PADMANABHAPURAM PALACE
Padmanabhapuram Palace is located in at Padmanabhapuram
Fort, close to the town of Thuckalay in Kanyakumari District, Tamilnadu, in
India. It is about 20 km from Nagercoil, and about 50 kilometers from
Thiruvananthapuram, Kerala. The palace complex is inside an old granite
fortress around four kilometers long. The palace is located at the foot of the
Veli Hills, which form a part of the Western Ghats. The river Valli flows
nearby.[1] The palace was constructed around 1601 CE by Iravi Varma Kulasekhara
Perumal who ruled Travancore between 1592 CE and 1609 CE.It is believed that
the Thai Kottaram was built in CE 1550. The maker of modern Travancore Anizham
Thirunal Marthandavarma ( CE 1706 -1758 ) who ruled Travancore from CE1729 to
1758 rebuilt the palace in 1n around 1750. King Marthaanda Varma dedicated the
kingdom to his family deity Sree Padmanabha, an incarnation of Lord Vishnu and
ruled the kingdom as Padmanabha dasa or servant of Lord Padmanabha. Hence the
name Padmanabhapuram or City of Lord Padmanabha. In the late 18th
century,precisely in 1795 CE the capital of Travancore was shifted from here to
Thiruvananthapuram, and the place lost its former glory. However, the palace
complex continues to be one of the best examples of traditional Kerala
architecture, and some portions of the sprawling complex are also the hallmark
of traditional Kerala style architecture.
The quintessential example of the vernacular architecture of Kerala is the Padmanabhapuram palace complex, located in Thuckalay of Tamilnadu, very adjacent to the Kerala border. Founded by the royal family of Travancore, the initial structures of the complex date from 1400s, with other buildings added incrementally over time. It is one of the best examples of wooden architecture that has come to symbolise the vernacular architecture of Kerala. The palace complex is a masterpiece - an intriguing play of volumes, scale, spatial planning & courtyards, all of which have a strong underlying cohesiveness. The spaces move from the public spaces on the periphery to the more private spaces as one moves towards the core, reflected through variations in scale & proportion, producing very interesting spaces
The entrance to the complex is from the west, through a formal version of the ‘Padipura’ or the entrance gate, which is common in all the traditional dwellings of Kerala. The central locus of the entire composition is the Mother’s palace or the ‘Thai Kottaram’, around which all the other spaces are organised. There are separate halls for audiences & gatherings, a large dance hall, feeding halls of various sizes, kitchen, residences for the king & other dignitaries, weapons store, bath houses, offices and even a temple. There is also a 4 storeyed ‘Upprika Malika’ in the complex, constructed in the 1740s, which is a testament to the technological progress at that time. A 300 year old clock tower in the palace stands witness to the march of time and is still now in good working condition. Though there is no formal symmetrical spatial layout to be found as such, there lies a strong organisation principle, which creates a very coherent & unifying whole. The various built spaces are interlinked & accessed through a series of courtyards & open spaces which vary volumetrically & in scale depending upon the level of privacy required, most often, being very intimate in nature.
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The roof forms are the most dominating element in the whole complex, which through their wonderful juxtaposition creates an impressive visual composition – an ever changing play of light, shadow & mass. The columns are mainly in wood & stone and support the wooden roof structure, which has been designed very creatively to be functional as well as aesthetic. There are strict rules & canons laid down in the ancient building science of Vastu Shastra, regarding the use of wood, techniques of joints, angles of roof forms etc, which have been religiously followed over the various periods during which the complex was built. The overall effect of this being that there exist cohesiveness throughout the structures, rendering them timeless
\The walls are usually made in laterite or brick & plastered over with lime. There are non-structural wooden screens called jaalis, which have the function of allowing in light & ventilation while ensuring the privacy of the person inside. The filtered light creates a dramatic play of light & shadow in the interiors and ensures a very cool & comfortable ambience inside, away from the blazing sun. The shaded interiors are cool, which is a direct derivative of the climatological need to counter the warm humid tropical climate. Indeed, one of the most significant aspects of the design is the sensitive handling of the light & shadows to create a wholesome comfortable ambience inside, one that focuses inside, calming, soothing & contemplating.
The flooring is unique and is black in colour, retaining a mirror like polish even now after so many centuries. It is said that the flooring was done using a mixture of different structures like burnt coconut shells, egg whites, plant juices etc.
