Abode of the Creator.

Most Indians start their day with his blessings and end the day with an offering of gratitude to him. Amidst the bustle in their lives there is a special place where they unite with their creator.Religion is perhaps the largest creator of conflicts,while God the single largest driver of creativity. The thought of god and is abode generally gets one thinking of the scale and creativity of Khajuraho, Konark, Abu and Ellora.Often overlooked ,however is the effort of the common man to create the most revere and scared space in his house.Residential temple forms are wide and varied and range form chowkis(simple platforms),singhasans(seats),palkis(palnquins) and jhoolas(swings) to aalas(wall niches )pavilions and cupboards.These temples are used indoors and outdoors,mostly in prayer rooms or chowks(courtyard) in the traditional havelis. Their size is determined by the parameters of the space they are likely to be placed in. Materials vary from wood to stone to silver and brass.

CHOWKI

 Basic form of a residential temple.

 Consists of a wooden platform on feet.

MINIATURE SINGHASANS

* A singhasan is essentially a chowki with a back.

* Miniature versions of life size singhasans or royal seats.

* A brass back has been mounted on the wooden platform.

* The back has a yali head on top below which is a makartoran (alligator gate-a mythological depiction generally seen in most religious entrances)

PALKIS

* A palki is a singhasan with wooden arms on which the deities are carried during festival processions by palki bearers.

* the wooden arms of the palki are dismantled and the singhasan is placed in the prayer room for regular worship.

* the example is a wooden Gujarati singhasan. It has a miniature railing, lion legs, secret wooden compartments, back is carved and has a cut-out for a small religious photograph.

* the iron angles on the sides on which the wooden arms are attached, converts this into a Palki.

JHOOLA

* A jhoola is a singhasan suspended from an arch held by 2 pillars anchored to its base used by Hindus during Janmashtami to cradle Lord Krishna.

* the most beautiful in design is the gilded Jhoola.

* it is carved in wood and covered in gold leaves.

A lot of miniature temples are inspired prevalent architecture and its nuances.

Listed below are a few examples:

Chhatris

Dome shaped structures in which the dome is supported by pillars which are then anchored on to the base.

Bulbous columns supporting the domes with floral ornaments and peacock shaped finials.

Pavilions

Miniature versions of architectural pavilions. Four columned pavilions with a roof that has a parapet wall and a sloping overhang supported by cast white metal angels. Pillars are mounted on a singhasan with a lot of petal ornaments and a crocodile spout to drain out the holy water.

Niches

Aalas or niche temples are fashioned like window openings in building facade with similar architectural features. Statues are displayed in the niches. They also function as built-in wall cabinet temples.

CABINET TEMPLES

Temples fashioned like household furniture pieces and have similar ornaments.

Stepped temples

A chest of drawers with a tiered display for the deities and drawers for storage of prayer accessories.

Vitrine temples

This temple is fashioned in the shape of a quaint colonial glass case with its stepped display and is mirrored.

Bhandaras

Commonly found in North Indian haveli prayer rooms, it is a large strong box like cabinet with 2 sections with small openings. One section is a safe while the other is a temple.

BOX TEMPLES

They are also called Gattajis. They are designed as travelling temples to aid Jain travellers to carry their Deity along with them on their travels. The Gatta consists of a painting of a Jain Tirthankar fitted into a glass box with a mirror under the lid.

The mirror ensures that even if the image is facing downwards, the reflection always points to the sky (the God should not face the ground). They can be opened and setup as required.

The illustrated examples show the evolution process in home temple design. Very interesting to note that temples have been traditionally used as safes to store valuables like money, jewellery and silverware. the underlying logic is that thieves would fear God and not steal from a temple.

While organised religion is on the wane, our lives still revolves around God. As we move to towards a global socio-cultural and design vocabulary, these simple yet stunning examples of design fit into our cosmopolitan habitat. the tradition of making temples continues strong as ever.

The temples featured in this article are from the collection of La Boutique, New Delhi. Image and text courtesy, IDI November 2004. Courtesy Rahul Backliwal and Anshuman Sen.

Designing Flower carpets for Onam

*Pookalam is an intricate and colourful arrangement of flowers laid on the floor.

*Tradition of decorating Pookhalam is extremely popular in Kerala

*Followed as a ritual in every household during ten-day-long Onam celebrations.

*'Pookhalam' consists of two words, 'poov' meaning' flower' and 'kalam' means 'colour sketches on the ground'. 

*It is considered auspicious to prepare Pookalam, also known as 'Aththa-Poo'

during the festival of Onam.

*Pookalams actually welcome the most loved King who comes to visit his homeland once a year.

*Athaapoovu are usually circular in shape and multi-tiered colourful arrangements of flowers, petals and leaves.

*Normally laid on the front court yard of the house.

*Idols of Mahabali and Vishnu are placed in the center of the Pookalam and worshipped.

*Diameter of a Pookalam normally ranges from four to five meters.

*Its a big creative task, as designers have to think of a new design ever day.

Below is the Pookalam  at  home when Onam came visiting our house.

Some shots of the Flower carpet and my little one..

Gods are represented by clay pyramid like structures in the middle of the flower carpet.

Pookalam at home

Little one admiring the pookalam

For a detailed story on Onam at our home pl do visit Celebrations of Life

Image courtesy:indianpaparazzi.com

Padmanabhapuram palace,Tamilnadu

Padmanabhapuram Palace complex continue to be the best example of traditional Kerala architecture, and some portions of the sprawling complex are also the hall mark of traditional Kerala style building art. As a follow up to my earlier blog article, let me take you all, into a journey through the palace complex way different from the usual route which discusses the decor and the interiors.

This journey is enriched by the spatial variations in the built and open spaces of the palace complex emerging through the sense of enclosure and intensity of light.

The Padmanabhapuram Palace which I have seen is a Design ensemble in itself,each item being a Decor element,carefully picked and placed.

Here what caught my attantion the most was the syntax of Spaces. One space leading into the other and into another beautifully.....the merging almost seamless....

The modern term used for designing of ‘Spaces’ is spatial design. This term encompasses both interior and exterior design as integral parts of this 3-dimensional design activity.

“Space” is a notional phenomena which shapes and exists by the context. Space making is a sum total of the time and space combination. Space over time is not the same. Similarly time over different space is also not the same.

This constant juxtaposition of time over space is the essential premise of Indian Architecture.

The developed elements l found in this built work: a configuration of space as discrete volumes, complex ambient light and shadow, a celebration of mass and structure, the use of materials which have both modernist and archaic qualities, monumental openings uncompromised by frames, courtyards wrapped around buildings.” 

1.Built-Unbuilt space configuration:

Transcending time and space, good architecture remains communicative and interactive all

the while through its spatial qualities. These spaces possess the qualities to establish rapport

with the on looker and condition his perception, independent of their cultural background.

Timeless, ever pervading architecture rely on more fundamental attributes of space making

ranging from

• approach and movement,
• scale and proportion,
• quality of light and shade or
• the relationship of the built with the unbuilt.

The visual proportioning of spaces and skilful arrangement of elements provide everchanging

frames of visual compositions through perspectival effects and their strategic visual alignments while one moes through them.

The courtyards of the palace complex are masterpieces in their own right with the buildings enveloping it. The movement through the complex involves one to step out into the open,and then enter the built volume and then again step out and move through the courtyard.

This is a pattern of configuration of spaces one finds in almost all traditional built complexes of Kerala.

2.The Play of Light and Shadows: Light and shadows play a game of Yin and Yang in this serene place almost giving its inner rooms a magical aura. The contrast between the harsh tropical sunlight outside and the soothing light that penetrates into the inner

 spaces through the ubiquitous palisade windows is used to create this almost theatrical effect.

This play of light through integration of unbuilt spaces with the built volumes become mutual counterpoints which help in defining the spatial hierarchies and territories in terms of personal and public realms. The perception of enclosure is further reinforced by the decreasing intensity of light.

The brightness of light subdues asone progresses further deeper into space making the space progressively vertical, cosier and confined. The timelessness is attributed to its freshness offered by the variations of visual frames as well as the integration of light/nature where the sun is the constant variable as it changes position and intensity from morning to evening and from summer to winter.

The conditions of outdoors inherently not remaining same changes consistently making the same space appear different and fresh all times. This makes the static object change with changing outdoor conditions through sun. This inherent dynamism in the character of the spaces is something to learn from. Don't know how many of our modern edifices really deal with such a simple yet powerful tool- manipulating natural light to create a dynamic space.

                 Light through the dormer and palisade windows into the durbar hall
                       The natural light filtering throught he windows in the dining hall
                                   Natural light in the Kitchen
                                   Natural light in the inner rooms,notice,they make a pattern
    The Shadows of the jaalis,its interesting to see them,they add ambience to the decor and style

3.The Transitional spaces:

Transitional spaces that are neither inside nor out but flows in between the two,such as a verandah, a covered terrace or a corridor are important connectors between the open spaces and the built spaces. The bands of windows,verandhas,corridors,pillared connectors between buildings, spaces close to the house are all a part of the experience before it merges into the open space of the courtyard. These enable the air to freely circulate in the building,offer views through and the past the building.

                    The Long balcony in the summer palace and guest house
                                      Closed walkway to the other side of the palace                                                 Open verandah with pillars
                                                   Open courtyard in the house
           Long walkway,balcony in front of the rooms or to the side of it

4.The simplicity vs complexity in the layout: The covered walkway within which the end is not at first seen where “you are always surprised, keep observing new things”. It is this simplicity in the layout which translates into the beauty of the complex. But however simple it may look in plan, moving through the spaces and retracing one's way is not so easy as it thinks

                                                    Open walkways and pillars
                                   Courtyard surrounding the houses
                                   One open courtyard opens to the other
                                    Open window  from the side of the kitchen overlooking the pond
                               Back view of the palace,walkway,lawn,pond ,way to the summer palace

5. The 'Vernacular character

The vernacular character is reflected in the architecture of the complex.The sloping tiled roofs arranged and carefully placed at angles reflect the mountain scapes which surround the palace.

                                                      Front view of the palace

                                                Side view of the Palace

6.Materials: Locally available raw materials are the ingredients and when clubbed with exotic 'recipies' for the detailing.

                                                          Main Durbar Hall

Seasoned wood for the ceiling and pillars,Mangalore tiles for the roofs,Wood for the furniture,Black shiny floors made from a combination of egg white,jaggery lime,charcoal and river sand,carved mahogany ceilings,colored mica windows.

Four poster Medicinal Bed for the Maharaja,Side table to keep the sword and a chair in wood.

Big Serving Vessels in the dining hall.Found in the Dining hall,where the curries are made from the kitchen and poured before serving,made of raw cut granite stone and polished accordingly.
                                        A distant view of the Giant serving Vessels.

6.Climatological response:

The architecture language is a response to the climate of the region.

                                           Dormer windows around courtyard
Rainfall-Sloping Roofs,The windows overlooks a courtyard ,courtyard allows natural ventilation and the womenfolk to feel the fresh air.
                                                Jaalis on Windows to allow circulation of air
                         Big Doors to allow ventilation,since the region is quite humid.

I think I have truly taken all into the decor of an era,the Ancient Kerala Decor style,which is at present in trend.

 I do hope at one time of my life I will be able to reciprocate the finest in decor and construction which I have noticed 

Hope you all did enjoy the time in that era...

Will bring lots more later....

All pictures are protected and copyrighted ones.PL dont steal images.If found is punishable.If you need images pl.contact .All copyrighted images of Lakshmi Arvind and self clicked.