Socio-Cultural Influence in Built Forms of Kerala
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General Introduction to Odishan Temple Architecture
Odisha Review May - 2012 General introduction to Odishan Temple Architecture Anjaliprava Sahoo INTRODUCTION Sastras recognize three main styles of temple architecture known as the Nagara, the Dravida Temple is a ‘Place of Worship’. It is also called 1 the ‘House of God’. Stella Kramrisch has defined and the Vesara. temple as ‘Monument of Manifestation’ in her NAGARA TEMPLE STYLE book ‘The Hindu Temple’. The temple is one of Nagara types of temples are the typical the prominent and enduring symbols of Indian Northern Indian temples with curvilinear sikhara- culture: it is the most graphic expression of religious spire topped by amlakasila.2 This style was fervour, metaphysical values and aesthetic developed during A.D. 5th century. The Nagara aspiration. style is characterized by a beehive-shaped and The idea of temple originated centuries multi-layered tower, called ‘Sikhara’. The layers ago in the universal ancient conception of God in of this tower are topped by a large round cushion- a human form, which required a habitation, a like element called ‘amlaka’. The plan is based shelter and this requirement resulted in a structural on a square but the walls are sometimes so shrine. India’s temple architecture is developed segmented, that the tower appears circular in from the Sthapati’s and Silpi’s creativity. A small shape. Advancement in the architecture is found Hindu temple consists of an inner sanctum, the in temples belonging to later periods, in which the Garbha Griha or womb chamber; a small square central shaft is surrounded by many smaller room with completely plain walls having a single narrow doorway in the front, inside which the image is housed and other chambers which are varied from region to region according to the needs of the rituals. -
FOR B.ARCH - BACHELOR of ARCHITECTURE (FIVE YEAR - FULL TIME) REGULATION – 2016 -I (Applicable to the Students Admitted from the Academic Year 2015 -2016)
DEPARTMENT OF ARCHITECTURE MINUTES of BOARD OF STUDIES CURRICULUM & SYLLABUS (I - X Semester) For B.Arch (Bachelor of Architecture) (Based on Outcome Based Education) REGULATION– 2016 R-I REGULATIONS – 2015 (Revision 1) TABLE OF CONTENTS S.No Contents P.No 1. Institute Vision and Mission 1 2. Department Vision and Mission 2 3. Members of Board of studies 3 4. Department Vision and Mission Definition Process 5 5. Programme Educational Objectives (PEO) 6 6. PEO Process Establishment 7 7. Mapping of Institute Mission to PEO 8 8. Mapping of Department Mission to PEO 9 9. Programme Outcome (PO) 10 10. PO Process Establishment 11 11 Correlation between the POs and the PEOs 12 12 Curriculum development process 13 13. Faculty allotted for course development 14 14 Pre-requisite Course Chart 18 15 B. Arch – Curriculum 19 16 B. Arch – Syllabus 27 17 Overall course mapping with POS 145 Ninth Board Of Studies ii Dated:07/04/2016 PERIYAR MANIAMMAI UNIVERSITY Our University is committed to the following Vision, Mission and core values, which guide us in carrying out our Architecture Department mission and realizing our vision: INSTITUTION VISION To be a University of global dynamism with excellence in knowledge and innovation ensuring social responsibility for creating an egalitarian society. INSTITUTION MISSION UM1 Offering well balanced programmes with scholarly faculty and state-of-art facilities to impart high level of knowledge. UM2 Providing student - centered education and foster their growth in critical thinking, creativity, entrepreneurship, problem solving and collaborative work. UM3 Involving progressive and meaningful research with concern for sustainable development. -
Common Elements of Dravidian Temple Architecture–A Study
IMPACT: International Journal of Research in Humanities, Arts and Literature (IMPACT: IJRHAL) ISSN (P): 2347–4564; ISSN (E): 2321–8878 Vol. 7, Issue 2, Feb 2019, 583–588 © Impact Journals COMMON ELEMENTS OF DRAVIDIAN TEMPLE ARCHITECTURE–A STUDY D. Gandhimathi & K. Arul Mary Research Scholar, Department of History, PSGR Krishnammal College for Women, Coimbatore, Tamil Nadu, India Research Scholar, Department of History, PSGR Krishnammal College for Women, Coimbatore, Tamil Nadu, India Received: 17 Feb 2019 Accepted: 21 Feb2019 Published: 28 Feb 2019 ABSTRACT The South Indian temple architecture is known as Dravidian architecture. The South Indian temple has many architectural features. This article will explain the common elements of the Shivan temples in Tamilnadu. KEYWORDS: South Indian Temple, Dravidian Architecture, Architecture, Kongu Region INTRODUCTION Hindu temple architecture as the fundamental type of Hindu architecture has numerous assortments of style, however the fundamental idea of the Hindu sanctuary continues as before, with the basic element an internal sanctum, the garbha griha or belly chamber, where the essential Murti or the picture of a god is housed in a straightforward uncovered cell. On the outside, the garbhagriha is delegated by a pinnacle like shikhara, additionally called the vimana in the south. The place of worship assembling frequently incorporates a walking for parikrama (circumambulation), a mandapa gathering lobby, and at times an antarala waiting room and yard among garbhagriha and mandapa. There may promote mandapas or different structures, associated or disconnected, in enormous sanctuaries, together with other little sanctuaries in the compound. These terminologies are common across all temples built in Dravidian architecture and not specific to Shiva temples in Tamil Nadu. -
'Indian Architecture' and the Production of a Postcolonial
‘Indian Architecture’ and the Production of a Postcolonial Discourse: A Study of Architecture + Design (1984-1992) Shaji K. Panicker B. Arch (Baroda, India), M. Arch (Newcastle, Australia) A Thesis Submitted to the University of Adelaide in fulfilment of the Requirements for the Degree of Doctor of Philosophy School of Architecture, Landscape Architecture and Urban Design Centre for Asian and Middle Eastern Architecture 2008 Table of Contents Abstract ............................................................................................................................................................................................iv Declaration ............................................................................................................................................................................................vi Acknowledgements..........................................................................................................................................................................vii List of Figures ........................................................................................................................................................................................ ix 1 Introduction ........................................................................................... 1 1.1: Overview..................................................................................................................................................................1 1.2: Background...........................................................................................................................................................2 -
Assessing the Form of a Kerala Temple Gopuram Through Material and Construction
Cities’ Identity Through Architecture and Arts – Catalani et al. (Eds) © 2018 Taylor & Francis Group, London, ISBN 978-1-138-05409-7 Entrance gateway of Kerala temples: Assessing the form of a Kerala temple gopuram through material and construction M. Yamuna Vijayan MARG Institute of Design and Architecture, Swarnabhoomi, Tamil Nadu, India ABSTRACT: Every style of building construction reflects a clearly distinctive principle that represents a particular culture and era. In India, the temple and its associated structures evolved with time and the most identifiable difference is in their structure. Specifically in Kerala, a southern state of India, temple architecture is different from that in neighbour- ing states due to the obvious reason of its geography and various other factors. Gopurams (entrance gateways) are the principal structure of any temple complex. This led to the inves- tigation of the difference in the form of a gopuram in terms of its material and construction. The topic demands a literature study of Dravidian and Kerala gopurams, followed by case studies of different types to support the investigation. In this research, the major reason behind the differences was found to lie in the geography of the state, which itself can be cat- egorised into three different regions within the state such as Malabar, Kochi and Travancore. In addition, an analysis is done on the proportions of the gopurams. This is done by taking into account the dimensions of the temple as well as the structural elements of the gopuram. The conclusion summarises the principles of planning, differences in form, and the scope for future studies. -
Kerala and South Kanara Traditional Architecture Dr
Published by : International Journal of Engineering Research & Technology (IJERT) http://www.ijert.org ISSN: 2278-0181 Vol. 9 Issue 12, December-2020 Living the Common Styles- Kerala and South Kanara Traditional Architecture Dr. Lekha S Hegde 1 1 Professor, BMS College of Architecture, Bull Temple road, Basavangudi, Bangalore- 560019, Visvesvaraya Technological University, India. Abstract— This article focuses on the similarities of the domestic ARCHITECTURAL DESIGN CONSIDERATIONS culture which is reflected in the Architecture of these geographies Nalukettu is typically a rectangular structure where four halls namely Kerala and South Kanara. We need to study the rich are joined together with a central court-yard open to the sky. Traditional Architecture of these identified regions. In this The four halls on the sides are named: interesting search, the amazing facts regarding similarities Vadakkini (northern block), between Kerala’s traditional Nalukettu houses and traditional Manor houses of South Kanara need to be highlighted. The Padinjattini (western block), Nalukettu is the traditional style of architecture of Kerala where Kizhakkini (eastern block) and in an agrarian setting a house has a quadrangle in the centre. Thekkini (southern block) Originally the abode of the wealthy Brahmin and Nair families, The outer verandahs along the four sides of the Nalukettu are this style of architecture has today become a status symbol enclosed differently. While both the western and eastern verandahs among the well-to-do in Kerala. Nalukettu is evident in the are left open, the northern and southern verandahs are enclosed or traditional homes of the upper class homestead where customs semi-enclosed [2]. and rituals were a part of life. -
Spatial Configurations of Granary Houses in Kanyakumari, South India
ISVS e-journal, Vol. 2, no.3, January, 2013 ISSN 2320-2661 Arapura: Spatial Configurations of Granary Houses in Kanyakumari, South India Indah Widiastuti School of Architecture Planning and Policy Development Institute of Technology Bandung, Indonesia & Ranee Vedamuthu School of Architecture and Planning Anna University, Chennai, India Abstract Arapura in this discusion refers to traditional residential building that accommodates agriculturist matrilineal joint-family (taravad) in Kanyakumari area. This paper outlines the evolution of the Arapura from the prototype of granary whose sequential transformation could be traced from the design of granary box, pattayam. Three cases of Arapura are documented and analyzed with respect to their spatial configurations. Keywords: arapura, veedu, nira granary-house, granary-box, Kerala, matrilineal, Kanyakumari, India and. Introduction Arapura refers to the main house within a traditional residential complex or house compound (veedu) in Kanyakumari area; South India. A veedu accommodates an agriculturist matrilineal joint family that constitutes a matrilineal-clan (taravad)i and the Arapura stands for the main building of a veedu, main granary, ancestral house and worshiping center of the matrilineal joint family. Local people also address arapura as thaiveedu or ‘mother’s house’ signifying ownership and inheritance that follow female lines. Kanyakumari is a region located on the inter-state border area that partially belongs to the administrative districts of Kanyakumari, Tamil Nadu State and Thiruvananthapuram, of Kerala State. Kanyakumari is a region characterized by wet tropical climate with large forest reserves, high rain fall, high humidity that can rise to about 90 percent and hundreds of water bodies and a canal irrigation system. -
A Review Study on Architecture of Hindu Temple ______Prathamesh Gurme1,Prof
INTERNATIONAL JOURNAL FOR RESEARCH & DEVELOPMENT IN Volume-8,Issue-4,(Oct-17) TECHNOLOGY ISSN (O) :- 2349-3585 A REVIEW STUDY ON ARCHITECTURE OF HINDU TEMPLE __________________________________________________________________________________________ PRATHAMESH GURME1,PROF. UDAY PATIL2 1UG SCHOLAR,2HEAD OF DEPARTMENT, DEPARTMENT OF CIVIL ENGINEERINGBHARATI VIDHYAPEETH'S COLLEGE OF ENGINEERING , LAVALE , PUNE , INDIA ABSTRACT : Hinduism is the predominant religion of the and even the traditional arts make their appearances in Indian subcontinent. Dating back to the Iron Age , it is often many sculptures of Hindu origin. Sculpture is inextricably called the oldest living religion in the world. Hinduism has linked with architecture in Hindu temples, which are usually no single founder and is a conglomeration of diverse devoted to a number of different deities. The Hindu temple traditions and philosophies rather than a rigid set of beliefs. style reflects a synthesis of arts, the ideals of dharma , Most Hindus believe in a single supreme God who appears beliefs, values , and the way of life cherished under in many different manifestations as devas (celestial beings or Hinduism. Elaborately ornamented with sculpture deities), and they may worship specific devas as individual throughout, these temples are a network of art, pillars with facets of the same God. Hindu art reflects this plurality of carvings, and statues that display and celebrate the four beliefs, and Hindu temples, in which architecture and important and necessary principles of human life under sculpture are inextricably connected, are usually devoted to Hinduism—the pursuit of artha (prosperity, wealth), the different deities. Deities commonly worshiped include Shiva pursuit of kama (pleasure, sex), the pursuit of dharma the Destroyer; Vishnu in his incarnations as Rama and (virtues, ethical life), and the pursuit of moksha (release, Krishna; Ganesha, the elephant god of prosperity; and self-knowledge). -
HOLISTIC CENTRE Pg. 1
HOLISTIC CENTRE pg. 1 VISVESVARAYA TECHNOLOGICAL UNIVERSITY “Jnana Sangama”, Belgaum – 590 018 ARCHITECTURAL DESIGN PROJECT (THESIS) 2016 – 2017 “HOLISTIC CENTRE, KERALA” In partial fulfilment of the requirements for the award of the degree Bachelor of Architecture Submitted by: RAYANA RAJ Guide: Prof. Ar. KINJAL SHAH ACHARYA’S NRV SCHOOL OF ARCHITECTURE (AFFLIATED TO VTU, BELGAUM, ACCREDITED BY COA, AICTE, NEW DELHI) Acharya Dr. Sarvepalli Radhakrishnan Road, Soldevanahalli, Bangalore – 560090 HOLISTIC CENTRE pg. 2 CERTIFICATE This is to certify that this is a bonafide record of the Architectural Design Project completed by Ms. RAYANA RAJ of VIII semester B.Arch, USN number 1AA13AT073 on project titled “HOLISTIC CENTRE” in Thrissur, Kerala, India. This has been submitted in partial fulfilment of the requirements for the degree of B. Arch awarded by VTU, Belgaum during the year 2016-2017. Dean, Ar. Kinjal Shah, Acharya’s NRV School of Architecture, Thesis Guide, Bangalore -560107 Assistant Professor External examiner 1 External examiner 2 HOLISTIC CENTRE pg. 3 ACKNOWLEDGEMENT Completion of this thesis was possible with the support of several people. I am grateful to Prof. Vasanth K. Bhat, Prof. Anjana Biradar and our thesis Coordinator Prof. Priya Joseph for inspiring us to achieve success in all our endeavors. I would like to express my sincere gratitude to my thesis guide, Prof. Kinjal Shah for her constant guidance and support. I am extremely happy to mention my special thanks to our motivating thesis panel for their encouragement and supervision. I would like to express my sincere gratitude to Prof. Shwetha Mattoo for her advice and motivation. -
Review of Research Impact Factor : 5.2331 (Uif) Ugc Approved Journal No
Review Of ReseaRch impact factOR : 5.2331 (Uif) UGc appROved JOURnal nO. 48514 issn: 2249-894X vOlUme - 7 | issUe - 7 | apRil - 2018 __________________________________________________________________________________________________________________________ RECENT PERSPECTIVE ON KARNATAKA ART HISTORY Nagappa P. Koti Asst. Professor , Dept of History , Shri Jagadamba First Grade Art’s And Science College Hittinahalli, LT.Vijayapura . ABSTRACT The southern state of Karnataka, in India, has a distinct art and culture. The diverse linguistic and religious ethnicity that are local to territory of Karnataka joined with their long chronicles have contributed massively to the differed social legacy of the state. Aside from Kannadigas, Karnataka is home to Tuluvas, Kodavas and Konkanis who likewise think about themselves as Kannadigas. Minor populaces of Tibetan Buddhists and Siddhi clans in addition to a couple of other ethnic gatherings additionally live in Karnataka. The customary society expressions cover the whole array of music, move, dramatization, narrating by vagrant troupes, and so forth. Yakshagana, an established society play, is one of the significant showy types of seaside Karnataka. Contemporary venue culture in Karnataka is a standout amongst the most energetic in India with associations like Ninasam, Ranga Shankara and Rangayana dynamic on establishments set around the Gubbi Veeranna Nataka Company. Veeragase, Kamsale and Dollu Kunitha are popular dance forms. Bharatanatya also enjoys wide patronage in Karnataka. KEY WORDS: distinct art and culture , Tibetan Buddhists and Siddhi clans. INTRODUCTION: The antiquity of Architecture of Karnataka (Kannada: ಕಾಟಕ ಾಸುಲ) can be traced to its southern Neolithic and early Iron Age, Having witnessed the architectural ideological and utilitarian transformation from shelter- ritual- religion. Here the nomenclature ‘Architecture’ is as old as c.2000 B.C.E. -
Living Culture and Typo-Morphology of Vernacular-Traditional Houses in Kerala
Indah Widiastuti Susilo 1 The Living Culture and Typo-Morphology of Vernacular-Traditional Houses in Kerala Indah Widiastuti Susilo Introduction The term “vernacular architecture” stands for the art of constructing buildings and shelters which is spontaneous, environment-oriented, community-based; it acknowledges no architect or treaty and reflects the technology and culture of the indigenous society and environment (Rudofsky 1964: 4). Vernacular architecture is the opposite of high traditional architecture which belongs to the grand tradition (e.g. palace, fortress, villa, etc.) and requires special skills and expertise which an architect must have knowledge of and for which he enjoys a special position (Rapoport 1969). This paper is a chronicle of observations of traditional vernacular houses in the whole region of Kerala done within nine months The research methods used include observation and photography-documentation of more than 50 traditional-vernacular houses in Kerala State and 30 more random places in other states for comparison. Experts and builders were also interviewed. The object of study is to find patterns and sources of settlement, buildings, living cultures and local indigenous knowledge. Location of samples are in the districts of Shoranur, Pattambi, Pallipuram, Calicut, Palghat, Aranmula, Chenganur, Tiruvalla, Kottayam, Ernakulam-Cochin, Tripunitura, Perumbavur, Mulanthuruti, Piravom, Trivandrum, Kanyakumari, Attapadi, and Parapanangadi. From these places, 52 samples of traditional- vernacular residential architecture of Kerala were observed. These samples cover ordinary commoner houses, the traditional courtyard house and the single mass house, as well as the non- Kerala vernacular houses and houses with colonial vernacular architecture. The research method utilized is the Typo-morphology analysis (Argan 1965, Moneo 1978) which examines existing types of residential houses and their complementary. -
Abstract No: 5202 SUSTAINABLE BUILDINGS - TOKYO 2005
The 2005 World Sustainable Building Conference, 01-031 Tokyo, 27-29 September 2005 (SB05Tokyo) Abstract No: 5202 SUSTAINABLE BUILDINGS - TOKYO 2005 MOHANDAS KALIPURAYATH MOHANDAS KALIPURAYATH B. ARCH. FIIA. ‘LYNWOOD’, CALICUT. 673011, KERALA, INDIA. E-MAIL : [email protected] Summury The vernacular architecture of Kerala is very unique in its style and has been derived out of age, respecting its social, cultural, economical and religious settings. This paper clearly intends to study the cause and meaning of such an architecture, and it tries to find out its sustainability in relation to the environment. Here, it could be understood that neither the built forms ruled the nature and nature the built forms, but the two domains remained coexistent in perfect balance. “Having bowed his head before the omniscient God, Lord of the Universe, and having listened to Him, Maya, wise and learned architect, proclaimed this systematic treatise which is the basis of success for every kind of dwelling intended for gods and men and which contains the characteristics of dwellings for all”. Mayamata, 1.1-2 THE MANUSHALAYA CHANDRIKA There is unmistakable evidence that treatises like the Manasara, the Mayamata, and the Silpi – Ratna were available in Kerala from very ancient times. The buildings of Kerala are among the ten types of the most beautiful buildings described in the Manasara, but the Tantra Samuchchaya, written by Narayana during the 15th century A.D., is the earliest existing architectural treatise originating in Kerala. Other important works are the Silpa – Ratnam by Sri Kumara (16th century A.D.), the Vastu – Vidya, and the Manushalaya Chandrika.