VERNACULAR

ARCHITECTURE OF
SOUTH INDIA
UNIT IV VERNACULAR ARCHITECTURE OF SOUTH INDIA 8

Forms, spatial planning, cultural aspects, symbolism, art, colour, materials of

construction and construction technique, proportioning systems, religious beliefs and
practices in the vernacular architecture of Kerala (including houses of the Nair &
Namboothri community, Koothambalam and Padmanabhapuram palace) and Tamil
Nadu (including houses and palaces of the Chettinad region, agraharams).
 KERALA
ARCHITECTURE
Introduction
• Kerala Architecture is one of the most exciting examples of
preservation of vernacular styles.

• The evolution of domestic architecture of Kerala followed

closely the trend of development in temple architecture.

• The primitive models of circular, square or rectangular

plain shapes with a ribbed roof evolved from functional
consideration.

• The climate of Kerala greatly influenced the traditional

architecture.

• The natural building materials available for construction in

Kerala i.e. stones, timber, clay and palm leaves have
anchored and guided the acceptance or rejection of
outside influences
 • Kerala has a warm humid climate. The rainfall is very

Influence of climate heavy from south west and north east monsoons

• To keep the rain and sun away form the walls the
roofs of the building come down very low.

• They have verandah all round the building protecting

the external walls from sun and rain.

• The width of the verandah varies from 2 ft to 12ft

• In rooms were people spend most of their time during

day the window openings were brought in at ground
level otherwise the windows were small so that there
was only subdued light inside or had timber jalis to
give diffused light without glare.

• They also have an internal courtyard for better flow of

air.
 The ridged roof pitched at angles between 30degree to 40degree
Roofing system
•

• The roof with intricately carved gables protruding from the roof
with overhangs supported by wooden brackets.

• The roof is prefabricated that is different members are fixed on

the ground and assembled at the top.

• No nails are used.

• The roof is kept in position by interlocking with the hole in the

rafters.

• Walls made of timber or earth and roof of coconut leaves or tiles

are common in many parts of Kerala

• Structurally the roof frame was supported on the pillars on walls

erected on a plinth raised from the ground for protection against
dampness and insects in the tropical climate.
 • The most common type of
Flooring System flooring was that of beaten earth
polished with cow dung at regular
intervals

• Black colored traditional flooring

used in the more expensive
buildings was done with the
mixture of lime, sand, coconut
shell, white of egg, jaggery,
coconut water and other
vegetable extracts. The
smoothness was achieved by
polishing the floor with a
particular variety of banana.
Building • The availability of granite -a strong and durable building stone is
restricted mainly to the highlands and marginally to some hilly

Materials zones. Accordingly, the skill in quarrying, dressing and sculpturing

of stone is scarce in Kerala.

• Laterite stone however, is abundantly found

• Soft laterite available at shallow depth can be easily cut, dressed

and used as building blocks. It is a local stone that gets stronger
and durable with exposure to the atmosphere.

• Block of this stone may be bonded in mortars of shell lime, - the

classic binding material used in traditional buildings.

• Lime mortar can be improved in strength and performance by

admixtures of vegetable juices. Such enriched mortars were
utilised for plastering and low relief work.
• Timber remains the prime structural material
abundantly available in Kerala, in many varieties -
from bamboo to teak and rosewood. The skilful
choice of timber, artful assembly and delicate
carving of wood work for columns, walls and
roofs frames are the unique characteristics of
Kerala architecture, using accurate fit of joints.

• Clay was used in many forms - for walling, in

filling the timber floors and making bricks and
tiles after firing in kilns, tempered with
admixtures.

• Palm leaves are still used effectively for thatching

the roofs and for making partition walls and along
with mud
Vastuvidya -
Traditional Kerala architecture is the
Traditional Architecture Vastu vidhya is derived from the

Stapatya Veda of Adharva Veda and

deals with two types of architecture

1. Residential Architecture

(Manusyalaya) under functional

architecture

2. Temples coming under conceptual

architecture.
Residential • A house in Kerala is generally called

Architecture
Veedu. The Veedu gives shelter to joint-
family kinfolk or tharavad.

• The joint family system (tharavad--

kinship system) consequently promotes
the tradition of living in a huge shelter
or mansion (veedu--object of house).

• The term is Dravidian and is used in

some parts of Tamil Nadu and North
Srilanka for all types of residential
architecture, but generally the people of
Kerala will refer to their veedu as
tharavad.
There are various terms of house for different tribes
according to social status and profession. The house
of:

1. Pariah - CHERI

2. The agrestic slave – cheraman - CHALA

3. Blacksmith, the goldsmith, the carpenter, the

weaver - KUDI

4. Temple servants reside – VARIYAM / PISHARAM

5. The ordinary nayars - VEEDU / BHAVANAM

6. Nayar’s authority - IDAM

7. Raja lives in a KOVILAKKAM / KOTTARAM

There are five types of traditional domestic architecture or
Veedu in Kerala, namely:

(1) the wretched humble house, unknown by any building

treatise of Kerala, belongs to ordinary folks and tribal
people/ adivasis (cheri, chala, kudi, variyam or pisharam
or pumatham);

(2) the Ekasala, an I-shaped single rectangular hall house,

belongs to farmers or middle-class non-farmers;

(3) the Nalukettu, a courtyard house, belongs to landlords;

(4) the great mansion Ettuketu and Patinjarukettu (double

ettukettu) or much bigger structures, belong to very rich
landlords;

(5) commoner houses are simple ordinary houses scattered

abundantly in the cities and villages.
Literally, the local term of house--veedu--means home and signifies no important structural
arrangement. Classical Indian architecture acknowledges a concentric arrangement of buildings
and a generic spatial structure of the sala or hall.

The Ekasala is a single hall house,

The Dvisala a two-hall house,

The Trisala a three-hall house, and

The Catusala a four-hall house/courtyard house.

The Nalukettu is the only local term for house that implies structural importance since it is
associated with the catusala.

There are no local terms for dvisala, trisala and ekasala, they are simply called veedu.
Three Types of Chala
All Chalas show typical spatial configurations of living and inner space. (left) Chala in Chengganur,
South Kerala; (middle) Chala in Waynad and (left) Chala in Trivandrum
(upper- left) The Ekasala of North
Kerala. Mostly they are shingle
hipped roof houses

(upper-right) The Ekasala of South

Kerala. Mostly they are shingle
bent roof houses

(bottom) The Kuttikettu or Ekasala

with courtyard extension
Three Typical Expression of Nalukettu
Central Kerala (above), North Kerala (left-bottom), South Kerala (right-bottom)
The Nambudiri Illam

They are concentrated primarily in

Trichur, Palghat districts in south
Malabar,

As small clusters in Kottayam,

Cannanore and some parts of North
Malabar.
• The illams of the affluent Nambudiri families of Trichur are self contained
complex of buildings in a wide secluded compound.

• The complex consists of one or two storied Nalukettu building, An entrance

gate (Padipura), One or more tanks for bathing, Optional buildings such as
a Granary, a Kitchen for feeding guests and a Shrine or a Temple itself.

• There are four wings Northern, Southern, Eastern and Western.

• The built structures were on the southern and the western wings

• The granary on the south has solid walls of laterite or wood.

• The western block is generally raised, open hall with columns which
support the floor above. It is here that the official ceremonies take place
and the men also learn or sleep

• The corner room at the north west is used for storage or for sleeping
• The kitchen with its adjacent well is always without exception placed in the
northeast corner. Since the wind comes from the southwest in Kerala it is the
most logical position to ensure the smoke escapes the building directly

• The northern side next to the kitchen is used for the performance of the
most important ritual of Shredda the human ritual of pouring Ghee on the
sacred fire.

• The puja room is located on the north or in the east next to the kitchen.

• The practical reasons for not building on the northern and eastern sides are
to allow the escape of smoke and to minimize the chance of an external fire.

• The corner rooms were segregated form the main blocks. They are
separated by corridors, stairwells and doors going to the outside. These
rooms are not considered for rituals and are used as entrance rooms,
bedrooms, the delivery rooms (south east corner) or occasionally for storage
(north west corner)
Women Spaces: • Women were considered inferior
to men and they were not
allowed to enter into the main
courtyard except for their
marriage and at death.

• In houses with one courtyard

back spaces were added next to
kitchen.

• Accesses to main pooja room

and to one or two bedrooms
were only through a back door.
 • The Nairs are the race of people living in the state of

Nair Tharavadu Kerala and constitute 16% of the state population

• The concept of the house is rural, located near paddy

fields in fenced compounds with palm, banana and
other fruit bearing trees with a well or tank for water
supply.

• The Nair house is also called a Veedoo

• The tharavad houses were joint families with 30-40

members in a matriarchial system.

• The head of the tharavad was the oldest male

member.

• Security and defence played a vital role in determining

the orientation, layout and future additions.
• The courtyard and the wings surrounding it from the basic module

• The house type is classified by the number of such modules

1. Nallukettu – four chambers

2. Ettukettu – eight chambers

3. Padinarkettu – sixteen chambers

• The number of courtyards and the house annexes are an indication of the social standing and
the wealth of the family.

• The principles of siting, spatial arrangement of rooms, choice of building materials,

measurements and construction details were based on Vastu Vidhya and Tachhushastram

• Nine house types are identified on the basis of courtyards and enclosing wings

• 14 house classifications according to primary building materials

Spatial • It is self contained and introvert complex of
buildings each enclosing an open to sky

Configuration courtyard.

• The central courtyard is the focal point of the

house.

• The main rooms are located on the western wing.

• Rooms on the northern side are used for cooking.

• The rooms on the southern sides are used for the

daily household activities.

• Steep pyramidal roofs with a 45 degree pitch,

deep overhangs, shaded verandas and cross
ventilation are a response to intense sun, heavy
rainfall and humidity.
NALUKETTU - ENTRANCE NALUKETTU - COURTYARD

NALUKETTU - VIEW OF POND NALUKETTU - LIVING AREA

NALUKETTU - VERANDAH

NALUKETTU - DINING AREA

 • Temples in Kerala used to be called in earlier

Temples of Kerela times as mukkalvattom. Later they came to

be called ambalam or kshetram or
sometimes tali.

• Temple architecture in Kerala is different

from that of other regions in India. Largely
dictated by the geography of the region that
abounds in forests blessed with the
bounties of the monsoons, the structure of
the temples in Kerala is distinctive.

• The Kerala temple has srikovil as its main

core, which usually stands in east-west axis
and the plan may be square, rectangular,
circular, elliptical ground plan.
• The central sanctum of a Keralite temple is referred to as the Sree Kovil.

• It is surrounded by a cloistered prakara, pierced at one or more cardinal

points with a gopuradwara.

• The cloistered prakaram has a namaskara mandapam located directly

in front of the sanctum. This prakaram also houses subsidiary shrines.

• A kitchen is located in the south eastern corner of ths cloistered

prakaram.

• The mukha mandapam is integrated with the gopura entrance. The

flagstaff or dwaja stambham is located outside of the mukha
mandapam .

• The balipitham may be located in the mukhamandapam or in the outer

courtyard. The outer prakaram or courtyard houses other subshrines,
and optionally a temple tank.
• The Kuttambalam or the theater hall of
the Keralite temple is located either as a
part of the inner prakara, on the south
east corner facing north, or as a separate
hall outside the innermost prakaram,
either facing into the temple or facing
north.

• This has a stage, raised from the rest of

the floor, and a backstage area. This is
the site of the performance of Kathakali
or Chakkiyar koothu recitals. Thus the
kuttambalam plays a role in educating
visitors on the rich legends of the Indian
cultural fabric.
• The roofs are steep and pointed, and
covered with copper sheets. The Kerala
roof resembles those found in the
Himalayan regions and those in East Asia.

• The shape of the roof is in accordance with

the plan of the sanctum below. With a
circular plan, one sees a conical roof, while
with a square plan the roof is pyramidal.

• The roof is constructed with wood and is

covered with copper plates. Most of the
temples seen in Kerala today, have
undergone several phases of renovation,
given the perishable nature of the
construction materials.
• The superstructure as a conspicuous
example, shows an accurate usage of
indigenous raw materials like timber and
tiles to go with the climate conditions.

• Vast majority of temples have their bases

built of granite, the walls made either of
wood, bricks and stucco, or laterite; the
sloping superstructure made of wooden
planks, tiles or sheet metal on timber
frames, are adopted to suit the high
rainfall of the region.
Temple and • Unlike the other architectural traditions in
the mainland the design of Kerala temples

Domestic shows a close similarity with the domestic

architecture of the region.

Architecture • The surviving Nair houses have many

structural elements like raised
foundations, wall and ceiling carvings,
steeply sloping roofs, etc., that are
reminiscent of temple architecture.

• The building materials used in the sacred

and domestic architecture, viz., timber,
laterite, brick and stucco are also the
same, and thus create identical textural
surfaces.
 TAMIL NADU
ARCHITECTURE
CHETTINAD ARCHITECTURE
1. Religion and Culture

2. Proportions

3. Settlement planning

4. Principles of planning

5. Housing typology

6. Materials & construction

7. Construction details
• Culture is an all embracing word which includes
all significant aspects of human life beginning
from philosophy, social organization, religion and
economy, social institutions and meanings etc.

• The land of Tamils, in the southern part of INDIA

is CHETTINAD – the land of NATTUKOTTAI,
founded by Chettiars, called by their preferred
community name – NAGARATHAR .

• Chettiars, were one of the earliest business

communities in India. They settled almost mid-
centre OF Tamil Nadu between the capitals of the
Pandya Kingdom in Madurai and the Chola
Empire in Thanjavur in the 13th century.
• Wood carving, silver embellishment, woven saris, palm-leaf
baskets, gold jewellery, hand-made tiles, architectural styling,
refined cuisine and egg plastering are among their
contributions of Indian arts and crafts. These masterful
innovations justified the self-proclaimed sobriquet the
Chettiars gave themselves—Nagarathars or the
‘sophisticated townsfolk’. Even today, Chettinad is a
heritage zone dotted with the palatial homes that are
called Nattukottais.
• Towns like Karaikudi, Pallathur, Athangudi, and
Kothamangalam, have the most lavish houses in
Chettinad.
• The people of Chettinad then moved on from their
settlement to other villages not far from their first
settlement and, there were nine main clusters of villages.
To each of them the Pandya King granted a temple in
perpetuity.
SPATIAL PLANNING
• The Chettinad houses were originally single-
storeyed buildings made of sundried brick of
mud and bamboo and thatch.
• They evolved to become tile-roofed with a
small two-storeyed tower at both ends of the
front elevation,
• They later expanded vertically into two-
storeyed structures, and horizontally through
the addition of numerous halls and courtyards
that could accommodate guests at marriages
and other ceremonies
• It was not unusual for three generations to live
together in one house.
• The Chettinad houses accommodate up to four
generations before separate houses are built
by individual sons.
• The concept of chettinadu house is
believed to have arrived from
kaveripoompatinam. The planning
concept was essentially based on
occupation of the people and their
desires.
• Since they were traders they need
spaces for keeping their valuables
called inside room and outside room
which served the purpose.
• The dictated introverted planning was
adopted to avoid multiple access.
• The scale of spaces like kalyana
kottagai and bhojana hall was
determined by the religious and
family festivals.
SPATIAL ORGANISATION SERVICE SPACE-
The scale for these spaces is not fixed the
day to day activities but by the festive
usage. Their location in the linear
arrangement follows the living area.

MULTIPURPOSE CENTRAL OPEN SPACE-

Located amidst the room and often used
as the semipublic and commercial space.

FEASTING SPACE
Though this space is less commonly used
it is considered as the important space
and exists as the status symbol of the
household
RECEPTION -
this is designed to express the stately image of the
owner it has level variations and used both for
receiving the guest and for relaxation.

PATTAGASALAI -
This is used for relaxation as well for the confidential
dealings which is usually a raised platform. This space
usually mixes with the central space.

SECURED AND SECLUDED SPACE –

This space is created to serve the need for storage.
The scale and the intimacy of the space reveals the
material stored. The composition is such that the
outer room buffers the inner room.
• Other houses are built on a rectangular, traversal plot
that stretches across two streets, with the front door
opening into the first street and the back into the second.
• Looking in from the main threshold, your eye travels in a
straight line across a series of inner courtyards, each a
diminishing rectangle of light, leading out to the back
door.
• The courtyards supply ample light and air (pickles and
papads were dried there) but leave the rest of the house
in deep and cool shadow.
• The courtyards have tiles placed exactly under the storm-
water drainpipes so that the stone floor is not damaged.
Underground drains run right through the house, with
stone stoppers carved exactly for their mouths. Large
stone vats for water and wooden bins for firewood line
the inner courtyards.
 "conjugal" room
second courtyard
Veranda First courtyard
columns.

open garden
space

Tinnai corridor kitchen.

Veranda.
Puja room and storage
of dowry items.
• The Chettinad houses were conceived as fortresses,
guarding both valuables and the even more
valuable, cool air.
• So, from outside, you perceive no idea of the
house's design. Thus instead of lawns in front of the
house, the Chettiars had courtyards inside.
• But they retained the thinnai (platform outside the
house that projects towards the street from the
house's front wall), typical of ethnic Tamil
architecture.
• The thinnai ended in granaries on one side and a
room, generally the accountant's room, on the other
side.
• The heavy and elaborately carved front doors, with
images of deities, Goddess Lakshmi especially (from
the shiploads of Burmese teak, of course)
sometimes had precious gems inlayed on it.
Thinai
• First comes an outer thinnai - Large raised
platforms on either side of the central
corridor, where the host would entertain male
guests.
• The platforms lead off on one side into store
rooms and massive granaries and on the
other, into the (Kanakupillai) or Accountant's
room. This area also usually leads off to the
men's well.
• From here, the huge elaborately carved teak
front door, with image of Lakshmi carved over
the head and navaratna or nine precious gems
buried under the (Vasapadi) threshold.
• The wealthier the merchants the larger the
house, often spreading out to a second floor.
Kanakupillai room
 Most Chettinad mansions have at least a
THE COURTYARDS couple of courtyards. The living space leads
one immediately into the courtyard.
1. The first open-air courtyard, with
corridors flanked by huge pillars on its
sides, generally was bordered by
rooms along its sides. You also notice
triangular slots cut into the walls of
these houses, an inbuilt shelf for
lamps.
2. The second courtyard opens out
immediately and is flanked by spaces
used for dining generally.
3. The third courtyard served as a
restroom for the womenfolk, while the
fourth one housed the kitchens.
• Each of the small rooms off the main courtyard
is the property of one married son in the
patriarchal lineage of the ancestral builder of
the home.
• It is the only part of the house, besides a section
of the kitchen, to which a separate ownership
can be attributed.
• Even today, men and women are segregated in
a Chettinad house: the men occupy the outer
verandah and front room; and the women
occupy the kitchen courtyard and work around
the main courtyard.
• No house comes with less than two vast
kitchens, not to mention several giant grinding
stones and rows of fireplaces in the last
courtyard – all meant to entertain gigantic
gatherings.
• First comes an outer thinai - Large raised platforms on either side of
the central corridor, where the host would entertain male guests.
The platforms lead off on one side into store rooms and massive
granaries and on the other, into the ( Kanakupillai ) or Accountant's
room.
• The door leads into the first open air courtyard, with pillared
corridors running on each side that lead into individual rooms, each
meant for a married son. Then comes the second courtyard with
large dining spaces with the kitchens, leading out to the backyard
with its women's well and grinding stones. The wealthier the
merchants the larger the house, often spreading out to a second
floor.
• The courtyards supply ample light leaving the rest of the house in
deep and cool shadow. The courtyards have tiles placed exactly
under the strom-water drain run right through the house, with
stone stoppers carved exactly for their mouths. Large stone vats for
water and wooden bins for firewood line the inner courtyards.
Chettinad Palace in Kanadikathan
The 110-year-old Chettinad Palace in Kanadikathan village is the oldest surviving building of this style,
built by Dr Annamali Chettiyar, founder of the Indian Bank and the Annamalai University in
Chidambaram
Next to the palace is the Raja's brother's house, a treasure house of all
things Chettinad — furniture, ornaments, saris, vessels and the like.
Located nearby is the ` Chettinad' railway station with a rest-house close
by, which belongs to the Raja's family.

Entrance of palace Outside view Entrance

Inner entrance court Private entrance Dining hall

 • The walls are of baked bricks
Building Materials
• Plastered over by a secret recipe of roots,

• Yolk and lime that leaves them silken

smooth and washable;

• The tiles are Spanish;

• The floors of Italian marble or locally -

crafted Athangudi tiles;

• The pillars of Burmese teak, many houses

have small turrets,

• Elaborate guard houses on the terrace.

Inside an authentic Chettinad house you will never feel the need to use fans too amidst open courtyards,
amazing wall finishes and earthy tiles
Plastered over by a secret recipe of roots, Yolk and lime that leaves them silken smooth and washable
The floors of Italian marble or locally - crafted Athangudi tiles;
The pillars of Burmese teak, many houses have small turrets,
Karaikudi - Chettinad House
 • The construction material, decorative items and
Construction techniques. furnishings were mostly imported from East
Asian countries and Europe.
Madras terrace roofing
• Handmade floor tiles from
• The marble was brought from Italy, chandeliers
Athangudi, are inlaid on the
and teak from Burma, crockery from Indonesia,
madras terrace roof pattern with
crystals from Europe and wall-to-wall mirrors
the joists imported from Burma as
from Belgium.
batterns are melamine Burma
teak.
• The woodwork and stonework was inspired that
Madras plastering technique
of the houses in France and other European
• Lime egg plastering, another
destinations
traditional technique used to paint
walls white and keep the insides of
houses cool, that lasts virtually the
entire life of the building,
 • The huge elaborately carved teak front
A Typical Chettinad Construction door, with image of Lakshmi carved over
the head and navaratna or nine precious
gems buried under the ( Vasapadi)
threshold.

• Pillared corridors running on each side that

lead into individual rooms, each meant for
a married son, each with a triangular slot
cut into the wall for the evening lamp.

• Large dining spaces on either side.

• The third courtyard was for the women folk

to rest and gossip, while the fourth, or
nalankattai comprised the kitchens.
• The evolution of a whole way of life,
from culture and history to the use of
materials and new technologies, to an
understanding of the environmental
factors

• Many of the windows, with orange

segment shaped fanlights over some of
them, or barred and grilled doors, with
pierced screen ventilators on top, have
been treated with dark green paint.

• The basketwork has been used as

lamps, as decorative flourishes in a
niche and as containers for holding food
in it.
• The central is surrounded by pillars of burma teak and there is a combination of scarlet tiles and
sloping woodwork.
• The construction material, decor items and furnishings were mostly imported, work were inspired by
French and other European architecture.
Private entrance of the house where still the authentic family of the Chettiars live .
•Dining hall where at least 250 people can dine in the traditional style, that is, by squatting on the floor.
•Dining hall with the door to the central inner courtyard and some old paintings .
The entrance view showing the details of their façade treatment with the combination of vibrant colours
as well as the openings.
This is the view of one of the Chettinad house which was built 120 years ago.
One of chettinad house showing the richness which it had with higher plinth
•View showing the interiors with stout columns with lot of detailing. Huge large marbles
single piece marble is used as flooring
View showing the upper corridor having arcades connecting the bedrooms with twin circular columns.
Series of columns supporting the sloping roof covered with pot tiles which is adopted mainly to drain the
rainwater.
Near the kitchen provision has been made in the roof to hold the traditional tools of the kitchen activities
AGRAHARAMS
SETTLEMENT PATTERN
• An Agraharam or Agrahara is the name given to
the Brahmin quarter of a heterogenous village
or to any village inhabited by Brahmins.

• Agraharams were also known as

Chaturvedimangalams. The name originates
from the fact that the agraharams have lines of
houses on either side of the road and the
temple to the village god at the centre, thus
resembling a garland around the temple.
Agraharams: The name literally means "a
garland of houses". It originates from the fact
that the agraharams have lines of houses on
either side of the road and the temple to the
village god at the centre, thus resembling a
garland around the temple.
 TEMPLE

The linear settlement pattern culminated at a temple or was arranged around the temple in various concentric
rings, asseenin the great south Indian templetowns
• The traditional planning of a
temple town with the temple
occupying the deva stana the
layout of the old temple towns of
madurai and srirangam.
• The planning of a temple town, we
can see that the agraharams were
constructed in the Veedhis which
were assigned for human
habitation.
• In a traditional temple town, the
temple is the nucleus, around
which the settlements are made,
i.e., the temple occupies the
brahmaveedhi.
AGRAHARAMS: THE ORIGIN AND EVOLUTION OF A UNIQUE HOUSING
PATTERN IN KERALA
• The Brahmin settlers of south India had migrated to various parts of the
subcontinent and made their settlements around temples.
• As a community which handled the Vedasand religious texts, the
Brahmins wielded power and influence in the social hierarchy.
• As the priestly class they received royal patronage and respect from the
rulers and all the other communities.
• Wherever they went, the Brahmins made their settlements around
temples, around which their everyday life revolved.
• The Brahmins in Kerala can be broadly classified into two groups–the
Namboothiri Brahmins and the Tamil and Tulu Brahmins. The Namboothiri
Brahmins claim themselves to be the true Malayala Brahmins of Kerala and
the Tamil and Tulu Brahmins who had migrated to various parts of Kerala at
different time periods were termed as ‘Paradesi Brahmins’ by the
indigenous communities.
CULTURE AND LIFE • The matriarchal system of family led to the joint family system,
where we had the members of a family living under the same
roof.
• The head of the family was the male head, the karanavar And the
senior most females of the family.
• This joint family system brought in a system of group living and
sense of sharing amongst the local communities. However, in the
case of the agraharams the qualities of living together and
sharing each other’s space got reflected in their planning of the
settlements and it zoomed down into the architecture of their
houses.
• Majority of the Brahmins were employed in the temple as staffs
and in the temple kitchen, mukkanaiya a sub caste of Iyers were
money lenders and were appointed as accountants.
• Brahmins being a priestly class were less familiar with farming
techniques.
LIFE IN
• The women of agraharams rises and after bathing draw ‘arippodikolam’ in
front of their houses.‘ Arippodikolam’- a painted prayer. It is believed that

AGRAHARAMS
drawing a kolam in front of the house brings prosperity. Moreover, they
provide food for insects and birds.
• Brahmins being a priestly class were less familiar with farming techniques,
the lack of open spaces and the life style that revolved around the temple
made then depend on vegetable sellers and other street vendors who
came daily to sell their wares.
• However, few coconut trees can be spotted in the backyard spaces. People
belonging to different castes ranging from bangle makers, the ‘Vala Chettis’,
to basket makers came there to sell off their products. However, no one
from outside was admitted inside the fort after 10pm. There were guards
at each opening checking on those who enter and leave the place.
• At night the road would be lighted up by the stone lamps; stone lamps
were there attached to the walls of every agraharams. . Theses stone lamps
hold oil for a longer time illuminating the street.
PLANNING
• The evolution of this particular architectural typology may also speak
about the social position of the Brahmin community. Even though
these migrant Brahmins wielded power in the caste ridden society,
they were always a minority when compared to the local indigenous
population.

• Moreover, when they moved into a new place and made their
settlements, there was always a tendency amongst the members of
the communities to settle together to ensure safety.

• Another reason behind this was that in most cases the early migrants
to a particular place may be the members of a same family, and thus
when they settle down in an alien land, they automatically evolved
into a close knit community whose principles were based on strict
religious norms.

• The settlements were often made and donated to these families by

the rulers.
• Tindappad–the observance of certain distances between the various
castes in order to avoid pollution by contact social position of the
community, their association with the temple and of course, the
patronage of the royals.

• The agraharams built around the temples were either arranged

along the three sides of themain temple (e.g. the agraharams inside
the Fort, Thiruvananthapuram);otherwise, themost commonly seen
pattern is the concentric circles around the temple (e.g.
agraharamsof Srirangam).

• The agraharams were often built on land donated by the royals and
often the land was divided amongst the migrant Brahmins based
on the social hierarchy existing within their caste group.

• The highly regarded families, the priests and the scholars acquired
the position near the temple and the palace complex; the others
occupied the outerfringes.
• The planning of the agraharams
followed a grid iron or concentric
ring patterns, with the temple
forming the main focus.

• The row of houses is either single

or double storied, with the
traditional pitched roof form
striking a significant profile against
the sky.

• The streets were narrow and

formed an integral extension of
the ‘living space.
• The row houses sharing a common wall had a long verandah running along the front portion, supported by
stone and woodenpillars.

• The house has a verandah at the entrance for social activities and a platform, slightly raised from the
street, which runs the entire length of the row houses. It also acts asa transition from the street to the
dwelling.
 • They have bhajana madhoms (prayerhalls)
which also was a place where the people from
the settlement gathered for the festivals and
during important occasions.
• The agraharams were introvert settlements,
often open to the members of the particular
caste group, however within the introvert
settlement there were designed built and
open spaces that well catered to the needs of
the settlers.
• The streets within the settlements were
narrow and not designed for vehicular
transportation.
• The streets were also a part of the life of the
Brahmin communities as many of the important
religious functions and marriage feasts were
conducted in the streets.
 SPATIAL PLANNING

The agraharam settlements, the linear division of

the plots and the houses which covered almost the
whole of the plot area did not allow its settlers to
have the luxury of a separate pond for each house.
Puramthinna Thalam – it is the space around the courtyard,
– the long corridor/verandah running infront of the the homakundam or the place for the sacrificial
agraharams. This space also acted as a community fire is located here.
gathering place where the men assembled for
religious discourse. Muttam – the courtyard is a part of the rezhi
itself and often there is no separation between
Akamthinna these two spaces.
– the small room next to puramthinna, this room
incorporates the konippadi (stairway) leading to the Adukkala – this is the kitchen.
upper storey.

Rezhi
– this is the central room in an agraharam which
acts as the living/bedroom, the important religious
ceremonies and rituals associated with the Brahmin
community are also performed in this place.
Kuchil –these are the rooms located at the extreme end,
where the ladies during their menstruation are housed.

Machil Machil is the attic room. The stairway from the

akamthinna leads to the machil. This room is assigned for
the use of newly wedded couples. stairway

Kottil–the independent structure located at the extreme

end, it is often used as a cowshed or as storage space.

In the old days the agraharams did not have toilets

Rooms on firstfloor
associated with the house and the system of scavengers
lanes thus came into existence. There were narrow lanes
running behind the agraharams, through which the
scavengers came and collected the night each agraharam.

Terrace on secondfloor
• The spatial planning of the agraharams follows a linear
pattern with rooms arranged one after the other.
• The spaces inside have special purposes, and among
them privacy of the occupants is of the least concern.
• A passage which starts at the street face, runs through the
house ending at the backyard. There are some open
spaces too, in the form of sunken courtyards or backyards
which are highly functional.
strairway Courtyard Thalam Toilet

Puramthinna Akamthinna Rezhi Room

Adukkala Toilet Well Kuchil

THE PLAN ANDSECTION SHOWING THE SPATIAL PLANNING OF THE AGRAHARAM.

• They had special paths known as scavengers lane made behind every stretch DRAINAGE
of streets.
• The wastes were collected outside the fort (southwest corner) and later taken
to far off places to be disposed.
• The drains running through the front were cleaned daily. The roads were
also cleaned and sprinkled with water daily.
• There were common wells, two wells for each street that provided them with
water, every morning the women folk crowded around the well for collecting
water for their daily use.
THINNAI • The sense of sharing the spaces is then best exhibited in the
design of the puramthinna; the long connected verandah’s
running in front of all the agraharams. The puramthinna was
an interstitial space which connected the street and the
interiors of the house and this was also the place where
religious as well as philosophical debates were held. The
culture of living together and sharing has also played an
important role in the everyday life of the inhabitants of the
agraharams.
COMMON WALL • All houses shared a common wall and were
made of ‘Cheekkal katta’, a strong locally
available building material, these blocks were
cemented with lime plaster and the plinth in
which the house stood was made of large
granite blocks, which were laid in a special
manner, which according to the him is very
efficient that the centuries old houses had not
been affected by the earthquakes.

• In old days the roofs were thatched and the

supporting pillars and mezzanine floors were
made of timbre. Later thatch roofs were
replaced by Mangalore tiles when they were
made available in Travancore.
COURTYARD • The planning and architecture of this housing pattern have
evolved over time taking into consideration various parameters
like the local climate conditions, availability of local building
materials and the skill employed in the construction.
• The courtyard houses of Agraharams show a direct response to
the climate conditions of the place.
• In the hot humid climatic conditions of this region, the
courtyard ensures easy ventilation.
• The opening in the roof provides light to the windowless rooms.
• As in the traditional Kerala houses, there is a well attached to
the kitchen and water can be drawn through the opening on
the wall.
• Another courtyard, larger in size is seen next to the kitchen and
toilets which is functions as a washing and bathing space.
 • Traditionally the sloping roof of the houses lets

ROOF in a little sunlight to the interiors; this is

compensated by the presence of the large
courtyard.
• The courtyard has some religious association
too, traditionally in Vastu, the open courtyard in
a house is considered as the ‘devasthana’, The
most sacred place assigned to the gods and
hence construction are not allowed there.
• The agraharams also incorporates a courtyard
in its design however, here its position is not in
the deva sthana. The sacred tulsi planted and
worshipped in the center of the courtyard.
• The court has provisions of taps for ablution
and also outlets for water drainage which takes
the rainwater outside.
The roofs had glass
tiles to let in light.
DETAILS