a dark rhapsody - SRDAsrda.co/pdf/OutReach_Sircle_Project_A_Dark_Rhapsody.pdf · a dark rhapsody... Research on the ... Varikkassery mana, ottapalam, kerala courtyard, Olapamana mana,

a d a r k r h a p s o d y . . .a n e x p l o r a t i o n o f s p a t i a l e x p e r i e n c e s i n s o u t h i n d i a n a r c h i t e c t u r e

32

Commissioned and Supported by:Mr. Hitesh Kumar .P .KawadM.D SPR Group, Chennai, IndiaEmail: [email protected] : www.sprgroup.org

Research Director/Editor:Samira RathodPrincipal, SRDA, [email protected]

Research Team:Nikhil Sriram PeriaswamyRhea ShahSunain S Dalwani

Photoraphy:Pankaj Anandhttp://www.pankajanand.in www.facebook.com/pankajanandinfo

Publisher:Samira Rathod Design Associates,420/421 Unique Industrial Estate,Veer Savarkar Marg, Prabhadevi,Mumbai 400 025, India

Printer:Mazda Imaging Pvt Ltd, Mumbaiwww.mazdaimaging.com/

©July 2015

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

My experiences as a developer affirm the importance of housing. Our cities are growing at an immense pace creating a large influx of people. This creates an urgency for a housing system that is quick to construct and can handle the large densities. In this process of standardized building, architecture has lost its relationship with our lives. Vernacular architecture directly relates with people, culture and climate and it is very important to us to integrate this essence into our work.As a developer that works largely in Chennai and having been raised in South India it seemed natural to look back at the architecture I experienced while growing up, and to undertake a study of our lost architectural heritage its’ vivid culture and craft of South India. Having been familiar with the work of SPADE and SIRCLE (Spade India Research Cell), we commissioned Samira Rathod Design Associates to undertake the research in their unique style and we were not disappointed. I thoroughly enjoyed reading this book and I hope it can bring back the same sense of nostalgia and awe that it inspired in me.

Hitesh Kumar.P. Kawad

f o r e w o r d

Often trapped in our pursuits of worldly comforts and a meaningful expense of our time, the significance of the leisurely vagabond day dreamer is little realized. Indulgence in unyielding experimentation of ideas, not necessarily propelled by needs, is often labelled esoteric and a waste. Time and again, history has proved that thinking alone leads to innovation and new paths in instilling living ideologies and even philosophies of time. The lacuna of one such forum in the country is evident. SIRCLE, Spade India Research Cell, emerges here.

SIRCLE supports studies and explorations in ideas and interests that have the potential to influence design thinking.

SIRCLE endeavours to create an archive of compacted understandings of our built environments, also expressed in different media to nurture critically creative thinking in all our realms. - Samira Rathod

c o n t e n t s

I n t r o d u c t I o nt h e J o u r n e y M a p

g e n e r a l t y p o l o g I e s / e v o l u t I o nt e m p l ep a l a c es e t t l e m e n t s

u n d e r s t a n d I n g a r c h I t e c t u r e r e s p o n s e st r a d i t i o n a l h o m e sa r c h i t e c t o n i c st e x t u r a l n a r r a t i v e st r a d i t i o n a l m a t e r i a l sp r o d u c t i o n o f m a t e r i a ll i g h t a n d i l l u m i n a t i o n

p e o p l e I n t e r v I e w s

c a s e s t u d I e sK a n a d u k a t h a na g r a h a r a m c h e t t i n a a d h o u s eg u t t h u h o u s et h a r a v a d u h o u s e

M o M e n t s

p h o t o e s s a y s

t h e s K e t c h b o o Kg l o s s a r y

1

1 1

3 5

1 2 3

1 3 1

1 7 3

1 8 5

1 9 7

1

3

2

4

5

7

8

6

18 INTRODUCTIONINTRODUCTION

Our journey through South India introduced us to a language of building that is completely characteristic of its people, their nature of living and the environment. The tectonics of the architecture were inextricable from culture, narratives, life and living.

As architects we often get immersed in formalistic elements, precise drawing, measurement and the addictive act of making. The Cartesian grid determines our imagination and limits our experiences to the quantifiable dimensions.

In the act of building, we often forget the experience of living.

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

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

1 I n t r o d u c t I o n

32 INTRODUCTIONINTRODUCTION

t h e J o u r n e y M a p

The study was conducted in 3 states of Southern India; Kerala, Tamil Nadu and Karnataka.

Starting at Tiruvananthapuram, we visited Thuckalay, Sivagangai-Chettinad, Thrissur, Palakkad and Udipi Districts. Each place was selected for the uniqueness of its typology of architecture. Along with different housing typologies, we also looked at the institutional architecture of temples and palaces. Following is the list of the places visited along with their corresponding typology:

1.Trivandrum - Padmanabhaswamy Temple2.Thuckalay - Padamanabhapuram Palace3.Kanadukathan 4.Thrissur, Avittathur 5. Kalpathy, Ottapalam 6.Kundapur

- Chettiar Houses Agraharams- Copper Roof Temple- Namboothiri Houses Agraharams- Bunt Houses1

3

4

5

6

2

a

cb

a. karnatakab. keralac. tamil nadu

1.2. 3.

4.

5.

6.

trivandrumthuckalaykanadukathan, sivagagai districtthrissur, thrissur districtkalpathy, ottapalam, palakkad districtkundapur, udipi district

the 3 states studied in southern india

the journey map

1312 GENERAL TyPOLOGIES & EVOLUTIONGENERAL TyPOLOGIES & EVOLUTION

t e M p l e s

1514 GENERAL TyPOLOGIES & EVOLUTIONGENERAL TyPOLOGIES & EVOLUTION

1. sacred grove2. sacred grove + shrine3. sacred grove + round/ oval/ square/ apsidal plan of temple4. sacred grove + shrine + circumambulatory path + wall5. sacred grove + shrine + inner circumambulatory path + outer circumambulatory path + wall + gopurams (gateways) + temple tank6. sacred grove + main shrine + inner circumambulatory path + outer circumambulatory path + smaller shrines + wall + larger gopurams + temple tank

e v o l u t I o n o f t e M p l e s

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

Small rock-cut shrines attached themselves to these sacred groves with the advent of the Aryans and the Vedic religion.

These rockcut shrines saw variations in form as Jainism and Buddhism spread widely in Kerala. Jain and Buddhist temples in the Thrissur region were converted back into Hindu temples when the Namboothiri Brahmins gained power.

The forms of the temples themselves started growing. First with the addition of a small hall to pray, then with a surrounding verandah.

Later temples also contain a wall holding lamps, dance halls, kitchens, dining halls, and other smaller shrines dedicated to other Gods.

1 2 3 4

5 6

4544 UNDERSTANDING ARCHITECTUREUNDERSTANDING ARCHITECTURE

the tradItIonal south IndIan hoMe


t h e h o u s e p l a n s

Verandahs : semi-open space

Courtyards : open space

Private rooms: built space

1. chettinad house, tamil nadu2. tharvad house, kerala3. gutthu house, karnataka

12 3

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

Well

RO

AD

RO

AD


8891

234

mai

n st

reet

serv

ice

stre

et

t y p I c a l s p a c e s o f a t r a d I t I o n a l s o u t h I n d I a n h o M e

1232324

1234

entrance blocklayers of courtyardsprivate roomsservice area

linear primary circulation

entry into rooms

open to sky courtyard

322

Verandahs: semi-open space

Courtyards: open space

Private rooms: built space

2

3

1

Key spaces in the house

123

verandah, Varikkassery mana, ottapalam, keralacourtyard, Olapamana mana, cherpulassery, Keralaprivate rooms, Olappamanna mana, cherpulassery, Kerala


p r o d u c t I o n of

t r a d I t I o n a l M a t e r I a l s


a t h a n g u d I t I l e f a c t o r yAthangudi Tiles:This indigenous material has roots in the heart of the Karaikudi region.It’s intricate designs are formatives of sand, local water cement and pigments. Its patterns are simple unique and these tiles feel very cool under the feet.

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


M a n g a l o r e t I l e M a K I n g

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

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


This indigenous roofing was extensively used all over south india where flat roofs were desired.It’s multiple layers created a thickness to cut heat and keep the interior habitable spaces of the house cool.

The intensive construction methods are as follows:1. Wooden beams and rafters are laid.2. Bricks are laid with lime mortar inclined as well as diagonal in plan.3. Another layer of bricks are laid horizontally with lime mortar.

Desired type of flooring for the level above is then laid over this base material, for instance:4. a) A 300mm thick filling of brick jelly with lime and special mortar is spread over b) Terracotta tiles is laid over this with lime mortar.

c o n s t r u c t I o n o f M a d r a s t e r r a c e r o o f I n g

wooden beam

section of madras terrace

wooden rafter

bricks laid with lime mortar

brick jelly with limeand special mortar

terracotta tiles laidwith lime mortar

12 cm

30 cm

20 cm

1 2 3 4 5 6


Chettinad Handloom:

The hand spun yarn is woven into the brightly coloured high sheen fabric that has strong geometric patterns, either boldly striped or chequered.

Weaving is a method of fabric production by interlacing yarn to form cloth.1. Use of a loom.2. Warp threads are attached to the shuttle.3. Raising and lowering sequence of threads in various sequences gives rise to many possible weaving structures.

c h e t t I n a d h a n d l o o M f a c t o r y

warp beam harness shuttle filling yarn cloth roll

reed clothhaddleswarp yarn


W

l I g h t &

I l l u M I n a t I o n

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


In the Chettinad houses additional clear story windows add to the the quality of light that comes through.

t h r o u g h t h e h o u s e sIt can be inferred that courtyards and verandahs remain the main source of light throughout the houses of South India.

The Bedrooms are dark and cosy, receiving light only through the courtyards, keeping them cool through the hot summers.

Entrance verandahs, courtyards and their adjoining passages serve as the primary spaces for activity as they are well illuminated with natural light.

Large overhangs coupled with louvered windows in the Namboothiri houses of Kerala lead to a very diffused light entering the spaces.

Corridors that bisect the house provided a constant passage of light in the Guthu Bunt Houses.


205204 SKETCHBOOKSKETCHBOOK

I. MEASUREMENTBrahmanabhi (Br -ɑː-ma-nǣ-bh-i:) : centroid

Shastras ( ʃ -ǣ-str-ǣ-s) : rules

Vastu (V-ǣ-s-t-u:) : building rules

1)Ways of measurementa)Manusyapramana(M-ǣ-n-ʊ-sya-pra-m-ǣ-na) : human standard

•matrangula (M-ǣ-tr-ǣ -ŋɡ-u:-la)

(Matra = unit, Angula = finger)

smallest unit of measurement in the

anthropometric scale

b)yavamana (y-ǣ-va-m-ǣ-na)(yava = barley grain, Mana = measurement)

2)Units of measurementa)Paramanu (pa-ra-m-ǣ-n-u:) : Imperceptible partice

b)Rathavenu (ra-θ-a-eɪ-n-u:) : Grain of sand blown by

chariot wheel

[1 rathavenu = 8 paramanu]

c)Ralagra (ra-l-ǣ-gr-ǣ) :The point of a hair

[1 ralagra= 8 rathavenu]

d)Liksa (l-ɪ-k-s-ǣ) : The length of a louse

[1 liksa= 8 ralagra]

e)yavamana (y-ǣ-va-m-ǣ-na) : length of a grain

[1 yavamana= 8 liksa]

f)Angula (ǣ-ŋɡ-u:-la) : length of the middle part

of the longest finger

[1 angula = 8 yavamana]

1 Parva (par-v-ǣ) = 3 Angulas

1 Pada (pa-d-ǣ) = 8 Angulas

1 Hasta (has-t-ǣ )= 3 Padas = 8 Parvas = 24 Angulas

W1 Vyama (vy-ǣ -m-ǣ )= 8 Padas

II. PARTS OF A TEMPLEa) Akatthe – Balivattam (ǣ-ka-tt-ə, b-ǣ-l-ɪ-va-tt-am)

: inner most enclosure

•Sreekovil (ʃ-r-i:-k-oʊ-vil) : central enclosure of the deity

•Anthar-Mandala (an-θ-ar, m-ʌ-nda-la)

: space housing the protective deities

•Bali- Kall (b-ǣ-l-i:, k-ǣ-l-a): platform

•Namaskaara – Mandapa (na-mas-k-ǣ-ra, m-ʌ-nda-pa)

: platform to bow down

b) Naalambalam (n-ǣ-lam-ba-lam): Area around the sanctum

Chuttambalam (ch-u:-ttam-ba-lam)

Valia-ambalam(v-ǣ-l-ɪ-ya,am-ba-lam)

:Covered spaces for rituals

Thittapalli (θ-ɪ-tta-pa-ll-i:): A small temple kitchen

Mulayara (m-ʊ-la-y-ǣ-ra) :Storage for grains, fruits, utensils

c)Madhya Haara / Vilakku – Mattam

(ma-dh-ya,h-ǣ-ra/ v-ɪla-kk-u:, m-ǣ-tt-am):`Galaxy of Lamps`

d)Puratthe – Balivattam / Sivelippura (p-ʊ-ra-θ-eɪ/ ʃ-i-v-eɪ-ll-i:) :Outer enclosure

Agra-mandapa (ǣ-gra) :Pathway

Valiya-balikall (v-ǣ-l-ɪ-ya) :stone platform for sacrificial offerings

Bali-peetha (p-i:-θ-a): Positions for protective deities

Kshetra-paala (k-ʃ-eɪ-θ-ra):Positions for temple guardians

Dwaja-sthamba (dh-wa-ja,sth-ʌ-m-b-ǣ) : The ceremonial flag-mast

Koothamabalam (k-u:-θ-ʌ-m-ba-lam) : Enclosure for temple musicians

e)Maryaada (mar-y-ǣ-da)Puram Mathil (p-ʊ-r-ʌ-m,m-ǣ-θ-ɪ-l) : The outer boundary wall

Gopura (g-oʊ-p-ʊ-ra) :The main gateways

Oottu-pura (u:-tt-ʊ-p-ʊ-ra): Lunch-hall

Puram-mathil: Outer-wall

III.COLUMNAthisthána (ǣ-θ-ɪ-s-θ-ǣ-n) : base

Upapítha ( ʊ-pa-p-i:-θ-a) : pedestal/plinth

Sthamba (s-θ-ʌ-mba) : pillar

Prastára (pras-t- ǣ-r-ǣ) : entablature

IV.PLINTHVedibhadra (v-eɪ-θ-bha-dr-ǣ) : house plinths

Pratibhadra (pra-θ) : palace plinths

Manchabhadra (m-ʌ-n-ch-ǣ) : temple plinths

V.COLOURSHaridra (ha-r-ɪ-dh-ǣ-ra) : bark of yellow wood tree

Sindur (s-ɪ-nd-u:-r) : vermillion

Gaierik (g-aɪə-r-ɪ-k) : red ochre

Hingul (h-ɪ-ŋɡ-u:-la) : cinnabar

Laksharus (la-ksh-ʌ-r-u:-s) : shellac

VI.HOUSES

A] 4 States of South IndiaTamil Nadu

Kerala

Karnataka

Andhra Pradesh

b] LanguagesTamil - Tamil nadu

Malayalam - Kerala

Kanada - Karnataka

Telugu - Andhra Pradesh

C] Places studied and communities studieda)Trivandrum -Padmanabhaswamy Temple

b)Thuckalay -Padamanabhapuram Palace

c)Kanadukathan -Chettiar Houses

d)Thrissur, Avittathur -Copper Roof Temple

e)Kalpathy, Ottapalam -Namboothiri Houses

f) Kundapur -Bunt Houses

D] Ancestral roots Aryan

Dravidian

E] CasteBrahmin (br-ǣ-m-ɪ-ŋ)Vaishnava (v-aɪ-ʃ-na-v-ǣ)Kshatriya (k-ʃ-tr-i:-y-ǣ)Shudra (ʃ-u:-dr-ǣ)

F] Community housesTamil Brahmin – Agraharam

Chettiar (ch-e ɪ-tt-ɪ-y-ǣ-r) – Chettinad houses

Namboothiri (n-ʌ-m-b-u:-θ-ɪ-r-ɪ) – Tharavadu houses

Bunt (b-ʌ-nt) - Guthu houses

G] (i) Agraharam/Agrahara (a-gr-a-h-ǣ-r-ʌ-m)Thinnai (θ-ɪ-nn-aɪə) : entrance verandah

Akamthinnai : inner verandah

Rezhi (r-e ɪ-zh-i:) : private room

Mittam (m-ɪ-tt-ʌ-m) : open to sky court

Adukkala (a-d-u:-kka-la): kitchen

Machi (m- ǣ-ch-i:) : open to sky court

G] (ii) Chettinad houses Oorani : surface water storage tank

located in villages

G] (iii) Tharavadu houses (θ-ǣ-r-ǣ-va-d-u:)Kottaram - Palace and Temple (in Malayalam)

Thatchu Shasthra : the Science of Carpentry

Nalukettu (n-ǣ-ll-u:-ka-tt-u:) : 4 hall house

Ettukettu (e ɪ-tt-u:-ka-ttu:) : 8 hall house

Pathinarukettu : 16 hall house

Poomukham : open living

Irayam : the court corridor

Nadumuttam : the courtyard

G](iv) Guthu house (g-u:-θ-u:)Horangala : front open public space

Hebbagalu : outer plinth

Volangala : inner court

g l o s s a r y

Documents

a dark rhapsody - SRDAsrda.co/pdf/OutReach_Sircle_Project_A_Dark_Rhapsody.pdf · a dark rhapsody... Research on the ... Varikkassery mana, ottapalam, kerala courtyard, Olapamana mana,