur,
1 thrissur district
6.Kundapur - Bunt Houses
5. kalpathy, ottapalam,
palakkad district
6. kundapur,
2 udipi district

the journey map

2 introduction introduction 3
 t e m p l e s

12 general typologies & evolution general typologies & evolution 13

 1 2 3 4

evolution o f
temples
The temple typology has grown in Kerala over
5 6
centuries. The original inhabitants worshipped
nature and animals around them. Sacred groves
were the mode of worship and snake worship was
widespread.

Small rock-cut shrines attached themselves to

these sacred groves with the advent of the Aryans
and the Vedic religion.

These rockcut shrines saw variations in form as

Jainism and Buddhism spread widely in Kerala.
Jain and Buddhist temples in the Thrissur region
were converted back into Hindu temples when the
Namboothiri Brahmins gained power.

The forms of the temples themselves started

growing. First with the addition of a small hall to
pray, then with a surrounding verandah.
Later temples also contain a wall holding lamps,
dance halls, kitchens, dining halls, and other
smaller shrines dedicated to other Gods.
1. sacred grove
2. sacred grove + shrine
3. sacred grove + round/ oval/ square/ apsidal plan of temple
4. sacred grove + shrine + circumambulatory path + wall
5. sacred grove + shrine + inner circumambulatory path
+ outer circumambulatory path + wall + gopurams (gateways)
+ temple tank
6. sacred grove + main shrine + inner circumambulatory path
+ outer circumambulatory path + smaller shrines + wall
+ larger gopurams + temple tank

14 general typologies & evolution general typologies & evolution 15

 the traditional SOUTH INDIAN HOME

44 understanding architecture understanding architecture 45

the h ous e plan s
The house was proportional to the largest member
of the family; in size, scale and extent. Several
nooks and crannies; details, craft and materials
were involved in making of the built environment.
Broadly, the spaces categorised themselves into
verandahs, courtyards and private rooms.
The nature of these spaces were semi-open ; open
to sky; and enclosed respectively. These spaces
then placed themselves in varying numbers,
proportions and forms across many regions
to create distinct stylistic typologies and their
variations.

Verandahs : semi-open space

R O AD

R O AD
Courtyards : open space

Private rooms: built space

Well
1. chettinad house, tamil nadu
2. tharvad house, kerala
3. gutthu house, karnataka

2 3
1

46 understanding architecture understanding architecture 47

 t y p i c a l s pa c es
o f A TRAD I T I ONAL
SOUTH I ND I AN
1 verandah, Varikkassery mana, ottapalam, kerala
HO M E 2 courtyard, Olapamana mana, cherpulassery, Kerala
3 private rooms, Olappamanna mana, cherpulassery, Kerala

Key spaces in the house

Verandahs: semi-open space

Courtyards: open space

Private rooms: built space

1 entrance block
2 layers of courtyards
3 private rooms
4 service area 2
linear primary circulation
entry into rooms
open to sky courtyard 1

9 8 8
4 3 3 1
2 2 2

4 2 3 2 3 2 1
service street

main street

48 understanding architecture understanding architecture 49

 p r o d u c t i o n
of
t r a d i t i o n a l
m a t e r i a l s

102 understanding architecture understanding architecture 103

ath an g udi tile
Facto r y
Athangudi Tiles:
This indigenous material has roots in the heart of
the Karaikudi region.
Its intricate designs are formatives of sand, local
water cement and pigments. Its patterns are simple
unique and these tiles feel very cool under the feet.

Tile making process:

1. A tile size mirror backing is kept beneath the
geometric patterned stencil.
2.Coloured oxide cement mix dyes are poured into
the patterns of the mould.
3.A layer of fine sifted sand is sprinkled over.
4.The thickness of the mould is filled with cement
sand slurry of wall plaster proportion.
5.Tiles are kept aside for 24 hours.
6.Tiles are then immersed in a water bath for 3 days
after.

104 understanding architecture understanding architecture 105

 m a n ga lo r e tile
m a ki n g
Mangalore Tiles:
This indigenous material is native to the city of
Mangalore, Karnataka.
They are made from hard laterite clay and are
preferred to concrete for roofing, as they provide
excellent ventilation.
These tiles are suitable for regions with heavy
rainfall as water drains off fast.

Tiles making process:

1. Good quality hard clay is collected.
2. Clay is placed in the mould and cut to exact
measure.
3. Extra clay is removed by hand.
4. Clay tile is then fired in a kiln.
5. Fired tiles are then dried over several days in
stacks.
6. Dried tiles are glazed to finish quality.

106 understanding architecture understanding architecture 107

 co n str uction
terracotta tiles laid
of m adr as
with lime mortar
ter r ace
r oo fing
brick jelly with lime
and special mortar This indigenous roofing was extensively used all
over south india where flat roofs were desired.
Its multiple layers created a thickness to cut heat
and keep the interior habitable spaces of the house
cool.
bricks laid with
lime mortar
The intensive construction methods are as follows:
1. Wooden beams and rafters are laid.
2. Bricks are laid with lime mortar inclined as well
as diagonal in plan.
3. Another layer of bricks are laid horizontally with
wooden rafter
lime mortar.

Desired type of flooring for the level above is then

30 cm laid over this base material, for instance:
4. a) A 300mm thick filling of brick jelly with lime
12 cm and special mortar is spread over
wooden beam b) Terracotta tiles is laid over this with lime
20 cm
mortar.

1 2 3 4 section of madras terrace 5 6

108 understanding architecture understanding architecture 109

 Chettinad
H a n dlo om
Facto r y
Chettinad Handloom:

The hand spun yarn is woven into the brightly

coloured high sheen fabric that has strong
warp yarn haddles reed cloth geometric patterns, either boldly striped or
chequered.

Weaving is a method of fabric production by

interlacing yarn to form cloth.
1. Use of a loom.
2. Warp threads are attached to the shuttle.
3. Raising and lowering sequence of threads in
various sequences gives rise to many possible
warp beam harness
weaving structures.
shuttle filling yarn cloth roll

110 understanding architecture understanding architecture 111

 Light plays a major role in architecture. Light
illuminates, guides, warms, encloses, measures
and highlights spaces. The absence of light or the
shadow, is also as important as light itself. The
shadow hides, cools, opacifies spaces.
The architecture with the play of light and shadow,
creates an interesting experience, while the
individual walks through the spaces. The amount
of light and shadow also suggests the nature and
hierarchy of spaces. The public spaces are lit more
than the private ones.
This chapter captures the poetics of light,
experienced within a space.

Li g h t
&
I l l u mi n a t i o n

114 understanding architecture understanding architecture 115

thro u gh the In the Chettinad houses additional
clear story windows add to the
Large overhangs coupled
with louvered windows in the
Corridors that bisect the house
provided a constant passage of
houses the quality of light that comes
through.
Namboothiri houses of Kerala lead
to a very diffused light entering
light in the Guthu Bunt Houses.

the spaces.
It can be inferred that courtyards and verandahs
remain the main source of light throughout the
houses of South India.

The Bedrooms are dark and cosy, receiving light

only through the courtyards, keeping them cool
through the hot summers.

Entrance verandahs, courtyards and their adjoining

passages serve as the primary spaces for activity
as they are well illuminated with natural light.

116 understanding architecture understanding architecture 117

118 understanding architecture understanding architecture 119
 GLOSSARY

I. MEASUREMENT II. PARTS OF A TEMPLE III.COLUMN E] Caste

Brahmanabhi (Br --ma-n-bh-i:) : centroid a) Akatthe Balivattam (-ka-tt-, b--l--va-tt-am) Athisthna (---s---n) : base Brahmin (br--m--)
Shastras ( --str--s) : rules : inner most enclosure Upaptha ( -pa-p-i:--a) : pedestal/plinth Vaishnava (v-a--na-v-)
Vastu (V--s-t-u:) : building rules Sreekovil (-r-i:-k-o-vil) : central enclosure of the deity Sthamba (s---mba) : pillar Kshatriya (k--tr-i:-y-)
Anthar-Mandala (an--ar, m--nda-la) Prastra (pras-t- -r-) : entablature Shudra (-u:-dr-)
1)Ways of measurement : space housing the protective deities IV.PLINTH
a)Manusyapramana(M--n--sya-pra-m--na) Bali- Kall (b--l-i:, k--l-a): platform Vedibhadra (v-e--bha-dr-) : house plinths F] Community houses
: human standard Namaskaara Mandapa (na-mas-k--ra, m--nda-pa) Pratibhadra (pra-) : palace plinths Tamil Brahmin Agraharam
matrangula (M--tr- --u:-la) : platform to bow down Manchabhadra (m--n-ch-) : temple plinths Chettiar (ch-e -tt--y--r) Chettinad houses
(Matra = unit, Angula = finger) b) Naalambalam (n--lam-ba-lam): Area around the sanctum V.COLOURS Namboothiri (n--m-b-u:---r-) Tharavadu houses
smallest unit of measurement in the Chuttambalam (ch-u:-ttam-ba-lam) Haridra (ha-r--dh--ra) : bark of yellow wood tree Bunt (b--nt) - Guthu houses
anthropometric scale Valia-ambalam(v--l--ya,am-ba-lam) Sindur (s--nd-u:-r) : vermillion
b)Yavamana (Y--va-m--na) :Covered spaces for rituals Gaierik (g-a-r--k) : red ochre G] (i) Agraharam/Agrahara (a-gr-a-h--r--m)
(Yava = barley grain, Mana = measurement) Thittapalli (--tta-pa-ll-i:): A small temple kitchen Hingul (h---u:-la) : cinnabar Thinnai (--nn-a) : entrance verandah
Mulayara (m--la-y--ra) Laksharus (la-ksh--r-u:-s) : shellac Akamthinnai : inner verandah
2)Units of measurement :Storage for grains, fruits, utensils Rezhi (r-e -zh-i:) : private room
a)Paramanu (pa-ra-m--n-u:) : Imperceptible partice c)Madhya Haara / Vilakku Mattam VI.HOUSES Mittam (m--tt--m) : open to sky court
b)Rathavenu (ra--a-e-n-u:) : Grain of sand blown by (ma-dh-ya,h--ra/ v-la-kk-u:, m--tt-am):`Galaxy of Lamps` Adukkala (a-d-u:-kka-la): kitchen
chariot wheel d)Puratthe Balivattam / Sivelippura (p--ra--e/ -i-v-e-ll-i:) A] 4 States of South India Machi (m- -ch-i:) : open to sky court
[1 rathavenu = 8 paramanu] :Outer enclosure Tamil Nadu
Agra-mandapa (-gra) :Pathway Kerala G] (ii) Chettinad houses
c)Ralagra (ra-l--gr-) :The point of a hair Valiya-balikall (v--l--ya) Karnataka Oorani : surface water storage tank
[1 ralagra= 8 rathavenu] :stone platform for sacrificial offerings Andhra Pradesh located in villages
Bali-peetha (p-i:--a): Positions for protective deities B] Languages
d)Liksa (l--k-s-) : The length of a louse Kshetra-paala (k--e--ra):Positions for temple guardians Tamil - Tamil nadu G] (iii) Tharavadu houses (--r--va-d-u:)
[1 liksa= 8 ralagra] Dwaja-sthamba (dh-wa-ja,sth--m-b-) Malayalam - Kerala Kottaram - Palace and Temple (in Malayalam)
: The ceremonial flag-mast Kanada - Karnataka Thatchu Shasthra : the Science of Carpentry
e)Yavamana (Y--va-m--na) : length of a grain Koothamabalam (k-u:---m-ba-lam) Telugu - Andhra Pradesh Nalukettu (n--ll-u:-ka-tt-u:) : 4 hall house
[1 yavamana= 8 liksa] : Enclosure for temple musicians C] Places studied and communities studied Ettukettu (e -tt-u:-ka-ttu:) : 8 hall house
e)Maryaada (mar-y--da)Puram Mathil (p--r--m,m----l) a)Trivandrum -Padmanabhaswamy Temple Pathinarukettu : 16 hall house
f)Angula (--u:-la) : length of the middle part : The outer boundary wall b)Thuckalay -Padamanabhapuram Palace Poomukham : open living
of the longest finger Gopura (g-o-p--ra) :The main gateways c)Kanadukathan -Chettiar Houses Irayam : the court corridor
[1 angula = 8 yavamana] Oottu-pura (u:-tt--p--ra): Lunch-hall d)Thrissur, Avittathur -Copper Roof Temple Nadumuttam : the courtyard
1 Parva (par-v-) = 3 Angulas Puram-mathil: Outer-wall e)Kalpathy, Ottapalam -Namboothiri Houses
1 Pada (pa-d-) = 8 Angulas f) Kundapur -Bunt Houses
1 Hasta (has-t- )= 3 Padas = 8 Parvas = 24 Angulas D] Ancestral roots G](iv) Guthu house (g-u:--u:)
W1 Vyama (vy- -m- )= 8 Padas Aryan Horangala : front open public space
Dravidian Hebbagalu : outer plinth
Volangala : inner court

204 sketchbook sketchbook 205