Architecture of Kerala

The megaliths are not of much architectural significance, but they speak to 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, and were worshiped in open groves (kavu). These hypaethral temples had trees, stone symbols of mother goddesses, or other naturalistic or animistic images 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.

Hindu and Buddhist Kerala architecture

Dravidian architecture

The version of Dravidian architecture found in Kerala in the far southwest is significantly different. Very large temples are rare, and sloping roofs with projecting eaves dominate the outline, often arranged in a number of tiers. As in Bengal, this is an adaption to the heavy monsoon rainfall. There is usually a stone core below a timber superstructure.

The Jain monuments are more numerous in

Thorana is a gateway provided in the palisade seen in the vertical and horizontal members of the vilakkumadam. 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).

Early Tamil

The amalgamation of different cultures and religious philosophies helped to evolve the architectural styles of Kerala temples. This was conducive to the architectural development and renovation of a large number of temples. After the decline of the Cheras, several small principalities developed all over Kerala. By the fifteenth century, Kerala was broadly covered by the suzerainty of four principal chieftains – Venad rulers in the south, Kochi Maharajas in the centre, Zamorins of Kozhikode in the north and Kolathiri Rajas in the extreme north. They were rulers who patronised architectural activities. It was during this period, Kerala Architecture started shaping its own distinctive style. A regional character in construction incorporating the Dravidian craft skills, unique forms of

Kerala architecture can be broadly divided into two distinctive areas based on their functionality, each guided by different set of principles:

• Religious Architecture, primarily patronised by
  temples of Kerala
  as well as several old churches, mosques, etc.
• Domestic Architecture, primarily seen in most of the residential houses. There are distinct styles in this area, as Palaces and large mansions of feudal lords are different from houses of commoners and also marked difference exists between religious communities.

Composition

The primary elements of all structures tend to remain the same. The base model is normally circular, square or rectangular plain shapes with a ribbed roof evolved from functional consideration. The distinctive visual form of Kerala architecture is the long, steep sloping roof built to protect the house's walls and to withstand the heavy monsoon, normally laid with tiles or a thatched labyrinth of palm leaves, supported on a roof frame made of hardwood and timber. 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 Kerala. Dormer windows were evolved at the two ends to provide attic ventilation when the ceiling was incorporated into the room spaces.

The belief system of

Materials

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. 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 that gets stronger and durable with exposure to atmospheric air. Laterite blocks may be bonded in mortars of shell lime, which has 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. 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 woodwork for columns, walls, and roof frames are the unique characteristics of Kerala architecture. Clay was used in many forms – for walling, filling the timber floors and making bricks and tiles after

From the limitations of the materials, a mixed mode of construction was evolved in Kerala architecture. The stonework 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 was either left as such or plastered with lime mortar to serve as the base for mural painting. The sculpturing of the stone was mainly moulding 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.

Structure

Religious architecture

Temple architecture

The Kerala state has more than 2000 varieties of temples when compared to any other regions of India. The temples of Kerala developed in strict accordance with two temple construction thesis, Thantra-Samuchayam and Shilparatnam. While the former deals in developing structures that regulate energy flows so that positive energy flows in, while negative energy does not tend to remain retarded within the structure; whereas the latter deals in developing stone and timber architecture in such manner that each carved structure imbibe a life and personality of its own.^[6]

Elements and features of Kerala temples

Sri-kovil

The inner sanctum sanctorum is where the idol of the presiding deity is installed and worshiped. It shall be an independent structure, detached from other buildings with no connections, and having its own roof shared with none. The Sri-kovil does not have any windows and has only one large door opening mostly towards the east (sometimes it happens towards the west, whereas a few temples have a north-facing door as their specialty, while no temples will have a south-facing door).

The Sri-kovil may be built in different plan shapes – square, rectangular, circular, or apsidal. Of these, the square plan shows an even distribution throughout Kerala. The square shape is basically the form of the Vedic fire altar and strongly suggests the Vedic mooring. It is categorized as the nagara style of the temple in the architectural texts. The rectangular plan is favored for the Ananthasai Vishnu (Lord Vishnu in reclining posture) and the Sapta matrikas (Seven Mother Goddesses). 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-ellipse is also seen as an exception in the Siva shrine 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. As per the Thantrasamuchayam, every Sreekovil should be built either neutral or even-sided.

For the unitary temples, the overall height is taken as 13/7 to 2 and 1/8 of the width of the shrine, and categorized into 5 classes – santhika, purshtika, yayada, achudha, and savakamika – each with increasing height of the temple form. The total height is divided into two halves. The lower half consists of the basement, the pillar or the wall (stambha or bhithi), and the entablature (prasthara) in a ratio of 1:2:1 in height. Similarly, the upper half is divided into the neck (griva), the roof tower (shikhara), and the finial (kalasham) in the same ratio. The adhisthana or foundation is generally granite but the superstructure is built out of laterite. The roofings will be normally taller than other temple structures. The structural roof of the shrine is constructed as a corbelled dome of masonry; however in order to protect it from the vagaries of climate it is superposed by a functional roof, made of timber frame covered by planks and tiles. This sloping roof with its projecting caves gives a characteristic form to Kerala temples. The finial or kalasham, made of copper, provides the crowning spire denoting the focus of the shrine wherein the idol is installed.

Normally the Sri-kovil is on a raised platform and has a flight or 3 or 5 steps to be. The steps are called Sopanapadi and on the sides of the Sopanapadi, two large statues known as Dwarapalakas (door guards) are carved to guard the deity. As per Kerala ritual customs, only the main priest (Thantri) and second priest (Melshanti) are allowed to enter into the Sri-kovil.

Namaskara Mandapam

The Namaskara mandapa is a square-shaped pavilion with a raised platform, a set of pillars and a pyramidal roof. The size of the mandapa is decided by the width of the shrine cell. The pavilion in its simplest form has four corner pillars; but larger pavilions are provided with two sets of pillars; four inside and twelve outside. Pavilions of circular, elliptical and polygonal shapes are mentioned in the texts, but they are not seen in the Kerala temples. The Mandapams are used to conduct Vedic-Thantric rites.

Nalambalam

The shrine and the mandapa building are enclosed in a rectangular structure called the Nalambalam. Functionally the rear and side halls of the Nalambalam serve for various activities related to ritualistic worship. The front hall is pierced with the entry, dividing it into two parts. These two halls; Agrasalas which are used for feeding Brahmans, performing yagas and Koothuambalam are used for staging temple arts such as koothu and temple murals. In a few cases, Koothuambalams are separated as an individual structure outside Nalambalam.

Balithara

At the entrance of the Nalambalam, a square-shaped raised stone altar called Balithara can be seen. This altar is used to make ritualistic offerings to demi-gods and other spirits. Inside the Nalambalam, several small round stones, called Balikallukal can be seen, meant for the same purpose.

Chuttambalam

The outer structure within the temple walls is known as a Chuttambalam. Normally, the Chuttambalam has a main pavilion known as a mukha-mandapam or thala-mandapam. The mukha-mandapam will have the Dwajastambam (sacred flag-post) in the center of it and have several pillars supporting the mandapam. The temple is now fully enclosed in a massive wall (kshetra-madillukal) pierced with gatehouses or gopurams. The gopuram is usually two-storeyed, which served two purposes. The ground floor was an open space generally used as a platform for temple dances such as kurathy dance or ottan thullal during festivals. The upper floor with wooden trails covering the sides functioned as a kottupura (a hall for drum beating). The Chuttambalam normally has four gates to enter from all sides. A stone paved walkway will be seen around the Chuttambalam to allow devotees to circulate around the temple, which for some large temples is covered with a roof supported with massive pillars on both sides. The Chuttambalam will have dwajavillakku or giant lamp-posts in several places, mostly in the mukha-mandapam.

Ambala-Kulam

Every temple will have a sacred temple pond or water lake located within the temple complex. As per Vastu rules, water is considered a source of positive energy and synthesis balance of all energies. Hence a temple pond or Ambala Kulam will be made available within the temple complex. The temple pond is used only by priests as a holy bath before the start of rituals as well as for various sacred rituals within the temple. In a few cases, a separate pond will be constructed to allow devotees to bath before entering in temple. Today, several temples have Mani-Kenar or Holy Well within the Nalambalam complex to get sacred waters for purposes of Abisekham.

Thevarapura

Within Nalambalam, a separate complex will be constructed for cooking foods meant to serve the deity and distribution among devotees as holy prasadam. Such complexes are called Thevarapura, where the holy fire or Agni is invoked.

Phases of evolution

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 Tiruvananthapuram, 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 a shrine room andardhamandapa 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 bearded 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 Thrissur 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 Pandyas. 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 patronised by the Chera, 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 that encloses the srikovil, the namaskara mandapa, balikkal (altar stones), etc. became part of this basic plan composition of the Kerala temple and started emerging in this phase.

The middle phase of the evolution of the temples is characterised by the emergence of the Sandhara shrine. In the unitary shrine of the earlier type, Nirendhara (single level of srikovil), there is a cell with a single doorway to the cell. But in the Sandhara shrine, the cell has twin wells leaving a passage in between them. Also, there are often four functional doors on all four cardinal directions and pierced windows to provide subdued light in the passage. Sometimes the functional doors on the sides and the rear are replaced by pseudo doors.

The concept of the storeyed temple is also seen in this phase. The tower of the shrine rises to the second storey with a separate upper roof forming a dwitala (two-storied) temple. There is a unique example of thrithala (three-storeyed temple) is at Shiva shrine at Peruvanam with lower two storeys of square plan and the third storey of octagonal form.

In the last phase, (1300–1800 A.D.) the stylistic development reached its apogee with greater complexity in the temple layout and elaboration of detail. The vilakkumadam, the palisade structure fixed with rows of oil lamps is added beyond the nalambalam as an outer ring. The Altar stone is also housed in a pillared structure, the Balikkal mandapam in front of the agrasala (valiyambalam). A deepastambham and dwajasthambham (the lamp post and flag mast) are added in front of the balikkal mandapam.

Within the prakara but beyond the vilakkumadam, stood the secondary shrines of parivara devathas (sub-gods) in their assigned positions. These were unitary cells, in general, though in a few cases, each became a full-fledged shrine as in the case of Krishna shrine in the Siva temple at Tali, Kozhikode. The last phase culminated in the concept of the composite shrines. Herein two or three shrines of equal importance are seen cloistered inside a common nalambalam. The typical example of this is the Vadakkumnatha temple at Thrissur, where in three shrines dedicated to Siva, Rama and Sankaranarayana are located inside the nalambalam. The prakara may also contain temple tanks, vedapadhasalas and dining halls. Paradoxically some shrines have not a single secondary shrine, the unique example being the Bharatha shrine at Irinjalakuda.

A significant feature of big temple complexes is the presence of a theatre hall known as Koothambalam, meant for dance, musical performance and religious recitals. This is a unique edifice of Kerala architecture, distinct from the natyasabha or natyamandir seen in north Indian temples of this period. Koothambalam is a large pillared hall with a high roof. Inside the hall is a stage structure called as Rangamandapam for the performances. The stage as well as the pillars are ornately decorated. Visual and acoustic considerations are incorporated in the layout of the pillars and construction details so that the performances can be enjoyed by the spectators without discomfort and distortion. The Koothambalam design seems to have been based on the canons given in the Natyasastra of Bharata Muni.

In the southernmost Kerala, the temple architecture was also influenced by the developments in Tamil Nadu. At Sucheendram and Tiruvananthapuram this influence is clearly seen. Herein lofty enclosures, sculptured corridors and ornate mandapas all in granite stone practically conceal the view of the original main shrine in typical Kerala style. The entrance tower, Gopuram also rises to lofty heights in a style distinct from that of the humble two-storeyed structure seen elsewhere.

Technically an important feature of the temple architecture of Kerala is the construction technique using a dimensional standardisation. The nucleus of the temple plan is the shrine containing the garbhagriha cell. The width of this cell is the basic module of the dimensional system. In plan composition, the width of the shrine, the open space around it, the position and sizes of the surrounding structures, are all related to the standard module. In vertical composition, this dimensional co-ordination is carried right up to the minute construction details such as the size of the pillars, wall plates, rafters etc. The canonical rules of the proportionate system are given in the treatises and preserved by the skilled craftsmen. This proportionate system has ensured uniformity in architectural style irrespective of the geographical distribution and scale of construction.

Temple architecture is a synthesis of engineering and decorative arts. The decorative elements of the Kerala temples are of three types – mouldings, sculptures and painting. The moulding is typically seen in the plinth where in horizontal hands of circular and rectangular projections and recesses in varying proportions help to emphasize the form of the adhisthana. Occasionally this plinth is raised over a secondary platform – upapeedam – with similar treatment. Mouldings are also seen in the mandapam, the hand rails of the steps (sopanam) and even in the drain channel (pranala) or the shrine cell.

The sculptural work is of two types. One category is the low relief done on the outer walls of the shrine with masonry set in lime mortar and finished with plaster and painting. The second is the sculpturing of the timber elements – the rafter ends, the brackets, the timber columns and their capitals, door frames, wall plates and beams. Decorative sculptural work is seen best in the ceiling panels of the mandapas. Exquisite lacquer work in brick red and black colour was adopted for turned columns of timber. Metal craft was also used in sculpturing idols, motifs, cladding and finials. All sculptural works were done strictly according to the canons of proportions (ashtathala, navathala and dasathala system) applicable to different figures of men, gods and goddesses, prescribed in texts.

The painting was executed in organic pigments on walls when the plaster was still wet – in soft subdued colours, making them into a class designated as Kerala murals. The theme of these paintings is invariably mythological and the epic stories unfold as one circumambulates around the temple. The moulding, sculpture and painting are also taken in vertical compositions to emphasise the different storey heights, projecting dormer windows which break the sloping roof and the crowning finial. But in all cases, the decoration is secondary to the structural form. The sculptured walls are protected by the projecting caves which keep them in shade in sharp contrast with the bright sunlit exterior. This helps to impart the overall perceptual experience of light and shade revealing details only gradually to a keen observer.

Islamic architecture

The

Islam spread in

The mosque architecture of Kerala exhibits none of the features of the Arabic style nor those of the Indo-Islamic architectures of the imperial or provincial school in north India. The reason for this is not far to seek. The work of mosque construction was done by the local Hindu artisans under instructions of the Muslim religious heads who wanted to erect the places of worship. The models for places of worship were only Hindu temples or the theatre halls (koothambalam) and these models are to be adapted for the new situations. The early mosques in Kerala consequently resemble the traditional building of the region. Arabic style of architecture was introduced to the Malabar area of present-day Kerala, during the period of occupation by Hyder Ali and later by Tipu Sultan during the eighteenth century. A large number of temples were converted to mosques during this period as evidenced by the traditional Kerala style of these structures.

In plan the mosque comprises a large

The pulpit in the mosque present fine examples of wood carvings associated with Islamic architecture of Kerala. The Jama Masjid at Beypore and Mithqal Mosque at Kozhikode have the pulpit (mimbar) built by the ship masters of the Arab vessels.

All other construction work was done by the same local craftsmen who were building the

in the modification of old mosques during the last decades.

Perhaps the influence of

verandahs

are also seen generally surrounding the mosques in Muslim settlements.

Church architecture

It has been suggested that this section be split out into another article titled Kerala church architecture. (Discuss) (March 2020)

The evolution of the church architecture of Kerala springs from two sources – the first from the work of Apostle St. Thomas and the Syrian Christians and second from the missionary work of European settlers. The tradition has it that St. Thomas who landed in Muziris in 52 AD had seven churches built in Kerala at Kodungallur, Chayil, Palur, Paravur-Kottakkavu, Kollam, Niranom and Kothamangalam, but none of these Syrian churches are now extant. It is possible that some of the temples were adapted as Syrian churches for services by the population who got converted into Syriac Christianity by St. Thomas. For example, the present Palur Syrian church has preserved the abhisheka patra (the letter of intonation) and certain shaiva symbols as the relics of the old church which is said to have been a Hindu shrine adapted for Christian worship.

Historical evidences suggest that the first wave of Christianity came from Edessa, Persia in the fourth century A.D. owing to the persecution of Syrian Christians in the Persian empire. According to the narration of Byzantine monk Cosmas, Kerala had many churches by sixth century A.D. According to the inscription of the times of Stanu Ravi by ninth century, Syrian Christian communities enjoyed many rights and privileges. They also played a vital role in trade and commerce. The domestic buildings of the Syrian Christians were akin to the native architecture.

However, original Syrians who had migrated to Kerala had brought with them some of the West Asian conventions in church architecture. Consequently, churches with regular chancel and nave began to be built and there evolved a distinctive style of church architecture. The peculiar feature of this style was the ornamental gable facade at the nave end, surmounted by a cross. An entry porch (shala) in front of the nave was another feature of these early shrines. The baptistry was a small chamber inside the nave near the entrance. Belfries were built on one side of the nave, but in smaller churches, the bell was hung in an opening in the nave gable.

Elements of Kerala church architecture

Unlike Kerala temples, there is no uniform or standard layout for all churches of Kerala. Rather most of churches have different set to architecture according to various sects and their traditions apart from experimentation of new designs. Still most of churches, particularly

The church had a gable roof extending to the chancel, the most sacred part of the church and the sacristy by its side. The tower over the chancel soared higher than the roof of the nave similar to the shikhara over the garbhagriha in a Hindu temple. The residence of the priest and the parish hall were located on one side of the church and the cemetery was on the other side.

In their external feature Syrian churches retained some of the indigenous features of the Hindu style. The church and the ancillary buildings were enclosed in a massive laterite wall.

There was an open cross in front of the main entrance on a granite basement in the model of balikkal, the altar stone. A church also had the flag mast, (the dwajastambha) in front. In the Orthodox Syrian church at Chengannur, Peter and Paul occupy the place of dwarapalas, the guarding deities of a Hindu shrine. Sometimes a gateway like the temple gopuram with a kottupura or music room on the upper storey was also provided. The Marth Mariam church at Kuravilangad, originally built in 345 A.D had undergone renovations several times. The church has a rich collection of old relics including a statue of Virgin Mary and a cross carved in granite. The Knanaya Valiapally of Kaduthuruthy is another old church with the biggest cross formed in a single granite piece. The Valiapally of Piravom is also another old church with old Persian writings.

Wood carving and mural paintings, the two decorative media of temples are seen to be adopted in ancient churches also. A famous piece of wooden carving is a large panel depicting the last supper in St. Thomas church, Mulanthuruthy. The All Saints church at Udayamperur has a beam resting on wooden mouldings of heads of elephants and rhinoceros. Floral figures, angels and apostles are the usual motifs of mural paintings. This form of decoration had continued in later churches as well. In St. Sebastian's church at Kanjoor a mural even depicts the fight between British and Tippu Sultan.

Colonial influences in church architecture

The Portuguese were the first to introduce European styles in the church architecture of Kerala, followed by Dutch and British. The first church of this type in India was built by the Franciscan missionaries in 1510 A.D. at Fort Kochi. It is a small unpretentious building of the medieval Spanish type. When Vasco De Gama died in Kochi in 1524 his body was interred in this church and later removed to Lisbon in 1538. The church thus came to be known as Vasco De Gama's church. It was later seized by the Dutch and was used for reformed services. Later with British occupation of Kochi it became an Anglican church and presently it belongs to church of south India.

The Portuguese had introduced many innovations in the Kerala churches. For the first time, the dominating tower above the altar, which was the adaptation from temple architecture, was discarded. Inside the church, the granite images were not favoured owing to their association with the Hindu art; instead images of Saints made of wood were used to adorn the riches. Generally pulpits were erected and altar pieces were ornamented in an impressive manner. Ceilings and walls were painted with religious themes in the style of European masters. Pointed and rounded arches were introduced and stained glass windows were installed.

The subsequent development in church architecture in the British period also saw the introduction of a new church design. In place of the rectangular Basilican plan the cross shaped plan became increasingly popular especially in places where large congregation had to be accommodated. Apart from the obvious symbolism of the cross, this plan is more suited for better visibility of the altar from all points in the church. Further, sufficient space was now available at the transepts for additional altars for services by several priests on important occasions like Christmas.

In the external features the central tower or rather the Roman dome now comes at the centre of the transept imparting a classic form of European architecture. Also on either side of the main entrance in the front, rose towers to serve as belfries. In the treatment of the exterior, typical features of European church architecture were introduced – the Gothic arches, the pilasters and buttresses, the rounded openings, the classic mouldings and stained glass windows making the whole composition completely different from the native architecture. Depending on the period of construction, one can also distinguish between the churches done in the simplicity of Gothic style as in the Palayam church, Tiruvananthapuram, and the luxury of renaissance style as in the church of Our Lady of Dolorous at Trissoor.

Modern trends in church architecture

While the character of church architecture is generally identified with the form evolved in the medieval times, the modernistic trends in adapting new plan shapes and structural forms are visible in the Kerala scene as well. This circular plan shape with domical shell roof has been adopted in the Christ College church at Irinjalakkuda. The Cathedral church of Archbishop of Varapuzha at Ernakulam is a soaring hyperbolic paraboloid in reinforced concrete with a bold expression in sharp contrast with all traditional forms. Perhaps experimentation in religious architecture is mostly manifested in church architecture as compared to that in temples or mosques which more or less adhere to old evolved forms.

Jewish architecture

The architectural scene of Kerala was influenced by many socio-cultural groups and religious thoughts from foreign lands. The sea board had promoted trade contacts with maritime nations such as Israel, Rome, Arabia and China even prior to the dawn of the Christian era. The trade contact would have paved the way of establishing settlements near the old port towns and gradually spreading in the interior. During the time of the second Chera Kingdom, the old port city of Makotai (Kodungallur) had different parts occupied by these groups. For example, the cultural contact of Jews with Kerala predates the time of Solomen and by fifteenth century there were Jewish settlements in Kodungallur, Kochi and other coastal towns. The most important Jewish settlement is seen at Kochi near the Mattancherry palace. Their residential buildings resemble the Kerala type in their external appearance; nevertheless they are of a different plan concept. The ground floor rooms are used as shops or warehouses and the living rooms are planned on the first floor. The frontage of the building about the streets and the sides are continuous with adjoining buildings in the pattern of the row houses. An important historic monument of the Jew town is the Synagogue. It is a simple tall structure with a sloping tile roof but it has a rich interior with hand painted tiles from Canton, China and ancient chandeliers from Europe. This religious structure built for worship according to Judaism stands in contrast with the temples of Hindus. Jewish community however did not influence the architecture of Kerala.

Domestic 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. 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 bressumer 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.

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 adhisthana, 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. The projecting caves cover a verandah all round. By tenth century, the theory and practice of domestic architecture were codified in books such as Manushyalaya Chandrika and Vastu vidya. This attempt standardised 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.

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 tulsi 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.

Nalukettu

Nālukettu is the traditional homestead of

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. This chair will have long rails on either side where the Karanavar will keep his legs raised for comfortable rest

• 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

• Ambal Kulam (Pond)

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 synthesised energy flow inside.

• Nadumuttom

Traditionally 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. Due to this four side division of the house by having a Nadumuttom. Similarly there was Ettu kettu and Pathinaru kettu which are quite rare with two and four Nadumuttom respectively

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 vibrance within. A thulsi or tree will be normally planted in center of Nadumuttom, which is used to worship. Architecturally the logic is allow tree to act as a natural air purifier.

• 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. At present, wooden panelling is done on Pooja room walls and there is a standard design for Pooja room which can be given to clients interested in having traditional Pooja room.

Key features

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. 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 texts. This analysis involved the concept of vastupurusha mandala 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 vishwakarma sthapathis (master builders) who synthesised the technical matters with astrological and mystical sciences.

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 on 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.

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 on the courtyard or anganam 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, and a front hall for receiving guests. 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. By such extension the building may become much larger than a Nalukettu in space, but it is still categorised as Ekasala with reference to its core unit.

Vastuvidya 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 sthapathis, the system is still a living practice, though it has started disappearing under the impact of 'modern architecture'.

Types of Nalukettu

Nalukettus can be differentiated based on structure kind as well as based on caste of its occupants.

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 directions. However 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 Patinarukettu (16 blocked structure).

While Nalukettus and Ettukettus are more common, Pathinarukettu are extremely rare, due to its enormous size.

Likewise 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 terms used for Nalukettus differ based on the caste and social status of its occupants.