SPATIO-TEMPORALITY OF FORTKOCHI: ANALYSIS THROUGH CINEMA

PRODUCED IN THE CITY

Elizabeth Tessa Surrao

Principal Guide Associate Guide

Rejitha R Pillai Nishan Nabeel
Assistant Professor Assistant Professor

Abstract
With the intention of, addressing the Spatio- temporality of Fortkochi, through an architectural
criticism of the cinema shot and. Produced in the city, the dissertation elaborates an Architectural
dialogue; involving a practical undertaking/, succeeded by analytical reflection of recorded time and
space in the media. Films can be used to record time and space. Frames can leave traces of life and
culture which lasts for years. The changes of Fortkochi over the years are observed and analysed
through the frames shot in different times in different movies. The role of film in capturing the city
and its possibilities are also discussed in the dissertation.

1. Introduction
Films can be used to record time and space. Frames can leave traces of life and culture
which lasts for years. The changes of Fortkochi over the years are observed and analyzed
through the frames shot in different times in different movies. The role of film in capturing
the city and its possibilities are also discussed in the dissertation.

1.1 Context

Fortkochi act as repositories of memory, venues for community rituals, spaces for exhibitions,
and backdrops for artistic productions, reconstituted as heritage destinations and are now
exhibitionary landscapes with museums, heritage homes, and archaeological ruins.
Furthermore, as venues for recurring cultural performances and festivals (Jeychandran,
2014).The urban scenes display provincial battles, present day yearnings, and post-colonial
quandaries. The deserted stockrooms, godowns and modified houses are today made into
Hotels, Restaurants, home stays and Cafes which are intended to talk the association of Art
and Hospitality. The people who have been living here — from the Jewish and Anglo-Indian
to Tamilians and Pattans, communicating in a bunch dialects and vernaculars — additionally
add to the diversity of Fortkochi (Menon, 2018). Hotel forte, Pepper house, Rasa hotel, Old
harbour hotel, East India street café, Qissa café, Kashi art café, Loafers café corner, hotel rasoi
and elite bakery house are all run in modified houses. The antiquated Asian idea of 'shop
house' could be clearly seen in the streets of Fortkochi.
Fort Kochi was secured by mangrove woods, turfs and sand banks. Sand banks were made
with the ascent in the ocean level which framed the shape of the beach front region. Around
600 AD, composed archives about the Malabar coast show that this district had Hindus,
Christians, Muslims and a Jewish minority. The characteristic harbor of Kochi was made by a
flood that additionally annihilated the harbor of the town Kodungalloor. From that point, Fort
Kochi was formed into one of the most significant harbors in the west of India. It focused on
the flavors exchange with the China and the Middle East. During 1500 A.D. Calicut was
governed by ruler Zamorin and Kochi was administered by the Maharajah of Cochin. This was
the point at which the first Portuguese ships berthed at Malabar coast. Vasco Da Gamma
arrived in Calicut and Pedro Alvares Cabral arrived in Kochi (Kochi guide, 2007). The Maharaja
of Kochi felt compromised by the Zamorin of Calicut. The Maharajah trusted that the
Portuguese would help him with all due respect from the neighboring King of Calicut. The
Maharajah invited the Portuguese and they established their first exchanging focus Kochi. In
later years, the Maharajah of Cochin was generally denied of his capacity and Cochin became
the first European Colony in Quite a while. In AD 1653, Dutch came to Cochin at the greeting
of dismissed sovereign of Cochin illustrious family. The town turned into the capital of Dutch
and had a place with the overall exchanging system of the Dutch East India Company. In 1760,
Hyder Ali and later by his child Tippu Sultan subjected the town briefly to the realm of Mysore.
Around 1790, Kochi went under the impact of the British. In 1814, Kochi turned into a piece
of the British Pioneer Empire. The British molded the nation until the twentieth century and
Kochi has consistently been a significant harbour and an exchange community which grew
into a fishing village. Kochi was made the capital of Union State Cochin after India picked up
freedom in 1947 (Wikipedia, 2020; Wikipedia, 2020).In 1956, Malabar, Cochin and Travancore
were consolidated and shaped the present Union State of Kerala, and district of Ernakulum
was formed on 1st April 1958, with the Cochin municipal corporation on 1st November 1967.
This was followed by the formation of municipalities, namely Old cochin, Mattancherry and
Fortkochi. This was followed by the declaration of Fortkochi as heritage conservation zone in
1990 (Kochi guide, 2016). Today, Fortkochi has grown upto to be place of international
importance catering many tourist attractions.

1.2 Background

“One day, you decide to study architecture. You learn to draw plans, sections and axonometric;
make models; discover structure, materials, and even composition. Still you feel that there is
something missing in much of what you read and learn. You are aware that Architecture uses
sophisticated means of notation- elevation, axonometric, and perspective views and so on.
But you soon realize that they don’t tell you anything about sound, smell, touch, or the
movement of bodies through space.
The limits of my language are the limits of my world.”
-Bernard Tschumi/Architecture Concepts

In the inter disciplinary field Architecture, we Architects and designers pen in ideas, imagine
the space in the design process and the convey them through different 2 dimensional and 3-
dimensional medium which act as an important language in establishing dialogues. In
Architecture the means through which the ideas are put in together ultimately ends out being
the source where the intentions and ideas are conveyed visually. The language we use to
shape our ideas and thoughts end up shaping our thoughts and subsequently the output,
because of the constrain laid by the medium. In short, we should explore the possibilities
beyond drawings and renders to convey human emotions. With the History of Architecture,
we celebrate not just Architecture, but all other forms of Art as all of them are dependent on
each other.

Figure 1.2- 1: How Cinema perceives a space (source: filmsc.in)

 Figure 1.2- 2: Architecture and its representations in other fields of Art, referring Taj Mahal as an example
(Source: Author)

1.2.1 Why Cinema?

The design process in architecture, and the process of narrative translation in Cinema are at
most of the same nature as both engages itself with space, events, time and human
interactions.

SPACE

ARCHITECTURAL MOVEMENT CINEMATIC

NARRATIVES NARRATIVES
EVENT

TIME
Fortkochi has thus been a manifestation of 500 years of multiculturalism, where change and
spatial growth are afoot, which is very well documented in the movies shot and produced in
the City. Every change that a city undergoes directly influence its occupancy, spatial
organizations, local interactions, physical structure, hierarchical structuring, moreover its
impacts are first and foremost reflected at the Building level, of which, a handful are recorded
in movies shot here. Changes can be depicted effectively through different medium.
Documenting the change is a process that happens eventually through a course of time. Film
plays an important role in recording this change, which gives an idea of change of a particular
place in a particular time. For example, the movie dharavi, 1993 interprets the formation of
slum which is later portrayed in Rajnikanth starrer Kaala, 2018 in a different phenomenal
scale. These movies in turn act as the visual repositories of entirely different time periods.
Moreover, Cinema is the only convincing medium, all are senses and datum of memories will
be engaged with. The Dissertation aims in understanding how changes could be recorded in
Cinemas or the possibility of Cinema in documenting time.

1.2 Research Questions

1.2.1 Research questions
The primary research question of the dissertation is to try to answer,
i. How did Fortkochi change over the years? Can this change be documented
through movies shot here?
The sub questions to be answered to help facilitate the process of answering the
primary research question are,
ii. How can Spatio-temporality of built spaces be analyzed by Cinema shot in the
region as they reflect Contemporary changes in the Society and replicate the
built space exactly?
iii. Is cinema and Architecture a ‘power couple’ as interpreted by many?

1.3 Aim and objectives

1.3.1 Aim
The main aim of the dissertation, intends to evaluate the Spatio temporality of Fortkochi,
analyzed through movies shot there.
 1.3.2 Objectives
i. To identify the growth trends of Fortkochi.

ii. To analyze how a space change with respect to time.

iii. To define the inevitable symbiotic relationship between Cinema and

Architecture.

1.4 Scope, limitations and significance

1.4.1 Scope
The primary objective of the study is to evaluate the Spatio-temporality of selected areas in
Fortkochi. As part of this study the street along with the built forms are analyzed through
picture analysis. The relevance, past, present and future of these structures are also checked.
The study brings in insight of the possibility of Cinema shots in spatial analysis.
o The scope of the dissertation intends to document Spatio temporal changes in
Fortkochi and present how a space can be analyzed in movies, which in turn gives an
idea of the space in the documented time.
o To understand different facets of Fortkochi.
o To explore the possibility of Cinematic Documentation, as a tool in documenting
spaces, and thereby analyzing change.

1.4.2 Limitation
o Due to the vast area that Fortkochi is comprised of, the author has selected areas
of interest, thereby restricting the rest. Therefore, Spatio- temporality of Fortkochi is
alone examined.
o The study area is limited to Fortkochi alone, with analysis of regional Cinemas shot
from 1980’s to 2019. This is due to the limited data procured from the concerned
agency.
o A quantitative analysis of Spatio- temporal change of area is beyond the scope of this
Dissertation.
o The dissertation mainly depends on Observational and Questionnaire data.
 o The sample group for the survey is selected based on Quota sampling. Since the
perception of an individual about the area will be different, the data collected from
the focus groups would be generalized in the final result.
o The study is limited to Cinematic documentation, along with photographs available.

1.4.3 Significance
o The significance of Dissertation is such that it explores the Spatio- temporality of the
region with the significance of change showcasing the possibility of films in capturing
the change, as they are reflections of Contemporary developments (Pallasmaa, 2011).
o As most of these structures are poorly documented, the study can help gather
cinematic documentation, which facilitates further analysis. There are high
possibilities of Cinema being the only documentation capturing the different levels of
change.
o Furthermore, the dissertation explores how as Architects we are limited with the tools
we have in representation of ideas and the possibility of using films in Documenting
spaces.

2. Literature Review
This chapter explores both Spatio-Temporality as a terminology and changes of
Fortkochi with a broad overview of its transitions over the years and a look onto the factors
determining change are discussed. Further, the possibility of the Medium-Cinema is explored
and finally, the criteria of examining a movie and the place is discussed.

Spatio Temporality

Trends of Urban growth in Fortkochi

LITERATURE REVIEW
Lived Space in Cinema: Interpretation of a
Space
Analysing Architecture of a place and its
interpretations through Movies

Figure 2- 1: The overall topics researched in the literature review (Source: Author,2020)
2.1 Spatio Temporality

Spatio -Temporality refers to the change of space in given time. Here, both the parameters
are dynamic in nature whereas, Change is inevitable.

Figure 2.1- 1: Regional differences of urbanization over the years, which is an example of Spatio temporal
change (source: indianhub.in)

Figure 2.1- 2: Coastal landform change over the years (source: Landsat.in)
Any variable which depends on time for its existence, is adhered to change- be it climate, rain,
urban landform, health, temperature variance etc.
2.2 Trends of Urban growth in Fortkochi
A spot where the unity of India wakes up like no place else, Fort Kochi has been
evolving for quite a while. It was controlled by numerous remote powers in any event, when
Raja of Kochi was as yet present. Portuguese, Dutch, Mysoreans, Britishers were in power
and has engaged with numerous advancements in Kochi.There live 39 different faction of
people from the nation over, and a bunch from over the high oceans, who have met up one
next to the other, for more than 500 years. They came here for various reasons, in various
occasions, yet they all remained for the aggregate reality that was much better than any
fantasy could pass on (Faraway orginals, 2019). It is a City built out of/transplantation and
engineering (Shivakumar, 2018). Every time period is distinguished with the growth and
development of cities in connection with economic and social conditions. In the case of
Fortkochi, the Spatio temporal change is believed to have happened after the declaration
of Fortkochi and Mattancherry as Heritage zone (1980) (Sahapedia, 2016).

Figure 2.1- 3: Map of Fortkochi Figure 2.1- 4:Built and unbuilt form of Fortkochi
(Source: Sahapedia) (Source: Sahapedia)
 Figure 2.1- 5:Trends of Growth of Kochi City (Source: Kochi City Development Plan, 2006)

Very early settlement in Kochi was in Mattancherry, which then grew up to be the trading hub
of Kochi. This sudden drift also influenced the land close in association with it, Fortkochi.
Fortkochi continued to grow as a Fishing village and Mattancherry, the trading hub. They grew
up in a symbiotic relationship with each other, Fortkochi was their workplace and
Mattancherry their selling hub. From the 16th century, changes were rapidly influenced by
trade and foreign invasions (Kimansion, 2012). This drift in power, led to the emergence of
infrastructure and institutions like schools, church, hospitals and warehouses. This was
followed by wide acceptance and propagation of religion, which directly influenced the
settlement patterns in Fortkochi (Menon, 2018). The ‘British Kochi’, later became a
municipality in 1886 and Cochin corporation in 1967. From 1980’s, the land occupancy and
value witnessed a drastic shift. Maximum land value of the area is at the central business
district of the land. This is because of the nearness to all economic activities and basic
amenities here. This factor is one of the sole reasons which could have led to the change in
occupancy and facilities in the street, says Historian Stephan (local historian) (Joseph, 2005).
Park and Beach prestige is of great importance as the Structure and orientation of the
infrastructure around the Park and beach are considered to be of high value. From homes and
schools to hotels and workplaces, a land ethic of productivity and interaction in all seasons
will connect and unify diverse settings. Present use can also act as a trigger to change. Value
of land also depends on current occupancy. Catering a commercial use has more rate of
return, over time than residential use and can sweep away high profit as the area supports
tourism to a huge extent. High demand of traditional houses over conventional houses, for
both habitation and architectural adaptation adds to more demand for the structure and
precinct to be adapted, thus being an important factor accelerating Spatio- temporal change.
Even phenomenon of Touristificaton and gentrification could be now seen in Fortkochi. The
last 30 years have been a period of major change in Fortkochi says

Figure 2.1- 6: Prevailing residential values in Fortkochi (source; article on Biennale impact,2016)

2.3 Lived Space in Cinema: Interpretation of a Space

Cinema could be perceived in two ways; or in other words, film as an object of cinema can be
read in two different ways;
• Firstly, by “Looking at the film” as a piece of art, a complete: whole, independent of
the context and time.

• Second one is by “Looking: through a Film”, where time and history is considered, with
respect to its respective context – the one which facilitates documenting a space in a
period of time. (Pallasmaa, 2011)

Thus, a place could be perceived in two attitudes. First one is an abstract analysis regardless
of time, whereas the latter is read through the context, space and time. Cinema narratives
are effectively translated using, spatial cues of architecture to evoke emotions, parallel
questioning of representations, deep thinking and pose preconceived ideas in the viewers.
We live in a world in which the experienced, remembered, and imagined Place and event,
space and mind, are not outside of each other (Thomas, Francois Pens and Maureen, 2020).
The world of film allows us to experience this duality perhaps more clearly and convincingly,
than any medium. Film allows us to wander to any other world, making the viewer feel more
‘realistic’ than anything experienced in life. We could relate the characters, the story-line and
the spaces to ours, where we feel them part of our life or us, been part of their journey. Both
spaces interpreted in films and architecture depict different forms of art define situations of
human interaction, frames of life and horizons for understanding our world (Pallasmaa, 2011).
However, I feel movies have a nonparallel ability to influence both our emotions, thoughts
and memory in ways that quality architectural spaces do and cannot do. Architecture has
never been just about the walls and the form that make it up, just as a film is more than just
as montages of images on a screen.
“Architecture exists, like cinema, in the dimension of time and movement. One conceives and
reads a building in terms of sequences. To erect a building is to predict and seek effects of
contrast and linkage through which one passes...”
- Jean Nouvel
The ability to visualize a space both on reel and in real is the next aspect. As architects,
the two-dimensional drawings of a building made, is in a way the limitation we produce.’ This
is where we rely on three dimensional renderings of the same. The limitation of
understanding Architecture, is today been simplified by three dimensional walkthroughs,
which enkindles the viewer, his senses. Walter Benjamin’s idea suggests that, a film is viewed
with the muscles and skin as much as by the eyes. In the other hand, Juhani Pallasmaa, states
that human mind memorizes an event not as mere pictures but as hap-tic images (Pallasmaa,
2011). We remember the world as lived spaces and situations, not as mere pictures, and a
recollection activates our unconscious memory. Architectural spaces can have the same
effect only if you can touch the datum of forgotten memories and feelings. Kochi when mostly
featured in limelight, the viewer understands the space, with inherent context as Kochi from
his/her memory. This automatically creates a vague idea on the Architectural styles of the
buildings here; this is what helps us realizing the cinematic spaces in show reel every time we
watch movies.

2.4 Analyzing Architecture of a place and its interpretations through

Movies
2.3.1 Time (Shivakumar, 2018)
Cinema and Architecture depends on the dynamic variable- Time. Changes in time define a
space. Static is Architecture (Pallasmaa, 2011), which gains momentum with time says
Anupama Chopra, a Film Critic. In cinema, time is shown or narrated with respect to the space,
wherein both the time and the space are designed. According to Bordwell, cinema is an art of
time as well as of space. Vidler states that, film is a vision of the fusion of space and time.
Architectural space is three-dimensional, whereas cinema has two, spatial and one temporal
dimension. “Looking: through a Film”, where time and history is considered, with respect to
its respective context – the one which facilitates documenting a space in a period of time.

Figure 2.3.1- 2: Poster of a Malayalam movie Kammatti

Figure 2.3.1- 1: Poster of a Malayalam movie
Paadam, depicting present day Ernakulam as the
Kammatti Paadam, depicting Ernakulam in the 80’s
background, 2016 (Source- Google images)
as the background, 2016 (Source- Google images)

2.3.2 Architecture as a backdrop or setting (B, 2016)

Cinema could be perceived by “Looking at the film” as a piece of art, a complete: whole,
independent of the context and time. This is the context where the idea of Architecture as a
backdrop is born. There are movies where the time period could not be brought in spaces
existing, but could be produced in induced or created environments, says Rajeev Ravi. Two
types of environment are used in cinema: real architectural spaces and representation of the
space with a decorated shed or models gets to the foreground and a representative space is
established with the construction of a set making or with visual effects. With the use of spaces
in real, the real essence of the place and its Architecture is itself portrayed. Therefore, the
study requires genuine and real architectural spaces used.

2.3.3 Characters as a product of urban space and Cinema as a

Reflection of Contemporary developments
What shapes a man is nature and conditions that encompass him; the conventions, customs,
moral qualities and habits of conduct those are predominant in that society. Thus, as the
Environment has a noteworthy significance in pretty much every viewpoint both socially,
emotionally and physically, it must be carefully dissected. What’s more, the Environment
gives us the signs and key codes about the character in the movie. For example, seeing the
house where the character carries on with, the crowd can decipher whether he lives in the
city or a village, alone or with his family, his societal position, mental being, lifestyle and so
on. Spaces inhabited or occupied do influence the execution of an event –a kiss or a murder
becomes entirely dissimilar story depending on whether it happens in a bedroom, public
space or an elevator. An event obtains its momentum through time, illumination, weather
and soundscape (Pallasmaa, 2011). This makes it inseparable from the architecture of a space,
dependent on time. On the contrary, Cinema, act as one of the most effective medium
capturing change, it can be a mere reflection of the society and its beings.

Figure 2.3.3- 1 The spaces and surroundings used by the main lead Deepak (portrayed by Vicky Kaushal)
gives a clear picture of the character in an introduction scene

2.3.4 Structural, Spatial Characteristics and the street Typology:

Features that makes the building unique among built forms. This can also refer to addressing
the structural and physical features by the one who built them, with the spatial analysis of
the same.
The Portuguese influenced church and Christian houses in Fortkochi. The traditional pre-
Portuguese houses were inward looking with small windows which reflected the secluded
role of women with inner courtyards and facade more introvert, that abutting into the
streets. The catholic houses built by the Dutch and later the Britishers were more outward
looking and ornamental with balcoes1 and verandahs facing the street. The basic design
influence of all occupations was rooted in protecting oneself from monsoon.

Figure 2.3.4- 1: A traditional Christian House showing strong foreign influences

The Roof Overhang of 60 cm, & slope of 33degree, roof

should be of timber structure of timber
rafters and Mangalore tiles. Visibility of roof
line alone from street below is also
important, with the street with a consistent
roof line.
Eave board of 10 to 15 cm width of
Wood, Color: Natural Timber or White.
Natural terracotta color should be used
for the roof tiles with overhang and the
timber work-left unpainted. Eave board of 10
to 15 cm width. To functionally protect the
openings from the sun and the rains, sloping
chajjas can be used.
Eave board of 10 to 15 cm width of
Wood, Color: Natural Timber or White.

1
with in-built seating
The Wall With only 2 floors with white or off-white
walls, G. floor height is restricted to 3.5 m.
Main character include: Break line between
two floors which is represented as an
architectural moulding throughout the street.
Lime plaster finished wall openings with
doors, windows of Natural, white or off white
or nut-brown color & cornices of a consistent
character throughout with no lighting fixtures
on the building facade towards the street.
Colored/structural/ reflective glass, awning
ornamental ironwork/grills/jallis are not
allowed.
The base/ foundation The floor is probably raised to 30-60 cm, with
oxide / cement as finishes, & usage of granite,
marble and other materials are not allowed.
The streets exhibit same plinth line
throughout.

2.3.5 Ownership
Complexities of land ownership dates back to centuries in Fortkochi. Most property is held
within a family, which is passed from one generation to the other. Apart from this another
kind of ownership, the system of ‘gifting” land, which may hold no records of the property
exchange or payment could be seen in Fortkochi. Although the residents treat their land
as the most significant asset, the new trend of Foreign investments or the trend of a parcel
of land sold to a non-resident by its land owners is gaining wide recognition due to hike in
land value these years. Government undertaking and investment of international
organizations Post 1980s marks exchange of ownership, government institutions have
been keen about new proposals and maintenance of different assets under their
ownership. Groups like Nirmana Hotels, CGH, Casino group – Clean green, Netherlands
CNO etc. have leveraged their investments as strategic place making to improve economic
 stability and cultural identity. Ownership’s do bother when it comes to investment in the
property and proper maintenance of the same.

2.3.6 Policies and Regulation

Figure 2.3.6- 1: Organizations in Fortkochi (source; Author, information gathered from internet)

Table 2.3.6- 1: Listed Heritage Building / Heritage Precincts can be graded into three categories (Guidelines for
the Conservation and Preservation of Special Tourism Zone – Fort Kochi, as per the Tourism Conservation and
Preservation and Trade Act, Kerala 2001)
GRADE I GRADE II GRADE III
Definition
Comprise of all-natural Comprise of buildings with Comprise of building of
sites & buildings of historic local or regional importance to the towns
or national importance in importance with cape that does not add to
architectural style, design, architectural or aesthetic the architecture as much as
technology, material etc. merit. They are Local Heritage Grade II. It defines
and has been the prime landmarks that contribute the character of locality and
landmark of the region. to the identity of the region. community.

Objective
Deserves great preservation. Heritage Grade II deserves Deserves conservation on a
intelligent conservation. lesser scale than Heritage
Grade II
 Scope of Changes
No intervention on the (3) Internal changes (3) Internal changes or
interior or exterior of the or adaptive adaptive reuse can be
building unless it is reuse can be used but only by strict
necessary to strengthen or used but only by rules. Taken care of
prolong its life. Minimum strict rules. all aspects for which it
amount of changes must be Taken care of all is included in Heritage
allowed. aspects for Grade II. (B) In
which it is addition to the above,
included in extension or addition
Procedure Heritage Grade of building in certain
Heritage Conservation II. (B) In circumstance.
Committee give permission addition to the Development regulated
for development. above, and controlled ensuring it
extension or does not change from
addition of Heritage Grade IIII
building in
certain
circumstance.
Development regulated
and controlled ensuring it
does not change from
Heritage Grade II

Vistas/Surrounding Development
All development in area around Grade I shall be regulated and controlled.
 Figure 2.3.6- 2: Protected Monuments in Fortkochi

From the above review, it is revealed that there are evident changes of growth in Fortkochi
and Cinema captures the place and act as a source of documentation. However, it is found
that an approach in the understanding and documenting the structures here are less explored
(GAP). Therefore, this study seeks to interpret Cinema as a reflection of contemporary
developments.

2.5 Inference from Literature Review

o Fortkochi has thus been a manifestation of 500 years of multiculturalism, where
change and spatial growth are afoot,
o Cinema and Architecture possess a symbiotic relationship.
o Literature review gave an insight on how an analysis of Architecture through movies
can be done.
o There is an emotional connect that Cinema possess over other media.
o Cinema can act as a cultural and social commentary.
 Figure 2.5- 1:Cinema and its responsibility derived by the author from the literature review

3. Methodology

This chapter presents the methodology that was followed to complete the dissertation
objectives. As the dissertation solely depends on the site-specific study of selected zones in
Fortkochi, a major segment of it will be of live case studies, data collection and interview of
the focus groups. Literature review forms a Contextual base to strengthen, support and
crosscheck the study executed and lays proper framework of criteria analyzing selected shots.

3.1 Methodology Brief

i. Determining the zones required for the study based on data available on the Movies
produced in Fortkochi.
ii. Selection of Traditional Houses in the selected zones of study.
iii. Execution of Documentation through Analysis of Cinema shots, live sketches and
photos.
iv. Data procured from residents and owners via interview.
v. Analysis of the compiled data with the framework of analysis mentioned in the
literature review, chapter 2.4.
Table 3.1- 1:Table showing methodology
Research Question 1
How did Fortkochi change
over the years?
Objective 1 Methodology
To identify the growth Secondary data collection
trends of Fortkochi. through Research reports,
statistics, Articles, Guidelines
and internet-based reports.

Interview among focus

groups.
Research Question 2 Objective 2 Methodology
How can Spatio-temporality To analyze how a space Primary documentation is
of a built spaces be analyzed change with respect to through Cinematic
by Cinemas shot in the time. Documentation, live
region as they reflect sketching & photography of
Contemporary changes in selected zones.
the Society?

Analysis using criteria

derived in the literature
review.
Research Question 3 Objective 3 Methodology
Is cinema and Architecture a To define the inevitable Analysis of observation and
‘power couple’ as symbiotic relationship Cinematic documentation.
interpreted by many? between Cinema and
Architecture.
SPATIO-TEMPORALITY OF FORTKOCHI: ANALYSIS THROUGH CINEMA PRODUCED IN THE
CITY

Spatio Temporality

Trends of Urban growth in Fortkochi

LITERATURE
Lived Space in Cinema: Interpretation
REVIEW
of a Space
Analysing Architecture of a place and
its interpretations through Movies

Parameters formulated to analyse spaces in movies.

PRIMARY DATA

Parameters for a Picture Analysis & study

LARGE STUDY: Site Specific Study area is determined.

PILOT STUDY:Survey

Comparative Analysis of the Pilot and Large

study using shots from movies, sketches &
photographs.

Discussing the potential of Cinematic Documentation in capturing different facets of

Fortkochi.

Identification of the potentials of Cinema in recording time and Conclusions.

Figure 3.1- 1: Flowchart outlining the methodology of this Dissertation (Source: Author,2020)
3.2 Data sources and Data types

1. Area selection Criteria:

Firstly, depending on the primary medium of documentation-films, the study
area in Fortkochi is determined. The initial data collection was the list of films
shot in Fortkochi, which was procured from Fortkochi Police Station. The
availability of data was of concern, as records of films shot from 1980’s alone
was available, which turned out to be a record documentation after declaration
of Fortkochi as a heritage area.
Time Period 1980- Today

Study area 4 impact zones

Figure 3.1- 2: 4 Zones with frequently high number of Film shooting post 1980 (Source; zones identified from
data procured from the Police Station, Fortkochi)

2. Literature Review: Secondary Data

 Facts, figures and statistics already recorded prior to the study, mentioned in literature
review.

Fortkochi Internal Data o Research reports, statistics, Articles,

Guidelines and internet-based
reports.
o Valid information collected from
website of authorized departments.

3. Primary Data
i. Facts, figures and information newly collected for the study.

LARGE STUDY Observational Data; Site Visit

I. Selection of a Building Typology among 3
prominent built forms, in each impact
zones.

II. Study of History and context of the area

and the property.

III. Record ownership details

IV. On-site analysis of Structural, Spatial

Characteristics and the street Typology

V. Photographic Documentation & personal

approaches.

PILOT STUDY Questionnaire Data

Idea generation through in- depth interviews
and surveys among focus groups through
controlled Quota Sampling.
Idea evaluation by personal surveys
 Survey & Interview 1) Residents and Shopkeepers of

Among Focus groups the Princess street and the Rose

Through Quota lane.
sampling
2) Guides and take-carers of
properties in the Church road.

3) Shop keepers, auto drivers and

local residents.

4) Residents & shopkeepers of Lily

street

Interviews & Survey were executed in all the impact zones and Fort Nagar residential area, as
it’s the only residential area with many early residents who settled here along with the
residents in the impact areas, in early 80’s. This area didn’t change as the impact zones have,
more precisely speaking the area with very few homestays & other amenities. Interviews
were also executed among the drivers and guides as they were all localities who lives and
work here for many years.

ii. Another main Source of data collection were documentation at 2 levels;

Figure 3.1- 3:Flowchart showing the sources of documentation

3.3 Data Collection
Selection of the stretch & determining the time period of data collection for the study,
totally based on data of movies shot in Fortkochi, procured from Fortkochi

Determining the Impact zones, namely; Impact Level 1; The beach Rd

Impact Level 2; Lilly street

Impact Level 3; Church Rd
Impact Level 4; Princess street & Rose
lane

Determining the Building in each Impact zones;

Impact Level 1; The beach Rd - PWD Rest House

Impact Level 2; Lilly street - Christian House
Impact Level 3; Church Rd - Alphonso Maria Bungalow
Impact Level 4; Princess street & Rose lane

Procedure used in the study for collecting and recording data.

a) Secondary Data collection;
Research reports, statistics, Articles, Guidelines and internet-based reports.
Valid information collected from website of authorized departments.
b) Primary Data collection;
Questionnaire Data Survey & Interview among target groups recording
their perception in spatial Change of the region.

Observational Data Study of History and context of the area and the
property, Record ownership details, On-site analysis
of Structural, Spatial Characteristics and the street
Typology, as mentioned in chapter 2.4.
 c) Selection of movies shot in the impact zones
d) Proper filtering of data & collection of shots from selected movies.
e) Analyzing observational data and Questionnaire data from time period 1980
f) Picture Analysis
g) Comparison of the Pilot and Large studies

Results, Predictions and Forecast

3.4 Data reduction and analysis

Among the areas were films are shot, top destinations / places of high interest for film
shooting are observed. This is followed by, determination of impact zones and selection of
buildings for study.
The buildings where chosen on the following criteria:
a) Building of Cultural, traditional & historic importance.

b) At least one movie produced at the structure which either captured its interiors/ exteriors
or both.

Table 3.3- 1: Initial classification of buildings selected

Impact zone Building under the impact Classification under

zone Building Typologies of
Fortkochi
Beach Rd PWD Rest House Street Form
Lilly street Christian House Street Form
Church Rd Bastian Bungalow, Alphonso Bungalow Form
Maria Bungalow
Princess street & Rose Rosette Wood Castle Courtyard Form
lane XL Hotel Street Form
Cinematic Documentation was executed based on the different films shot in respective
buildings in a time frame of the last 40 years. This included collection of data from intensive
self-research which was time consuming and help from the owners of the property.

Table 3.3- 2: List of movies shot in the impact areas (Source- internet, procured from Police station)
Movie capturing the building & its precincts,
Building with the time when shooting was executed
PWD Rest House Ente Upasana -1984
Ezharakoottam - 1995
The Beach Amma Ariyan- 1986
Annayum Rasoolum- 2013
Inspector Balaram-1991
Cheenavala -1980
Parijatham - 1976
Kalikalam-1990
Da Thadiya-2012
Trivandrum Lodge-2012
Ezharakoottam-1995
Lollipop-2008
Beautiful-2011
Ezra-2017
Christian House at Lilly street Da Thadiya-2012
Orkkapurathu-1988
Violin-2011

Bastian Bungalow Inspector Balaram-1991

Alphonsa Maria Bungalow Ezra -2017
Beautiful-2011
James and Alice-2016
 Amma Ariyan- 1986
Trivandrum Lodge-2012
Ezharakoottam-1995
Rosette Wood Castle Karvaan-2018
XL Hotel Amma Ariyan- 1986
Princess Street & Rose lane Ezharakoottam-1995
Lollipop-2008
Amma Ariyan- 1986
Karvaan-2018
James and Alice-2016

Photographic documentation is done during the site visit. After the collection of the pictures,
both cinematic and photographic documentation, they are all analyzed and categorized on
the framework laid in the literature review.

Figure 3.3- 1:Study parameters for analyzing space in the movie

3.5 Ethics and Limitations
The survey, interview, live sketches and photography were done with the permission of
concerned authorities. The residents, owners and the authorities were very helpful in sharing
personal details and information. The sketches, plan and photographs were collected and
made by the author herself. Paraphrasing is done to avoid plagiarism. As the results largely
depend on information gathered from the residents, the credibility of the information was
rechecked with the localities, police and the medium used for documenting, Cinema. The
focus group was selected on controlled quota sampling, it is to be noted that the result of
survey could vary as the sample strength in all impact zones were different. And the survey
may also reflect changes of perception, opinion and experience of knowing the area. The
questionnaire for general public was designed, such that the focus group gives response
based on the recent years only. This was made to make the sample group comfortable of
his/her knowledge about the area. The Covid pandemic has affected further documentation
and research.

4. Results
4.1 Site Specific Large Study:

Figure 4.1- 1 ;Diagrammatic representation of areas of interest (impact levels)

 4.1.1 Princess and the Rose Street

• There are 2 recognized built forms in these streets, the street from and the courtyard form.

•Buildings edge the street often with on-street first floor access

•Small narrow streets

•Very little public open space, not pedestrian friendly with intense parking problems

•Buildings of mixed architectural style with active street interface

•Middle/lower income group residential areas

•Shop fronts abutting the street, create a unique street character.

Figure 4.1.1- 1: Occupancy mapping of the impact area 2020, the highlighted area features more residences
running shops in it

The streets are one of the very early residential areas in Fortkochi settled by the Christian
community. Today these street act as the commercial hub of Fortkochi. The transition
phase had interventions not only in the occupancy, community and lifestyle but on the
Architecture of this area too.
 •Residences catering shops in the same floor or the upper floor is another feature in the
streets.
There are 3 major existing building typologies in these zones;

Figure 4.1.1- 2: Structure that house Figure 4.1.1- 3: Structure Figure 4.1.1- 4: Structure housing
shops abutting the street (Source: housing commercial use residence and shop on the same
Author) throughout all floors (Source: floor (Source: Author)
Author)

Figure 4.1.1- 5:Typical section of the Street (Author)

I. Princess Street
•Buildings edge the street often with on-street first floor access, Small narrow streets with
very little public open space, not pedestrian friendly with intense parking problems.

•Buildings of mixed architectural style with active street interface.

 Figure 4.1.1- 6: Illustration of typical built form in Princess Street ,2020 (Source: Author)

Table 4.1.1- 1: Picture analysis (source: author)

MOVIES SHOTS OF THE STREET PICTURE ANALYSIS

The street happens to appear

thrice in the movie. In all
context the film portrays
Princess street as a busy
street. In other words, the
engaged and occupied
Figure 4.1.1- 7: Image of a junction where 4 linear paths terminates at
the center, Lollipop-2008-32min (Source: Hotstar) characteristics of the street
are captured in the shots.
All the built forms in this
street accommodate
commercial shops in its
ground floor. Being
Fortkochi’s commercial hub,
the shops exhibit different
Figure 4.1.1- 8: Image of shot emphasizing outdoor signages, roof
signages and hoardings, Lollipop-2008-32min7sec (Source: Hotstar forms of advertising, which
images)
distorts the aesthetics of the
existing structure.
 Portrayal of the narrow street
with a vintage coloring
emphasizes the ancient
grandeur of the street. This
ad aims in capturing all the
ancient streets of Fortkochi.

Figure 4.1.1- 9:Hero Maestro Scooty Ad (Source: Hero

Motocorp,2013)
The shop houses are
captured in this shot. The
street is shown terminating
into a look alike busy street of
Mattancherry, which’s busier
and more occupied.
Figure 4.1.1- 10: Malayala Manorama Ad (Source: Manorama
online,2018)
Shop-houses act as the
background in this shot. They
are new building typology in
this street post 1990’s (Rajan
Gurukal, Raghava Varier).

Figure 4.1.1- 11: Malayala Manorama Ad (Source: Manorama

online,2018)

Façade of an early Christian

courtyard house, which is
today run as a Homestay
could be seen at the
foreground, along with the
main leads, whereas the
southern end of the street
Figure 4.1.1- 12: Hero Maestro Scooty Ad (Source: Hero
Motocorp,2013) (with modified facades &
 outdoor signages) is put out
of prime focus acting as a
background of the event.
Structure which was once a
residence is renovated to its
full glory. The façade was
restored with its genuine
architectural characteristics
post 2000, into a Hotel. The
Facades exhibit the typical
Figure 4.1.1- 13: Hero Maestro Scooty Ad (Source: Hero
Motocorp,2013) Dutch windows of wood,
wooden members supporting
roof, red oxide floors, white
walls etc. which makes this
street the most attractive
spots for any kind of visual
productions.

Figure 4.1.1- 14: Hero Maestro Scooty Ad (Source: Hero

Motocorp,2013)

Jetty Hotel in this street

display the most sublime
works of ancestral
engineering. These structures
are the oldest built form in
the street. The attractive
façade with the bridge over
Figure 4.1.1- 15:I promise Riya short film, Episode 2 (Source;
Hotstar,2019)
 arching the lane in the Koder
House are all ancient
remnants of the Jewish family
who stayed here for years.

Figure 4.1.1- 16:Karvaan 2019 (left), Amma Ariyan 1986 (right)

(Source:melinnium pictures)

Figure 4.1.1- 17:Figure ground map of Princess Street with labelling of shots mentioned above
 Inference from the Picture Analysis

The northern end hosts the

most ancient structures of
the street which are restored
preserving its outdoor
characteristics.

Area with change in

occupancy and outdoor
features: The southern end
features shop houses. Only
a handful of them were in-
built. All the rest features
ground floors housing
commercial activities post
1980’s only.

figure 4.1.1- 18: Figure ground map of Princess Street depicting areas of major change in built forms: Visual
Analysis from the shots explained and live on-site analysis

Analysis from Photographs available

figure 4.1.1- 19: Image of the junction where 4 linear paths figure 4.1.1- 20:Image of the northern end
terminates at the center, facing north (Source: (Source: Keralatourism.org,2018)
Keralatourism.org,2018)

The characteristically different pictures of the ends of the same street also indicate that the
street has layers of built form which are both exploited and restored, which is evident in
façade transformations.
figure 4.1.1- 21:Mixed use building in Princess street. Perfect example of how façade reconstruction exploits
the expression on existing building. Notice the contradictions between the newly constructed façade in the
ground floor & existing façade in the 1st floor (source: author)

Analysing the Change of a segment of the Eastern side of Princess Street

figure 4.1.1- 22:Live Sketch of eastern side of Princess Street –(from left to right) Preethy Stores, Shop n save, Elite
bakery(run as an ancestral property by the early residents), Tourist information Centre, Bench Resto Cafe, ancient
residence with no façade makeover(Source: Author, January 2020)

figure 4.1.1- 23:Sketch of Princess street in 1980’s -(from left to right) Residence of early Muslim residents,
Property of the church-a home Centre, Residence of early Christian family, Residence, Residence(Source: Author,
January 2020) (as said by existing owners, residents)

figure 4.1.1- 24: Facade of a Restaurant (left) and elite hotel (right) in Princes Street, Fortkochi, (source:
author,2020)
 The street has both mixed occupancy (catering residential and commercial use) and fully
commercial occupancies. The area has now grown to be the commercial hub of Fortkochi. The
rate of Spatio temporal change today is less, as the structures are already reconstructed,
reused and occupancies changed.

II. Rose Street

figure 4.1.1- 25: Present day occupancy of the street (source: author), based on google map of the street.

XL Hotel Block and its immediate neighbourhood Featured in Amma Ariyan (1986) as
the Hotel itself.
Rossitta Wood Castle Featured in Karvaan (2018) as a Hotel.

Rose Lane is one of the oldest streets of the early Christian residents and also houses the
famous Vasco Homestay, which is believed to be Vasco da Gama’s dwelling place in Fortkochi.
Vasco House, which was once a Lodge, is a Homestay for years now. Today only 2 built forms
functions as residences, all the rest are converted catering other uses. From the XL Hotel in
80’s, the street has now changed its occupancy primarily to commercial one, with its majority
being Hotel.
1.XL Hotel: Main Block with dining facility

Figure 4.1.1- 26: Shots of XL Hotel Main block from Amma Ariyan (1986) (Source: Millennium pictures)

Figure 4.1.1- 27: Photograph of the XL Hotel main block: (from left to right)Structure in 2017 (Source: The
times group), Structure in January 2020 (source: author)

The picture above gives us a clear idea about the façade alterations made. XL Hotel wasone
among the very early Hotels in Fortkochi (Sohan, 2016). The occupancy is the same as in
the 80’s, change is accompanied with façade alterations. Well landscaped entrance ,
ornamented doorways,changed signages, ornamented roof detailings ,patterned wall etc.
states the spatio- temporal change in the built form.
2.The XL Hotel Bar Block

Figure 4.1.1- 28:Shots of XL Hotel from Amma Ariyan (1986) (Source; YouTube)

The picture depicts the hotel block in its 80’s.The first floor housed a residence which ran a
hotel in the ground floor.

The image depicts the typical façade of

the streets. The hotel had 3 entrances-
one to the first floor, to the ground floor
residence and a separate entrance to the
shop in the same floor. The structure was
built catering commercial use in it.

Figure 4.1.1- 29: Photograph of the Hotel: Structure in the

early 2000’s (Source: alamy images)
The structure had a façade makeover in
2010, which had lot of internal
alterations too. The structure houses
hotel in either floors today.

figure 4.1.1- 30: Photograph of the Hotel: Structure Today

(Source: Author)
3. The neighbourhood

Figure 4.1.1- 31: Shots of its neighborhood in Amma Ariyan (1986)

Figure 4.1.1- 32:Façade of the adjacent building(left) and the street(right), (Source: Author)

Picture Analysis:

figure 4.1.1- 33: Façade of the XL Hotel block and its neighborhood in 80’s (Source: Author,2020)
 figure 4.1.1- 34: Façade of the XL Hotel block and its neighborhood today (Source: Author,2020)

The main block had interventions in its façade, the entrance gate is now cladded with wood
all over, which makes the gate odd from the rest of neutral shaded walls. On the other hand,
this feature helps as a characteristic feature acting as a marker in this region. The signages
and name boards has destroyed the aesthetics of the built forms, but they also help in
legibility as the street is crowded with commercial services throughout the stretch. The XL
Hotel Bar block has witnessed occupancy changes from hosting a hotel with residence above,
to a hotel, and now a bar. There are interventions made in façade as well. The neighbourhood
building has also witnessed change in façade without change in occupancy.

figure 4.1.1- 35: Figure ground map of Rose Street with labelling of shots mentioned above (Source: Author)
 Main Building Typologies in the Street

figure 4.1.1- 36: Plan of typical houses in the street (planning in early 80’s as said by the owners of the house),
in few houses the first floor is run as homestay today (Source: Author)

4. Rossitta Wood Castle

Christian House in Rose Lane where one of the early built European houses in Fortkochi. Lived
by a family over generations, and now a Hotel, this piece of ancient dominance, is restored in
its glory and charm. The plot is now owned by Suveesh along with its previous owners.
Table 4.1.1- 2:
Films shot Time period of Ownership Status along Structural/spatial
documentation the years changes made
Christian Family Built by the European
family (1683-1795)

Christian Family & Business Renovation in 2016

partner
Karvaan 2018 Christian Family & Business Nothing
partner
Brothers Day 2019 Christian Family & Business Nothing
partner
 figure 4.1.1- 37:View of Rossitta wood castle, February 2020(Source: hotelrossitta.com)

figure 4.1.1- 38:Ground & first floor plans of the house in early 80’s (said by the owner) (Source: Author)
 figure 4.1.1- 39: Ground & first floor plans of the Hotel-2020(Source: Author)

figure 4.1.1- 40: The Hotel today. Captured in 2019 movie Karvaan (source: Hotstar)

The structure is portrayed as a Hotel run in an ancestral property in the movie, towards the
end the viewer percieves the structure as one of the main leads were most of the events
are held. The image captures the present state of the property- the restaurant with seating
and the pavement in the courtyard are well documented in the Cinema. The restaurant is
made alongside the adjacent wall of another building. Additional kitchen and service lots
were made, whereas the bedrooms were changed into hotel rooms, few bathrooms were
attached in them later .
 The rear wall of
adjacent building
marked the
boundary.
The courtyard
also housed a
mini pond in the
garden.

figure 4.1.1- 41: Inner courtyard houses had well maintained garden with no pavements in the courtyard
(source: Author)

All the houses here had well-manicured courtyard with diverse plant species in it. Today, only
a handful maintains it. Most of them has fully made the courtyard adapt other functions.

Analysing the Change of a segment of the Eastern side of Rose Street

figure 4.1.1- 42:Live sketch of the eastern segment of the Rose street- (from left to right)Rosette Wooden
Castle Hotel, Residence, Residence with the ancient owners, XLHotel ,XLHotel main block(Source: Author,
January 2020)

figure 4.1.1- 43: Sketch of the eastern segment of the Rose street in 1980’s- (from left to right)Residence of
early Christian family, Residence, Residence with the ancient owners, XLHotel ,XLHotel main block(Source:
Author, January 2020) (as said by existing owners, residents & photographs available)

4.1.2 PWD Rest House and the Beach

The Rest House, built by the British, today owned by the Government is a Rest house of Public
Works Department, supporting accommodation of government servants and members of
general public. It is an old structure which overlooks the beach. The house is believed to be a
rest house for the military bands of the British.
 Films shot Time period of Ownership Status Structural/spatial changes
documentation along the years made
British Period 1814-1947 British military Built
Ente Upasana 1984 Government of Kerala Maintenance
Ezharakoottam 1994 PWD, Government of Maintenance &
Kerala Renovation of the block in
the same plot in 1997
Photographic February, 2020 PWD, Government of Maintenance every year
documentation & Kerala
sketching

The rest house in Ente Upasana is shown as women’s hostel in Ootty.This portrays the feature
of Fortkochi to mimic other places and its Architecture. Whereas, in Kanalkkattu, the, the
place is shown as a Police station, mostly focusing its colonial grandeur. This nature of
Fortkochi being multi-cultural was used to its best in early 80’s in many commercial and
regional movies, showcasing it as Goa, Pondicherry, Ootty, Mahe and Alleppey.

Figure 4.1.2- 1: Property use during the British period, as said by the chief caretaker Mathai, who has been
an employ since 1983 (Source; Author)
 Figure 4.1.2- 2: -Property use since the last 30 years, as said by caretakers Mathai & Midhun, accompanied
by site study (Source: Author)

The female lead Lathika, portrayed by Suhasini Maniratanm in Ente Upasana, hails from a
humble background in a village, which was shot in inner remote area of Kannur, Kerala. The
female protagonist leaves her village to pursue a decent honest penny to a town, which is
Kochi. She is appointed as an office worker and stays in a women’s hostel in town. Whereas,
Arjunan (Mammotty) the male lead, apart from other male characters who depend on
farming & export works in remote areas, is shown as an educated, settled and flirtatious
figure. Whereas, the 1995 movie Ezharakoottam, shows the free spirit of active young boys
daring to anything, unemployed and leading a happy-go-lucky-life, often referred to as black
comedy mafia action genre in the south. Similar movies like Chotta Mumbai (2007), Big B
(2007), Annayum Rasoolum (2013) etc. also portray this character parallelism of Fortkochi.
The writer has shown significant differences of the village and the town captured in the
movie- Kochi is expressed as a state of freedom whereas Fortkochi as an area where she seeks
peace and forget her tragic past. The beach and its characters add to this idea of space.
The property lies in the Protected stretch of Fortkochi. The street and vicinity hold other
colonial rest houses and clubs built by the British. The structure is of a very simple layout, with
elongated pathway, having a gathering hall at the center, the rooms and a kitchenette, today
a room for the guest bounded by veranda with long glass windows, today sealed by a mesh.
The central hall was used as a space of gathering and storage by the Britishers. The kitchenette
also had a fire barn says the care taker. The structure is an amalgamation of the British and
traditional architecture, probably among the very few structures made by the British in
Fortkochi. The structure has undergone several structural changes over time, recorded data
by the author as part of a site visit to this impact area is mentioned in this chapter. The
Assistant Engineer said that the structure was left unused for years, it was after noticing the
threat caused, the authority sanctioned for a modification and maintenance of the same in
2000.
PICTURE ANALYSIS
A notable feature of British Architecture is the wide spread lawn which could be seen
in this picture. Another key feature of the structure along with any other beach side
houses are raised platforms facing the Beach. In this property, the platform was
prominently used by the British for coastal surveillance and as a leisure spot. The
Boundary walls were ergonomically designed for coastal surveillance, for a man
standing by the wall. Well-groomed gardens were another feature of colonial houses.
The picture illustrates these colonial features.

figure 4.1.2- 3: Shot from Ente Upasana featuring the figure 4.1.2- 4: Shot from Ente Upasana featuring
wall, lawn & the platform, 1984-1hr 15min (source: the boundary wall in 80’s, 1984-35min (source:
biscoot pictures) biscoot pictures)
figure 4.1.2- 5: Platform under ruin & reconstructed
boundary wall ,2020(Source: Author)

I. The replacement of gate was necessary, as the old one began to corrode. The
revised functioning of all blocks asserted the necessity to replace this gate. This
is now made into a secondary gate, with restriction to vehicles. Replacement of
the lawn with concrete pavement was a part of this as well. Today, these
pavements protrude out, cause water logging. The platform was in a good
condition in 80’s. The structure collapsed later due to poor maintenance & was
reconstructed later. The boundary walls were reconstructed. Garden is lost due
to the pavement laid and lack of maintenance.

figure 4.1.2- 6: boundary wall & entrance figure 4.1.2- 7: Modified boundary walls & gate,2020
gate -Shot from Ente Upasana, 1984-1hr (Source: Author)
30min (source: biscoot pictures)
 II. Roof structure of timber rafters and Mangalore tiles with overhang along with
Earthly toned projection of rafters can be evidently seen. Natural terracotta
colour is used for the roof tiles and the timber work-left unpainted. The floor
is raised to 30 cm with oxide finishes. Off white coloured walls with tint of
black, Lime plaster finished wall openings with doors, windows of Natural,
white or off white. Timber where the roofing material used. Elongated open
Windows imparts colonial grandeur to this building.

figure 4.1.2- 8: Shot from Ente Upasana, evidently seen lawn & façade,1984-16min (source: biscoot
pictures)

figure 4.1.2- 9: Lawn substituted with pavement inside, altered ground level, replaced roof,
replaced doors & windows. Floor level is the same as the ground level with a 2 cm dip, this induced
flooding of water inside, 2020 (Source: Author)

III. Replacement of roof and its elements by Steel Truss could be evidently seen in
both interiors and exteriors. The open windows stretching throughout the corridor
are sealed completely due to security reasons.
 figure 4.1.2- 10: Wooden rafters could be seen in the interior shot, Ezharakoottam,1993(source:
movieworld.in)

figure 4.1.2- 11: Replaced roof structure seen in the interiors ,2020(Source: Author)
IV. Façade makeovers

figure 4.1.2- 12: Shot from Ente figure 4.1.2- 13: The blocks figure 4.1.2- 14: In 2015, all blocks were
Upasana (source: biscoot were painted white & painted yellow- brick color,2020(Source:
pictures) boundary walls were Author)
modified in 1998 (Source:
PWD Rest house images)
I. The façade of the sensitive structure of a century old were constantly changed,
especially the colour.

II. The authority has no document of the changes made.

Issues Addressed through this analysis -

I. Physical materials of a previous time, that may have been best at the hour of
construction, may have lost its functionality and properties, especially when it comes to
its structural stability or aesthetic appeal and now supplanting them with contemporary
better working materials is recognized as the best option restoring its glory. The use of
 materials and colors that do not match its existence or context and the procedures taken
over years do not effectively uncover the condition of a memorable structure.
II. The owners, PWD, Government of Kerala do not hold records of changes made in the
structure, as the renovation work was done on contract basis. Except few bills, the agency
holds no record on the kind of interventions done (Source; PWD Assistant Engineer). Such
reasons make it obligatory to impel a precise methodology in maintenance of the
structure.
III. The care takers and the authority made it very clear that the structure is maintained,
especially with the works on its facade and boundary walls like painting every December,
is carried out annually only in favor of Tourism as the facade of the house could be directly
seen from the beach walkway.
IV. The authority holds no photographs of the structure over the years, except the one old
photograph which is displayed in the House. Therefore, analysis of images eventually
reflects the contemporary developments happened over years.

Comparative Study: Beach front Rest Houses and clubs in the area:

Figure 4.1.2- 15: Stretch of Beach front rest houses & clubs, highlighted area is PWD Rest house
Table 4.1.1- 3: Study of building Features in the area

figure 4.1.2- 16: David Hall (source: davidhall.in)

The David Hall was initially the living arrangement of the Dutch representative and his
Dutch military staff. The Structure was later used by Jews and many tenants who made
changes in the structure. David Hall has been rented to the CGH Earth gathering of lodgings
since 2007. They as of now keep up the Hall and the premises. The Dutch style has been
kept unblemished and the advanced lighting installations have been made to suit the
design of the structure (David hall, 2013). In spite of the fact that David Hall has had
numerous tenants throughout the years, the engineering of the structure remains to a
great extent unaltered. The wooden rooftop takes after an improved slope with a truss as
support, and the windows have four segments. In short, Ar. Ramaswamy and the
authorities have maintained it with all the imbedded characteristics of the old structure.

figure 4.1.2- 17: The Cochin Club (source: cochinclub.in)

Built by the Britishers as a Club, the authority has made many changes in the Club. Apart
from internal changes made, the authorities have maintained the façade as it is,
throughout years.
 figure 4.1.2- 18: Thakur House (source: alamy images)

The Dutch built this house as a Community centre and Club for the members.The
ownership was later given to a spice trading company,and in the 1900’s it was owned by
the National bank of India to House their Managers.In 1977, it was owned by a Tea Trading
company, Bhadur Thakur and Company , since then it has been a residence for the Thakurs
(The cultural mapping project, 2017). The building has undergone a lot of alterations and
internal changes, whereas its exterior aesthetics is untouched.

Features of the neighbouring structures over PWD Rest House:

⚫ Bungalow type/ Street form with white as the predominant color, with 1 or 2 floors;
ground Floor 3.5m height & First Floor 3m ht.

⚫ Roof is predominantly of timber structure alone, with a slope of 33 degrees (Government

of Kerala, 2001).
⚫ Doors, windows of Natural, white or off white or nut-brown color & cornices of a
consistent character throughout.
⚫ The floor is probably raised to 30-60 cm, with oxide / cement as finishes, & usage of
granite, marble and other materials is not seen.

⚫ The streets exhibit same plinth line throughout.

⚫ Use of materials in outdoors matching its context.
Almost all the structure in the Beach Precinct has changed over the years. There are more
investors in this region, compared to other parts of Fortkochi. The major concern of the area
is shift in ownerships, as they directly depend on the structure’s existence. More changes
could happen in this area in the near future.
The Beach

Figure 4.1.2- 19: Map of the Mahatma Gandhi Beach, Fortkochi Beach

Figure 4.1.2- 20: The Chinese fishing nets of Fortkochi, India (depiction from the 1840s)-(left),
Eastern side of the Beach- Procured from a Resident -estimated year in the picture 1950 (right), (source:
thehindu.in)

1. The films shot at 60’s asserts the area as a Fishing Village equipped in heavy
fishing and boating.

Figure 4.1.2- 21: Shots of the fishing nets in Fortkochi in Thulabaram,1968 (source: millennium pictures)
 2. There was a landmark at the
beach, built by the Dutch-
called the gateway to the
beach. Thulabaram is of the
very few films capturing the
structure. Later by 80’s the
structure collapsed.

Figure 4.1.2- 22: Landmark at the beach and its location

(source: millennium pictures)

3. The stages before & after

the first stage of walkway
construction at the
eastern end of the beach
is documented in movies.

Figure 4.1.2- 23:Shots from Cheenavala,1975 (source:

millennium pictures) & Amma Ariyan ,1986 (source:
millennium pictures)
 Figure 4.1.2- 24: Beach walkway in 1980 (left) & 1990(right)
Shots from Amma Ariyan ,1986 (source: millennium pictures) & Kalikalam,1990(source: biscoot pictures)

Figure 4.1.2- 25: Developed Beach walkway in late 2000’s

Shots from Trivandrum Lodge, 2012(source: Hotstar)

4. The pictures depict the walkway built in 80’s, followed showing the
developments in infrastructure (lighting & seating, lamp posts and concrete
pavement in the walkway)
5. Size and number of Chinese fishing nets used could be analyzed and learnt
through movies.
The Chinese fishing net installations spanned from the today junk car station till the river side
beach walkway at the extreme west. Being the Fishing Village in late 70’s, the beach had up-
to 20 widely spanned lift nets (Kerala.com Travel Divison, 2005). The Chinese fishing nets
where of great importance as it was the most ancient lift nets in Kerala. The main feature of
the nets was the span and its operating depth. From 2000’s Fortkochi witnessed a drop in
number of lift nets raised and used. Today only 4-5 smaller sized lift nets are in use. Fisherman
addresses lack of maintenance and investment to frequently install nets depending on the
state of the tide as the reason for this drop. On the other hand, the elegant construction and
rhythm of operation, makes the spot the most popular tourist destination.
Figure 4.1.2- 26: Wide nets captured in movies Cheenavala,1975 &Amma Ariyan,1986(source: millennium
pictures)

Figure 4.1.2- 27: Wide nets captured in movie Amma Ariyan,1986

Figure 4.1.2- 28:Lift nets in movie Kalikalam, 1990

Figure 4.1.2- 29: Shortening of the lift net span could be seen in shots from 1995 movie Ezharakoottam

Figure 4.1.2- 30: Narrow spanned lift nets in Annayum Rasoolum, 2013
The pictures depict widely spanned lift nets which require about 30 people to operate,
whereas the 7th and 8th images show that the span and height of the lifts are decreased, the
last images, portrays a model of the latest short spanned lift nets which could be operated by
15 people only.

Figure 4.1.2- 31: Shot from Inspector Balaram- 1990, 1hr40min- One of the very few documentations of the
array of net lifts along the walkway (source: millennium pictures)

6. The beach, in 2000’s host international programmes, programmes of regional

importance, tourist spot and cinematic spot.

Figure 4.1.2- 32: Shot from the movie Pranayam, 2011, set making (Source: Hotstar images)

Figure 4.1.2- 33: Shots of the walkway from beautiful,2011 &Karvaan ,2018 (Source: Hotstar images)
Timeline made from Analysis of the Pictures:

figure 4.1.2- 34: Figure showing timeline made from the picture analysis (source: author)

4.1.3 Lilly Street and the Christian House

Figure 4.1.3- 1: Map showing the land use of Lilly street & its vicinity (source: Author), based on Google map
of the area
 Figure 4.1.3- 2: Graph showing the Present-Day Figure 4.1.3- 3: Distribution of business among
Nature of Business -54 survey samples collected from the Homestay owners -data collected from 30
Lilly Street & its vicinity survey samples(right), (Source; Author, Jan 2020)

⚫ Tourism opportunities in the area has attracted more residences run a Homestay rather
than a shop. If a shop is opened in this locality, it would be of an antique store or a
boutique (Sohan, 2016).

⚫ Hotel Malabar and Chiramel Residency (1982)were the earliest Hotel and Homestay in
the precinct, the Delight Homestay was the first homestays in Fortkochi (located in post
office rd.) , followed by many which acted as a trigger in turning other structures to switch
into hotels and homestays thereby indirectly influencing the neighborhood in catering a
commercial use which has more rate of return, over time than residential use which can
sweep away high profit as the area supports tourism to a huge extent.

⚫ Over 5 early residents sold their property -Recent trend of Gentrification / displacement
of residents from their neighborhood could be seen for the last 2 years in this area.

⚫ The incorporation of new type of living occupancies in the area, over the years has placed
a heavy pressure on existing neighborhood, acting as a trigger to the other building
occupancies in the area, threatening the living conditions of the residents. (There was a
protest conducted by the residents against investors who were threatening them to hand- over the
property to the needy in mid-2019)

I. Christian House
Christian House in Lily street where one of the early built English houses in Fortkochi. Lived
by an Anglo-Indian family over generations, and later a Homestay, this piece of ancient
dominance, is no longer in its glory and charm. The structure is put into renovation in the
early Jan, this year. With property disputes and violation of the rules, the owners are in a
continuous struggle with the Cochin corporation, says the contractor. The plot is now owned
by Chungath group, who plans a restaurant in area.
Table 4.1.3- 1
Films shot Time period of Ownership Status along Structural/spatial changes
documentation the years made
Anglo Indian Family Built during the Dutch period
(1683-1795)

Violin 2011 Anglo Indian Family Painting the exterior

Da Thadiya 2012 Anglo Indian Family Painting the exterior
Bicycle thieves 2013 Anglo Indian Family
Adam Joan 2017 Anglo Indian Family Painting the exterior,
replacement of the gate

The house justified very much to the characters on screen who were all of the Anglo Indian
and Jew community, just as the original owners of the Christian House.
The plan of the house is irregular and complex, with visible additions and enlargements. The
house had its first stage of construction with the ground floor, and the upper floor was a later
addition. The house with Dutch antecedents has rooms with approximately equal in size
arranged laterally with separate entrances into each, flanking a central hall. The kitchen
houses a wood fired oven; this is one of the main characteristics of a Dutch house. Bluntly
plain, lacking symmetry, the house reveals its past in the brought by the colonists. Typical
features display the persistence of this medieval outlook. Steep pitched roofs, eaves are
closer to asymmetrically placed windows. Other features include wooden doors and windows
with no ornamentation. The exterior is devoid of ornamentation, although its abstract
simplicity and careful proportions achieve a high aesthetic quality. On the other side, the
interiors have elaborate moldings, classical cornice and arch headed window openings.

The ground floor residential unit has a 2m wide corridor, with the common hall in its center,
spilling to a recessed living unit and a storage space nearby. Vertical circulation includes
staircase that runs from the exterior of the structure to the upper floor. The ground floor also
houses utility spaces for storage and an additional hall near the entrance.
 Figure 4.1.3- 4: The Christian House (source: author)

1. This Christian House was one of the very few houses exhibiting the ancient
Dutch Architectural feature of externally abutting stair.

Figure 4.1.3- 5: Shots showing external stair of the House -(from left) Adam John 2017, Violin-2011 and
Violin-2011(Source: Hotstar images)
2. These Houses here had the most diverse perfectly manicured gardens in
Fortkochi.

Figure 4.1.3- 6: Shots showing the garden-(from left) -Adam John (36min)2017, Adam John (36min)2017,
Bicycle thieves 2013(Source: Hotstar images)

3. The interiors at different time period was modified by the owners, for films
shot here like back to back- painting of facade and its interiors.
 Figure 4.1.3- 7:Interiors of the House-(from left) Violin-2011, Violin 2011(Source: Hotstar images) &
Orkkapurathu-1988(source: millennium pictures)

The Proposed Hotel has a pool at the inner side of the plot. The heritage area permits new
construction of existing water body/ ponds in the plot rather than granting permission for a
new one, says the contractor. As they wanted a pool on site in this project, the Engineer of
the project submits document of the plot with a pond for the sanction of the project. A pond
was constructed on site to prove the existence of the same. This was done to get permission
to build a pool here. Apart from this the project destroyed the variety of plants in the plot.

Figure 4.1.3- 8: Site condition today & its proposal- (from left) Future Hotel, House in 2019 & a photograph
shot in 2020 (source: Author)

Today, the ancient house with extrinsic Dutch features both in its exteriors / interiors nor its
garden exist in its old condition. The structure could have been restored. The building only
needed a proper intervention.

The Christian House and its Neighborhood

Features of the neighbouring structures over Christian House:
⚫ Street form with off white as the predominant color, With 1 or 2 floors. Main character
includes: Break line between two floors which is represented as an architectural
moulding throughout the street.
⚫ Colored/structural/ reflective glass, awning ornamental ironwork/grills/jallis are not
seen.

⚫ Overhang of 60 cm, roof is of timber structure of timber rafters and Mangalore tiles.
Visibility of roof line alone from street below is also important, with the street with a
consistent roof line.

⚫ The street has all variant occupancies in it, irrespective of other streets.

Figure 4.1.3- 9: Neighborhood of the Christian House, Figure 4.1.3- 10: Neighborhood of the Christian
Christian house over a century old, built around the House, Christian house over a century old, facades
same time, still in its ancient condition (source: modified (source: Author)
Author).

Figure 4.1.3- 11: Neighborhood of the Christian Figure 4.1.3- 12: Neighborhood of the Christian
House, Christian house over a century old, built House, Christian house over a century old, built
around the same time, restored well (source: Author) around the same time, still in its ancient condition
(source: Author).
 4.1.4 Alphonsa Maria Bungalow
Alphonso Maria Bungalow is a century year old bungalow exactly opposite to the Bastian
Bungalow. The building was built by the Dutch, taken over by the Portuguese and then by the
British. The structure ran as a residence for the chief, and office for his subordinates. It’s now
owned by an Arab company, to be made into a restaurant. The picture perfect, the very well
rendered images we see in films are all sets. The real condition of the Bungalow is pathetic
and needs intervention.

Figure 4.1.4- 1:Facade of the structure in 1990’s captured in Inspector Balaram 1991(Source: Millennium
video vision)

Figure 4.1.4- 2:Façade shown in 2008 movie, Lollipop (Source: Hotstar images)

Figure 4.1.4- 3: Façade in 2011, shots from the movie Beautiful (Source: Hotstar images)

Figure 4.1.4- 4:Façade painted in Pine green color in 2017 for movie Ezra (Source: Hotstar images)
 Figure 4.1.4- 5: View of the structure today (2020), Figure 4.1.4- 6:Facade of the bungalow, January 2020
(Source: Author) (Source: dreamstime.com)

The whole building was painted blue for a film shooting, which is against heritage guidelines
which suggest the street elevation to be white alone. The exterior alone was repainted white
within a month, leaving aside the recessed porch and the interiors.

Mirrored filmic shot vs reality:

The upper floor accessed through a wooden staircase spills into a lobby space, near to the
balcony. The lobby is also directed towards a main hall. The main hall, due to its flexibility in
Composing spaces ( as the hall features distantly spanned columns ) is one of the mostly used
cinematic spot for interior shots.

figure 4.1.4- 7: Interior images of the main hall in the 1st floor, captured in 2011 movie beautiful (Source:
Hotstar images)

figure 4.1.4- 8: Interior images of the main hall in the 1st floor, captured in 2011 movie beautiful (Source:
Hotstar images)
 figure 4.1.4- 9: Interior of the same hall mentioned above-March, 2020 (source: author). The structure is not
maintained in its interiors

The floor is completely worn off in a many region. Excessive use of cinematic devices like
trolleys, camera stand etc. has noted to be the reason for this. There are additions made as
part of cinematic shooting.

figure 4.1.4- 10: (from right to left)-Damaged Interiors of the kitchen in the 1 st floor - March, 2020 (source:
author), shot of the kitchen captured in 2011 movie beautiful (Source: Hotstar images)

figure 4.1.4- 11: (from right to left)-Damaged entrance of the structure, ground floor - March, 2020 (source:
author), shots of the same captured in 2011 movie beautiful (Source: Hotstar images)
The caretaker points out that the alterations done are not informed to or looked upon by the
authorities. The closed rooms could be noticed with the remnants of shooting props used.
The stair lobby and the balcony are of less damage, whereas the central hall, which is used
multiple times in different movies was found damaged. The sets made are not even fully
removed from the existing building. As per the rule, Internal changes could be initiated by
strict rules only, as it is included in Heritage Grade III (Government of Kerala, 2001).

Alphonso Maria Bungalow and its Neighborhood

figure 4.1.4- 12:Neighborhood of Alphonsa maria bungalow- all of them were made around the same time
period (source: author), based on google satellite map of the area

Building set back from the street

•Well landscaped wide street

•Large public open spaces

•Buildings of distinctive colonial character (mostly Dutch)

•Represent the high-income group residential area, both in the past and present.
 I. Bastian Bungalow:
The Bastion Bungalow was built as a piece of the Stromberg Bastion of the Dutch fortress and
it was consequently named Bastion Bungalow by the British.
Today: The Kerala government changed over the Bastion Bungalow into a legacy exhibition
hall, which was opened up to open in February 2016. The state archaeology department in
Kerala has pronounced the bungalow an ensured landmark. Sculpture made by 10 specialists
from Kerala are in plain view on the grounds of the Bastion Bungalow (Department of
Archeology, 2019). The bungalow likewise has a tunnel in its storm cellar which is shut. Two
canons from the pioneer time frame are safeguarded on the balcony of the Bastion Bungalow.
The structure endures through the British time frame in Kochi, and was in adequate condition
that after India picked up Independence, it lived in as the official home of Sub-Collector of
Fort Kochi for some time.
Tomorrow: Proposal to turn it as an exhibition space with cafe, restaurant etc. of a global
importance.

figure 4.1.4- 13: Site plan of Bastian Bungalow (source: author)

figure 4.1.4- 14: Bungalow in 1991 in -Inspector Balaram-1hr 40min (Source: Millennium video vision)

figure 4.1.4- 15: Bungalow in early 2000 (as per the caretakers) (source: keralatourism.in)

figure 4.1.4- 16:Bungalow today (source: figure 4.1.4- 17: well landscaped outdoors
webindia123.in)
 Picture Analysis
Proper intervention was done to preserve the structure. Protection of existing elements
and features by proper interventions: painting, extra supports etc. like replacement of the
main stair, damaged elements, Repair of existing elements and increasing its life
expectancy. Complete replacement of structures and features which were not supporting
the features of the ancient structure, probably things that were later added over the years
made the bungalow uncover in its old condition and match the context of the area.

II. Vincent House, Adjacent Bungalow and Le colonial luxury hotel

figure 4.1.4- 18:Vincent house (source: alaihomestay.in)

Vincent house is the residence of the Vincent family. It has been an ancestral property for
years. The building façade has never been altered says the residents.

figure 4.1.4- 19: Bungalow adjacent to Alphonsa maria bungalow (right to left) bungalow hall in the ground
floor,2020 (source: author), the bungalow from outside

figure 4.1.4- 20:Façade of Le colonial luxury hotel (source: lecolonialhotel.in)

 figure 4.1.4- 21 :Street elevation (left to right) Vincent’s house & Alphonsa Maria bungalow

figure 4.1.4- 22: Street elevation (left to right) adjacent bungalow & Le colonial luxury Hotel

Features of the neighbouring structures over the Bungalow:

• Bungalow form with white as the predominant color, With 1 or 2 floors; G.
floor 3.5m ht & F. floor 3m ht
• Protection of existing elements and features by proper interventions: painting,
extra supports etc.
• Complete replacement of structures and features which were not supporting
the features of the ancient structure, probably things that were later added
over the years. E.g.: paint used all over
• Replacement of elements matching the whole structure and context
• No introduction of odd materials to the structure or its precincts
• Good Maintenance

4.2 Survey: Pilot Study

The Survey was conducted for the Dissertation aimed in one focus group through controlled
quota sampling. The group includes Residents or Natives of Fortkochi including people
working here for years as tourist guide, driver etc.
o Survey was initiated among General Public of the selected impact zones. This survey
is designed to understand how residents, natives and the working community has
perceived changes in the area. This survey helps gain insight on how the early
residents respond to change.
o Later on, it was conducted among Owners, partners and Administrative wing
(commercial buildings) of the same in person and through a formal Interview over
phone. This survey helps in understanding the Spatio- temporality of buildings in
particular.

Sample Composition

Families Individual Residents Shop Keepers Owners

Caretakers Adminisration crew Professionals Guides
Auto Drivers Artist

4.1.5 Results of Survey 1 -General Public

The survey was conducted in a sample group of 120 people. The survey has 6 questions
designed to understand the degree of change in Fortkochi, evaluated by the user
group.
Princess Street and Rose Street, Fortkochi:
Has Fortkochi changed in the last 30 years, My locality has changed over the years.
as said by Writer and Cartoonist EP Unny
(Unny, 2014)?

15%
28%

72%
85%

Fortkochi has changed considerably during the last My locality has changed a lot. The change is so drastic.
30 years
My locality has changed . The change is at a slow pace.
Fortkochi has not changed considerably during the
last 30 years

There are many shops, cafes homestays Year by year more residential properties in my
and hotels in my area. locality are modified / fully reused catering
other occupancies like homestay, cafe etc.
100 Yes 100

50 50 70

No 30
0
0
Sales Yes No
Yes No
There is a trend of the property been sold Street elevations have changed a lot due to
to an outsider, as land price are at its highs. facade makeovers.

No
15%

Yes
40%

No
60%
Yes
85%
Beach, Beach Rest houses & clubs:
Has Fortkochi changed in the last 30 years, The locality has changed over the years.
as said by Writer and Cartoonist EP Unny
(Unny, 2014)?
 0% 11%

100% 89%

Fortkochi has changed considerably during the last My locality has changed a lot. The change is so
30 years drastic.
My locality has changed . The change is at a
Fortkochi has not changed considerably during the
slow pace.
last 30 years

There are many shops, cafes homestays Year by year more properties in the locality
and hotels in my area. are modified / fully reused catering other
occupancies like homestay, cafe etc.
100 No 150

100
Yes 100
50
0
0 Sales 0
Yes No Yes No

There is a trend of the property been sold Street elevations have changed a lot due to
to an outsider, as land price are at its highs. facade makeovers.

Yes
12%
No
22%

Yes No
78% 88%

Lilly Street
Has Fortkochi changed in the last 30 years, My locality has changed over the years.
as said by Writer and Cartoonist EP Unny
(Unny, 2014)?

0% 8%

100% 92%

Fortkochi has changed considerably during the last My locality has changed a lot. The change is so
30 years drastic.
My locality has changed . The change is at a
Fortkochi has not changed considerably during the
slow pace.
last 30 years
There are many shops, cafes homestays Year by year more properties in the locality
and hotels in my area. are modified / fully reused catering other
occupancies like homestay, cafe etc.
100 No 100

83.33
Yes 50

16.67
0 Sales 0
Yes No Yes No

There is a trend of the property been sold Street elevations have changed a lot due to
to an outsider, as land price are at its highs. facade makeovers.

No
17% No
33%

Yes
Yes 67%
83%

Church Road and the Bungalows:

Has Fortkochi changed in the last 30 years, The locality has changed over the years.
as said by Writer and Cartoonist EP Unny
(Unny, 2014)?

0% 0%

100% 100%

Fortkochi has changed considerably during the last My locality has changed a lot. The change is so
30 years drastic.
My locality has changed . The change is at a
Fortkochi has not changed considerably during the
slow pace.
last 30 years

There are many shops, cafes homestays Year by year more properties in the locality
and hotels in my area. are modified / fully reused catering other
occupancies like homestay, cafe etc.
200 100
Yes 83.33
50
No 16.67
0 Sales 0
Yes No Yes No
 There is a trend of the property been sold Street elevations have changed a lot due to
to an outsider, as land price are at its highs. facade makeovers.
Yes
No
0%
17%

Yes No
83% 100%

Princess Street is the most Spatio- temporarily changed street in Fortkochi, its transition from
a fully residential area to today’s commercial Hub is highly notable. But, in the recent years
as most of the building occupancy is changed in the street, the rate of Spatio- temporal change
is slow. Whereas, Lilly Street has change in occupancies, reconstruction, reuse etc at a long
run throughout the years. Thereby, the rate of change is at a drastic pace. Whereas, the
change in beach area and its vicinity, along with the church road is at a slow pace. In short,
the north- western segment of the study area has witnessed low Spatio- temporal change.
 4.1.6 Results of Survey 2
The survey was conducted in a sample group of 15 selected aides of different study areas. The
results of these responses are consolidated below.

Table 4.1.6- 1:Comparative Study of Spatio Temporality. (source: Author,2020)

Time External change Internal change Phenomena observed

Princess Street and Rose Street, Fortkochi: Mr. Walter (family member of a reputed Christian family settled
in Princess Street in 1940’s & owner of Milton’s homestay), Mr. Mohammad (belongs to an early Muslim
migrant family settled in the Street in 1970’s & owner of Preethy Stores , Mr. Suveesh – owner of Rossitta
Wood Castle & Mr. Jose, HR Manager, Forte Kochi Hotel.

1970 Residential Area Dutch & British Interiors catering

of early Christian influenced Residential use.
& Jew facades with
1980 Few street forms
communities Street form &
modified their internal
(Rajeev, 2019). courtyard houses
planning such that they
as the
could cater a shop in
predominant built
the ground floor.
form.
1990 Residential area More built forms
modified their internal
planning such that they
could cater shops in the
ground floor.

2000 Transition phase Façade Predominant Shift in Shift in ownership status of

from residential Alterations & occupancies- shop in properties varied in this
to Commercial makeovers gain the ground floor & time period. Idea of
attention residencies above. restoration & reuse gains
momentum.

Today Commercial Hub of Fortkochi

Lilly Street: Mr. Jyothi, Resident & civil engineer (runs Jyothi Studio & has worked closely with German
Architect Karl Damschen in Fortkochi & many residents, Contractor who works for the Christian House
renovation.
1990 Predominantly Dutch & British Mostly houses had 2
Residential Area influenced residential floors, which
with one of the residences. could be separately
oldest Anglo- accessed of external
Indian school. stairs.

1980 Earliest Hotel and Existing hotel & homestay

Homestay in the acted as a trigger in turning
precinct. other structures to switch
into the same.

1990- Residences are Dutch & British Most of the structures Existing hotel & homestay
2000 reused to cater in influenced with a courtyard are of acted as a trigger in turning
other occupancies residences seek great demand. other structures to switch
like shop & attention. Facade into the same. A collective
homestays. alterations are phenomenon of private
done. groups investing in the
property & change in
ownership, could be widely
noticed in late 2000’s.

Today: The Street which housed the early Anglo-Indian community of Fortkochi (Devasia, 2017 ), is today being
transfigured into a more commercialised platform, especially with the people’s idea of catering a commercial
use which has more rate of return over time than residential use and support of more investors in the region.

Beach, Beach Rest houses & clubs: PWD Assistant Engineer, Caretakers of PWD Rest House, Guide of the
Cochin Club, HR Manager of David Hall & Mr. Leon- HR Manager, Brunton Boatyard.

1990- Beach Prestige Facade They are featured with Change in ownership and
2000’s area with Rest restoration and large lawns & garden investor groups. The beach
houses and clubs annual facing the beach. area receives more global
built by the Dutch maintenance Interior planning is a investors like CGH Group,
& the British. done. clear amalgamation of Casino Group & the
western style & (Indian) Nirmana group.
traditional
Architecture.

Today: Even not put into use, all of them are very well looked up, as the array of structures line up facing the
beach. They are maintained primarily because of the Tourist potentials of the area.

Church Road and the Bungalows: Mr. Shebeer- Manager, Alphonsa Maria Bungalow & adjacent Bungalow,
Guides of the Bastian Bungalow.
1667 Streets with Dutch & All of them were made British left the structures
Bungalow as the European Style of catering residential, untouched while
predominant Built Architecture. working spaces & areas destruction (Kerala
form. of entertainment for Tourism, 2020).
the military bands.

1980- Streets with Dutch & Change in Occupancy Bastian Bungalow was
1990 Bungalow as the European Style of taken up by the Govt., &
predominant Built Architecture. was used as the official
form. residence of the Sub
Collector (Way Back ,
2011), later declared as a
Protected monument by
the State Archaeology
department. Change in
ownerships of other
Bungalows, whereas
Vincent House was still a
residence.

Today: All of them are very well maintained externally as these Bungalows add to the beauty of the street &
are the most recommended Tourist spots.

5. Discussion

Primary Research Question

How did Fortkochi change over the years? Spatio temporality of Fortkochi is analyzed

Can this change be documented through Yes

movies shot here?
 5.1 Comparison of Pilot Study and Large Study
This chapter first compares the information gathered from the Live Case studies and Surveys,
to check the authenticity of information the author has come up with Picture analysis of film
shots in chapter 4.1. A critical comparative analysis of the two surveys helps gain a deeper
understanding of

Table 5.1- 1:
Site Specific Large Study Survey: Pilot Study
Princess Street and Rose Street, Fortkochi:
The northern end hosts the most ancient Predominant Shift in occupancies- shop
structures of the street which are restored in the ground floor & residencies above.
preserving its outdoor characteristics. The Transition from residential to
southern end features shop houses. Only a Commercial begins in early 80’s
handful of them were in-built. All the rest accompanied by façade transitions.
features ground floors housing commercial
activities post 1980’s only.
Spatio- temporal change could be at its peak Spatio- temporal change is slow.
in the 2000’s. Whereas, the rate is at an
optimum scale today.
Beach, Beach Rest houses & clubs:
PWD Rest Structure is maintained, Even not put into use, all of them are
House especially with the works on very well looked up, as the array of
its facade and boundary walls. structures line up facing the beach. They
Maintenance is carried out are maintained primarily because of the
annually only in favor of Tourist potentials of the area.
Tourism as the facade of the
house could be directly seen
from the beach walkway.

Cochin Club Maintenance of the façades

Thakur Untouched façades (The
House cultural mapping project,
2017)

Spatio- temporal change is at a slow pace. Spatio- temporal change is slow.

Lilly Street
Change in occupancies act as a trigger factor Existing hotel & homestay acted as a
accelerating adjacent properties to change trigger in turning other structures to
accordingly. switch into the same. A collective
phenomenon of private groups investing
in the property & change in ownership,
could be widely noticed in late 2000’s.
The changes are fast within the recent years. Drastic Change
Church Road and the Bungalows:
Alphonso Maria Very well maintained All of them are very well maintained
Bungalow externally alone. externally as these Bungalows add to the
Vincent House Very well-maintained beauty of the street & are the most
residence both internally & recommended Tourist spots.
externally.
Bastian Restored structure. Façade
Bungalow is very well maintained.
Spatio- temporal change is at a slow pace. Spatio- temporal change is slow.

5.2 Cinematic Documentation and its Attributes

This chapter is intended to check the reliability of Cinema as a tool for recording spaces.
First, the Picture analysis in chapter 4 is listed, later the potential of the documentation is
studied. And finally, its effectiveness as a study medium is explored.
Table 5.2- 1: Cinematic Documentation and its Attributes
Princess Street, Fortkochi
Cinema Lollipop Ads, Short film Amma Ariyan,
Karvaan
Year 2008 2013, 2019 2018 1986, 2019
Picture Junction where The images Shop-houses act as Captures the
description 4 linear paths of the the background in bridge that
terminate at northern this ad. connects the
the center. end of the Koder House to
Image of a shot street. the hotel nearby &
emphasizing its surroundings.
outdoor
signages, roof
signages and
hoardings.
Availability of Photographs, other visual medias.
other media
Condition of In its absence Being at the heart of Fortkochi, the street is one of the
documenting most visited places. Thereby, there are high chances of
documentation of this space through photography.
In its availability • About 40 cinemas were shot in the street in
2019 (as information procured from the police
station). Therefore, Cinema acts as a very good
medium documenting the space in the recent
years.
• Documentation of both the northern and
southern segments of the street is possible.
• Picture analysis has given a better
understanding that the northern end hosts the
most ancient structures of the street which are
restored preserving its outdoor characteristics.
Rose Street
Cinema Amma Ariyan Karvaan

Year 1986 2019

Picture Images depicted the typical The movie captured front façade of
description façade style of the street with Rossitta hotel along with its beautiful
the front facades of XL Hotel interiors. The current occupancy and the
and its neighbourhood. spatial configuration catering hotel use, is
directly reflected in the Cinema.
Availability of Photographs.
other media
Condition of In its absence It would have hindered the process of
documenting understanding the change, as there are
only a very few documentations of the
street available, as photographs.
In its availability • The pictures from 1986, has helped
observing the façade changes over
the years.
• This helped in comparing the
structure in entirely different time
periods, thereby documenting the
Spatio- temporality.
• Except from a 1992 photograph,
movie ‘Amma Ariyan’ is the only
documentation available of the
northern segment of the street,
comprising the XL Hotel group.
PWD Rest house
Cinema Ente Upasana Ezharakoottam
Year 1984 1994
Picture The cinema has very well The early interiors are documented in it.
description documented the structure.
Availability of Limited photographs of the past, only recent pictures are available. As the
other media façade faces the beach, there are chances of documentation of the
structure through photography.
Condition of In its absence Compared to other beach front assets
documenting built around to the same time period,
there are very less documents of the
structure, including photographs.
In its availability • Cinematic documentation has
been the best mode of
documenting the structure till
date.
• The analysis has brought into
limelight the different unscientific
interventions done.
The Beach
Cinema Amma Ariyan- 1986 Da Thadiya-2012
Annayum Rasoolum- 2013 Trivandrum Lodge-2012
Inspector Balaram-1991 Ezharakoottam-1995
Cheenavala -1980 Lollipop-2008
Parijatham - 1976 Beautiful-2011
Kalikalam-1990 Ezra-2017
Picture The pictures depict the early infrastructure and condition of the beach.
description
Availability of Photographs, other visual medias.
other media
Condition of In its absence Recent years of the beach could be easily
documenting traced and collected as there are many
study reports, photographs and articles
available. On the other hand, evidences
and documentations of early Fortkochi are
only a handful. Spatio temporal learning
 would have been the least effective
without Cinemas which have documented
it.
In its availability • Evident document portraying
Fortkochi as a fishing Village.
• The stages before & after the first
stage of walkway construction at
the eastern end of the beach is
documented in movies.
• There was a landmark at the beach,
built by the Dutch- called the
gateway to the beach. Thulabaram
is of the very few films capturing
the structure. Later by 80’s the
structure collapsed.
• Size and number of Chinese fishing
nets used could be analyzed and
learnt through movies.
Christian House in Lilly Street
Cinema Violin - 2011
Da Thadiya-2012
Bicycle thieves -2013
Adam Joan-2017
Picture The images depict the Christian House exhibiting the ancient Dutch
description Architectural feature of externally abutting stair and well-manicured
garden.
Availability of Nil
other media
Condition of In its absence There will be no documentation of
documenting Christian House prior to its reconstruction.
 In its availability • The cinematic documentation will
be the only sustaining visual
document of the Christian house.
• The features like externally
abutting stair and well-manicured
garden are the recorded in
Cinemas before destruction.
• The documentation may help in
analyzing Spatio temporality of the
house in future.
Alphonsa Maria Bungalow
Cinema Inspector Balaram -1991 Beautiful- 2011
Lollipop- 2008 Ezra-2017
Picture Mostly Interior shots. The picture perfect, the very well rendered images
description we see in these films are all sets.
Availability of Only few photographs of exterior façade available.
other media
Condition of In its absence The viewer believes that the interiors are
documenting as beautiful as the very well-maintained
exteriors.
In its availability • The real condition of the Bungalow
is exposed due to the study
conducted.
• Spatio- temporal change in façade
was learnt.
 Performance Scale: How effective was Cinematic
documentation?

Alphonsa Maria Bungalow

Christian House

The Beach

PWD Rest House

Rose Street

Princess Street

0 1 2 3 4 5 6 7 8 9 10

Performance Scale: How effective was movie in documentation?

Table 5.2- 2: Measuring Effectiveness in a scale of 10 (source: author,2020), based on scale of one to ten
concept.

5.2 Cinema: A Reflection of Contemporary developments

This chapter explores how different facets of Fortkochi were captured in Cinema.
I. Fortkochi: Fishing Village to the Biennale City

Figure 5.2- 1: Cinematic representation of contemporary developments.

Cinema captures every essence and developments in Fortkochi. From 1960’s to the 2020,
films produced act as a source of documentation of developments here along with the spaces.
The transition could be very well studied through the timeline of changes documented in
Cinema- from a Fishing Village to a Tourist Village.

II. Cinematic Characters as a product of the Urban space (Faraway orginals, 2019).
The Environment gives us the signs and key codes about the character in the movie. Or in
other words, film makers depict a character convincingly through a convincing media,
such that the viewers bring in an emotional connect to the same.

Figure 5.2- 2: Depictions of characters which were a product of urban space.

Fortkochi is a very convincing medium to portray characters of Anglo- Indian community

and the Jews. Cinemas like Orkkapurathu, also depict the occupation of early Anglo
Indians in shipping. Interest of the same community in art and art forms are also key
elements used in Cinemas. Da Thadiya also portrays the political chaos in elite families
post 2000’s. In short, urban space of a time period, influence framing of characters in
cinema.

III. Cinema as a reflection of the Society (B, 2016).

Figure 5.2- 3: Cinema: reflection of the society

The darker side of Fortkochi, was emphasised in 2007 movies like Big B, Chotta Mumbai etc.,
and the trend was taken up by other movies which were shot later here. After biennale
gaining huge acceptance in Fortkochi, the Cinematic representation of urban space in cinema
shifted to an artistic environment, which is shown in movies like Charlie, Luca, Tamasha etc.

“Kochi is an old port city – it has Portuguese, Dutch and British charm and yet parts of it are
gritty,” said Rajeev Ravi (george, 2017), who has set his acclaimed films Annayum Rasoolum
(2013) and Kammatipaadam (2016) here. The European buildings and old godowns leading to
the backwaters in Fort Kochi can be shorthand not only for Pondicherry or Panaji but also
Tuticorin – as it was in Mani Ratnam’s Kadal (2013). Some of the scenes in Shoojit Sircar’s
Madras Cafe (2013) were filmed in and around Princess Street in Fort Kochi. This indirectly
represents the nature of Fortkochi in mimicking spaces as the land is evolving in all levels-
societal, artistic etc. and welcomes any change, and is open to change.

In short, films do act as a medium in capturing the City, along with all its essence. Films can
be used as an effective medium in capturing Spatio temporal changes of a City. Let me quote
Neumann who outlines 3 major responsibility of film in architecture (Pallasmaa, 2011):

1. “As a reflection and commentary on contemporary developments”

2. “As a testing ground for innovative visions”

3. “As a realm in which a different approach to the art and practice of Architecture can be
realized”

6. Conclusion
First, the study has shown the impact of change in an area. Most of the residents addressed
the concern of a drastic change of Fortkochi post 80’s, the study illustrates the same in the
comparative analysis of the Pilot and Large study. It should be stressed that no proper
documentation of impact areas was done beforehand, except Photographs available.
Therefore, the study primarily asserts Cinematic Documentation as a best medium to capture
changes over years. Many times, they in fact act as the only resources of documentation
available. Thus, the dissertation documents the Spatio temporality of Fortkochi over decades,
analyzed in movies shot here.
 Figure 6- 1:Stages of design (source: All Australian Architectecture.in)

This chapter explores the potentials of Cinematic Documentation in Architecture and how we
Architects are constrained in shaping our thoughts and subsequently the output, because of
the constrain laid by the medium. The two-dimensional representations do imply a logical
reduction of Architectural thoughts to an extent. Choosing a form of representation style
invariably prioritises the subject and increases its relevance in the design process- be it
sketching or 3d rendering used. In this prison of expressing architectural thought, architects
rely on options that enhance the process- especially the physical elements, the form and
functionality of the design over how one can actually experience the space. In short, the
conventional forms of representations are limited to the description of the nature of designed
spaces but not the experience of the quality of space. We describe form, not the content. We
are in dire need of a systematic, innovative language to depict human experiences and
emotions in Architectural representation.

Another medium that engages with similar parameters of time, space, movement and events
is Cinema, as mentioned in chapter 1.2.1. Whereas Cinemas are very convincingly shot, as the
narratives are effectively translated using spatial cues of Architecture thereby evoking
emotions in the viewers. Understanding this possibility, by dissecting the language used for
narrative process in Cinema, architects can formulate similar process of Narrative translation
in Architecture.
Suggestions following the Study:

• Allow architecture to evolve in a new way where Architecture and Cinema

collaborates – not as tools for representation of the end product, but as a part of the
whole design process itself for the proper translation of thoughts and ideas.

• Filmic space captures the physical datum along with its features like social space,
developments etc., that architects contribute to, which is why influx of Cinema in
Architecture is a good way to broaden our understanding of physical spaces and its
temporality.

“Experiencing a space is a dialogue, a kind of exchange- I place myself in the space and the
space settles in me. This identification of physical and mental space is intuitively grasped by
writers and film directors (and not so by Architects)”

-Juhani Pallasmaa

• We need to have a filmic approach to Architecture and an Architectural approach to

films. The knowledge of one domain, should strengthen the other.

“Films when generating spaces become Architecture.”

-Juhani Pallasmaa

7. Acknowledgements
On the very onset of study, I would like to extend my sincere and heartfelt obligation to all
the personages who have helped me in this endeavour. Without their active guidance and
help, cooperation and encouragement, I would not have made headway in the project. I am
ineffably indebted to principle guide Ar. Rejitha R Pillai and Ar. Nishan Nabeel, for their
support, guidance and encouragement to complete this project. I would like to thank the head
of the Dissertation programme, Ar. Jayadevi, for her tireless efforts in ensuring the best work
and guiding us through the research process.

I would also like to thank Mr. Jyothi, Mr. Mohammad, Mr. Suveesh, Mr. Jose, PWD Assistant
Engineer, Caretakers of PWD Rest House, Guide of the Cochin Club, HR Manager of David Hall
& Mr. Leon- HR Manager, Brunton Boatyard and Mr. Shebeer for taking time out of their busy
schedule to engage in face to face and telephonic interview with me and help me gain more
insight into the area of research .

I would further like to thank every individual who participated in my survey, as the study
hugely relied on it for the results. All of the input proved to be valuable.

I extend my gratitude KMEA college of architecture, Aluva, for giving me this opportunity. I
also acknowledge with a deep sense of reverence and gratitude towards my parents and my
family who have always supported me morally and economically. Last but not the least
gratitude goes to my friends who have directly and indirectly helped me in completing this
project. Any omission in this brief acknowledgement does not mean lack of gratitude.

Annexure
Question on Survey Instrument: General Public
Name, occupation, years residing/ working in Fortkochi
Has Fortkochi changed in the last 30 years, as said by Writer and Cartoonist EP Unny (Unny,
2014)?
Has the locality you reside/ work changed over the years?
There are many shops, cafes homestays and hotels in my area. (Yes/ No)
Year by year more residential properties in my locality are modified / fully reused catering
other occupancies like homestay, cafe etc. (Yes/ No)
There is a trend of the property been sold to an outsider, as land price are at its highs.
(Yes/ No)
Street elevations have changed a lot due to facade makeovers (Yes/ No).

Question on Survey Instrument: Selected people

Has Fortkochi changed in the last 30 years, as said by Writer and Cartoonist EP Unny (Unny,
2014)?
Has the locality you reside/ work changed over the years? If yes how?
There are many shops, cafes homestays and hotels in my area. (Yes/ No). What do you
think of this change?
Year by year more residential properties in my locality are modified / fully reused catering
other occupancies like homestay, cafe etc. (Yes/ No). Explain.
There is a trend of the property been sold to an outsider, as land price are at its highs.
(Yes/ No)
Street elevations have changed a lot due to facade makeovers (Yes/ No). Explain.
References
B, P. (2016). Cinema in Architecture: A Synergism .

David hall. (2013). David Hall gallery cafe. Retrieved from David Hall: https://www.davidhall.in/

Department of Archeology. (2019). Bastian Bungalow. (D. o. Archeology, Ed.) Monuments.

Devasia, T. K. ( 2017 , May 24). Fort Kochi and Mattancherry journal, Part 8: European descendants
fight to retain their identity and rights. First Post. Retrieved from
https://www.firstpost.com/india/fort-kochi-and-mattancherry-journal-part-8-european-
descendants-fight-to-retain-their-identity-and-rights-3476454.html

Faraway orginals. (2019, August 14). A letter from India. (C. John, Ed.) Mattancheri. Retrieved
January 2020

Government of Kerala. (2001). Guidelines for the Conservation and Preservation of Special Tourism
Zone - Fort Kochi, as per the Tourism Conservation and Preservation and Trade Act, Kerala
2001 .

Jeychandran, N. (2014). Memory, Heritage, and Cultural Display in the Former Colonial Port Cities of
Elmina (Ghana) and Fort Kochi (India).

Joseph, S. (2005). Fortkochi. (R. menon, Interviewer) Cochin Channel. Fortkochi. Retrieved january
2020

Kerala Tourism. (2020). Kerala Tourism. Retrieved from Bastion Bungalow in Fort Kochi:
https://www.keralatourism.org/destination/bastion-bungalow-fort-kochi/22

Kerala.com Travel Divison. (2005). Fortkochi. (D. o. Tourism, Ed.) About Fortkochi.

Kimansion. (2012). Retrieved january 2020, from THE MELTING POT OF CULTURES:
http://www.kimansion.com/fort-kochi.htm

Kochi guide. (2007). Cochin History. Retrieved from kochi guide:

http://www.cochin.org.uk/culture/history.html

Kochi guide. (2016, June 25). Cochin History. Kochi guide.

Menon, M. (2018, February). Fortkochi's Pride. The Indian express, Sunday Times, 1-4. Retrieved
January 2020

Pallasmaa, J. (2011). The Embodied Image: Imagination and Imagery in Architecture. Chichester, NJ:
John Wiley & Sons.

Rajan Gurukal, Raghava Varier. (n.d.). History of kerala (Vol. 1). Orient black swan.

Rajeev, P. (2019, July 17). തെക്കുംകൂറിതെ ഡച്ചക ബന്ധങ്ങൾ. Retrieved January 22, 2020,
from https://www.sahapedia.org/taekakaumkauurainarae-dacacau-banadhanana

Sahapedia. (2016). The cultural mapping project.

Shivakumar, R. (2018). Mirrored Modernities; Movies and Myths/Marine Drive and Dharavi.

Sohan, K. (2016, december 13). KJ Sohan , Fortkochi. Sahapedia. Retrieved from

https:/www.culturalmapping.in
The cultural mapping project. (2017). Thakur House. Retrieved from The cultural mapping project:
https://www.culturalmapping.in/fortkochi/thakur-house

Thomas, Francois Pens and Maureen. (2020). Retrieved january 2020

Unny, E. (2014). The Making of Fort Kochi. (P. Kanjilal, Interviewer) Safari Tv. Retrieved from
https://indianexpress.com/article/lifestyle/ep-unnys-the-making-of-fort-kochi-is-an-easy-to-
read-history-book/

Way Back . (2011). Bastion Bungalow. Retrieved from Tour Travel World.com:
http://www.tourtravelworld.com/heritage-tours/monuments/bastion-bungalow.htm

Wikipedia. (2020, January). Fortkochi. Retrieved July 15, 2020