Architecture of Kerala

Geographically, Kerala is a narrow strip of coastal land confined between the towering Western Ghats to its east and the vast Arabian Sea to its west.

These climatic factors significantly influence the region's architectural style: buildings are designed to counter the wet conditions, heavy humidity, and harsh tropical summers.

[1] The Thachu Sastra (science of carpentry), along with texts like Vastu shastra, Manasara and Mayamata, expounded the design and concepts of early traditional Kerala architecture.

Taccans (carpenters) use many traditional types of joinery techniques, some of them are; Padavilani, Ardhapani sandhi, Montayam, Koodam, Arakuduma, Makara Kuduma, Sthamba, Netti Kudumu, Kakkavaya, among others.

Early Tamil Sangam literature says that by the first century AD, the Cheras ruled all of present-day Kerala, parts of Tulu Nadu and Kodagu, and the Kongu lands (present Salem and Coimbatore regions).

A regional character of construction developed, which incorporated Dravidian craft skills, unique forms of Buddhist buildings, design concepts of Vedic times, and canonical theories of Hindu Agamic practices, all using locally available materials and suited to the climatic conditions of Kerala.

A distinctive visual form in Kerala architecture is the long, steep sloping roof built to protect the building's walls and withstand heavy monsoons.

Structurally the roof frames are supported on pillars atop walls erected on plinths raised above the ground for protection against dampness and insects in the tropical climate.

The concept of Thachu underlines that since timber is derived from a living form, the wood, when used for construction, has its own life which must be synthesised in harmony with its surroundings and the people who dwell within it.

The skillful choice of timber, accurate joinery, artful assembly, and delicate carving of woodwork for columns, walls, and roof frames could be considered unique characteristics of Kerala architecture.

The sculpting of the stone mainly took the form of moulding in horizontal bands in the plinth portion (adhistans) whereas the carving of timber covered all elements – pillars, beams, ceiling, rafters, and supporting brackets.

The sri-kovil is usually on a raised platform with a flight of 3, 5, or more steps (called the sopanapadi), which are flanked by two large guardian statues known as dwarapalakas (door guards).

The front hall is pierced with the entry, dividing it into two parts: agrasalas, which are used for feeding Brahmans and performing yagas; and koothuambalams, which are used for displaying murals and staging temple arts such as koothu.

On the pillared facade as well as on the walls inside the ardhamandapa are sculptured reliefs of the donor, a bearded rishi, a seated four-armed Ganesh, and dwarapalas.

Here, lofty enclosures, sculptured corridors, and ornate mandapas all in granite stone practically conceal the view of the original main shrine in typical Kerala style.

All sculptural works were done strictly according to the canons of proportions (ashtathala, navathala, and dasathala systems) applicable to different figures of men, gods, and goddesses, as prescribed in texts.

Painting was executed in organic pigments on walls when the plaster was still wet – in soft subdued colours, making them into a class designated as Kerala murals.

The moulding, sculpture, and painting are also taken in vertical compositions to emphasise the different storey heights, projecting dormer windows which break the sloping roof, and the crowning finial.

Arabic style of architecture was introduced to the Malabar area of present-day Kerala during the period of occupation by Hyder Ali and later by Tipu Sultan during the eighteenth century.

The Arabic tradition of simplicity of plan had perhaps combined itself with local construction techniques, giving rise to a unique style of mosque architecture not found anywhere else in the world.

has it that St. Thomas (who landed in Muziris in 52 AD) had seven Syrian churches built in Kerala – at Kodungallur, Chayil, Palur, Paravur-Kottakkavu, Kollam, Niranom and Kothamangalam – but none still exist.

For example, the cultural contact of Jews with Kerala predates the time of Solomen; by the fifteenth century, there were Jewish settlements in coastal towns such as Kodungallur and Kochi.

Structurally, the roof frame was supported by pillars on walls erected on a plinth raised from the ground for protection against dampness and insects in the tropical climate.

The four halls enclosing the courtyard, identical to the nalambalam of the temple, may be divided into several rooms for different activities such as cooking, dining, sleeping, studying, and storage of grains.

The position and sizes of various buildings, including the location of trees and paths within the compound wall, were decided from an analysis of the site according to the prescriptions in classic texts.

The site planning and building design was done by learned master builders (vishwakarma sthapathis) who synthesised technical matters with astrological and mystical sciences.

If needed, ekasala may also be provided with ancillary buildings for cattle keeping, barns, bathing rooms near tanks, outhouses for guests, and gate houses.

The actual terms used for nalukettus differ based on the caste and social status of their occupants: Unlike other parts of India as well as outside, most of the administrative functions under monarchical days were conducted within premises of palace complexes.

Hence the concept of independent secular public structures and its architecture evolved towards later part of the 17th century, particularly due to the contributions made by colonial powers in Kerala.

The Greek and Roman antiquity was considered the richest heritage of the West and was emphasised via the use of classic orders of pillars, triangular pediments, arches, and domes for public buildings like town halls, hospitals, railway stations, and colleges.