Wooden Architecture in the South Asian and

Indian Context

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Introduction to Traditional Architecture

Traditional, vernacular and folk architecture not only provide people with shelter but also help societies forge notions and ideas related to home, neighbour-hood and settlement. Many cities and settlements in Asia are shaped by traditional architecture and its related genres. Medieval cities, entirely made up of traditional architecture, are common the world over. Most of these cities are functioning and their traditional building types are in use to this day. Some are minimally affected by modernization (see Figs 1.1–1.3) while others have transformed dramatically. Nonetheless, the stock of such architecture and the resulting urbanity sustain millions of human beings in many societies.

Settlements in deserts, on waterways, in thick jungles and on high mountains, each have characteristics of their own well rooted in their local context. Siena

and Alberobello in Italy, Jaisalmer in India, Siwa1 in Sahara and Canada’s Central Arctic and Greenland’s Thule region, embody the diversity in architecture and settlement form that humankind has forged to sustain its existence. The size of buildings, use of local materials and construction techniques, simple ideas to combat weather and the pursuit of appealing outward appearances are common to most examples. For instance, an igloo typifies a vernacular architecture in which building form, orientation, materials and construction technique are in total harmony with climate and lifestyle. Thus, one can see in vernacular architecture, the materials and techniques are contextual to geo-climatic forces. There are similar examples in other climates and cultures, such as a traditional courtyard house in Jaisalmer or a mud house in Siwa. The storage places for critical resources such as water and grains are

previous pagefig. 1.1 Carved wooden

icons articulating the floor structure and the parapet at the corner of a haveli’s

courtyard in Vaso, Gujarat

above left fig. 1.2 Bamboo-reinforced and mud-plastered grain containers and cow dung flooring in a Gujarati rural house.

above right fig. 1.3 Bamboo grain -storage baskets of ādivāsis in Panchmahal, Gujarat.

below fig. 1.4 Rudimentary temporary shelter of a Charan family in Gujarat.

“The model itself is the result of the collaboration of many people over many generations as well as the collaboration between makers and users of buildings and other artefacts, which is what is meant by the term traditional. . . . Tradition has the force of a law honoured by everyone through collective assent. It is thus accepted and obeyed, since respect for tradition gives collective control, which acts as a discipline. This approach works because there is a shared image of life, an accepted model of buildings, a small number of building types, and, finally, an accepted hierarchy and hence an accepted settlement pattern.”

—Amos Rapoport, House Form and Culture

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vilakkumādam (wooden grill that holds lamps) enclosing the space. On special occasions, all the lamps in the wall are lit, creating a spectacular sight. A number of temple functions like the making of garlands and garments for the deity and the preparation of various items used for the rituals are conducted inside the nālambalam. A section of the columned space to the east of the main shrine contains a mini-koothambalam or a make-do theatre, since the temple did not have a large independent

structure for performances. The kitchen was initially located in the northeast corner of the nālambalam, but was later shifted to the southeast—a correction made after referring to the Vāstushāstra. A subsidiary shrine dedicated to Lord Shiva is placed to the south of the main shrine. The pradakshina, a necessary part of the ritual sequence, is done along a demarcated path between the nālambalam and the srikovil. The path wraps around a number of smaller balikkallus, each dedicated to a specific deity.

fig. 3.17 A section showing the inner shrine of the main

deity and the path of the sacred water through the

praṇāla. Sri Durga Devi Temple, Kumaranallur.

fig. 3.18 Section through the roof of the namaskāramanḍapa in front of the main shrine. Sri Durga Devi Temple, Kumaranallur.

The nālambalam, as a ring of the akathe balivattam, encloses the courtyard that houses the srikovil fronted by the namaskāramandapa (salutation pavilion; see Fig. 3.20). The srikovil in Kumaranallur is circular23 in plan with a square shrine within its centre; it is a nirandhāra plan (a layout without the ambulatory path around the sanctum sanctorum) with a double shikhara roof.24 The srikovil as seen from the outside actually enshrines a smaller structure, the main shrine, within which resides the main deity.

The concept of building within a building and that of a double roof is intriguing and is found in many instances of Keralan architecture. In local practice, the plinth with its own order is made of black trap, a hard stone, atop which is the circular wall of plastered laterite masonry. The balustrade of the steps and the pranāla (spout that disposes off the water used for abhisheka ritual in the sanctum) (see Fig. 3.19) are the two other typical elements of architectural pride. They are fashioned skilfully in granite. The grīvā

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are located in the courtyard formed by the four wings within the lamp-wall. The covered platforms on the long side are used for sundry activities and the wider platform on the entrance side constitutes the main congregational space. The rear platform has the kitchen and open storage. The temple well is located in the southwest corner. The roofs over the side and rear wings are much lower than the one in the front. All the wings, along with their platforms, open into the courtyard. The entire assembly spatially responds to the namaskāramandapa and the shrine. This produces a sense of transparency in which the overall scale imbues it with a mystic spiritual ambience. A couple of subsidiary shrines and sacred trees stand inconspicuously around the temple; however, a large wild fig tree, which can be seen from the main

road, marks the temple’s presence. The Krishna temple represents the most essential components and typical configuration of this temple type, while closely following the language and the grammar of wooden building craft. Many private temples of the rich Namboothiri families follow this model, while highlighting or downplaying the qualitative aspects as per the owners’ means.

Brahmaswam Madham, Thrissur

In the context of education, the ancient Indian concept of guru-shishya parampara (teacher-student tradition) and the idea of the gurukula (teacher’s residence as the school) have often been mentioned. However, an architectural manifestation of this is

fig. 3.22 Western view of Brahmaswam

Madham, Thrissur, facing the ritual bathing

pond and showing the four madhams. The

Atharvaveda madham (extreme right) is no

longer functional.

fig. 3.23 (a) Cross section of Brahmaswam Madham, Thrissur, through the road at upper level and the ritual bathing pond at the lower.

(b) Plan of Brahmaswam Madham, Thrissur, showing three madhams. The Atharvaveda madham is not shown.

(c) Plan of the lower level of Brahmaswam Madham, Thrissur, showing the meditation spaces and the bathing platforms.

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Classroom and multipurpose space

Classroom and multipurpose space

Classroom and multipurpose space

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fig. 3.29 Plans of Tazhathangady Mosque, Kottayam. The main area in front of the mihrāb, the larger area after it and the peripheral area are the three sections for prayer.

above fig. 3.26 Tazhathangady

Mosque, Kottayam. The idea of poomukham or entrance pavilion

is pronounced in the mosque architecture

of Kerala.Thus, formally, the mosque in Kerala in outward appearance resembles a large and elaborate dwelling. Its basic plan comprises a hall and the qiblā wall which contains the mihrāb—the essential component of the mosque. The qiblā wall is usually on the shorter side in Kerala, facing Mecca. On the ground floor, the main hall has arched openings at regular intervals. This hall is usually laid out in two parts with a dividing wall that has three openings, forming an inner and an outer area of worship. The entire building is raised on a high plinth and a veranda runs on all sides, with

arched openings that are in keeping with the humid climate. The upper storey is a large, single-volume space covered by a roof in the architectural idiom of Kerala. Substituting the veranda on the ground floor, the chārupadi (a band of slatted openings) runs all around it (see Fig. 3.25). It is often used for teaching and as lodgings for visiting scholars and students.

Since settlements in Kerala were scattered over a large area, the minaret as a device for reciting the bāngk (call to prayer) proved ineffective and was

below left fig. 3.27 Cheraman

Mosque, Kodungallur, as it was in 1958.

below right fig. 3.28 Interior, Cheraman

Mosque, Kodungallur. The presence of a lamp is

a symbolic, assimilative gesture from Hindu custom.

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