A monument to the skills of Madrasi master masons who built this residency in the second half of the 16th century (The World of Interiors, May 2018, p. 174-175)

The double concept of glorious (exceptional) people and super-human glory – is the basic semantic construction of this building invented by its creator/architect as a work of architectural art. The one of its two meanings, defines (and glorifies) what a beauty and magnificence people can achieve and deserve to spiritually enjoy and worship, and the other is a monadic meaning – independent from people – something else, something other and what people cannot appropriate as existing for them and completely feel as belonging to them, something from the same root but with different ontological destiny. The building itself is dedicated to tremendous people – owners, users and worshippers of this architectural perfection. But the second architectural sub-motif is represented by an exceptional detail – by the central, “suspended” panel of the structure. This “balcony” at the center of the frontal wall of the building is embellished and articulated by the three decorative windows. The “balcony” cannot be completely available for the curiosity and admiration of the people visiting the castle/temple. Under the “balcony” we can see a sculpture representing a human being, small in comparison with the grandeur of the building. Human feet cannot step onto the “balcony” – human beings can only observe it from afar.


The height of the building and hemispherical dome decorated with intricate plasterwork tracery (The World of Interiors, May 2018, p. 174)

The punctum of the temple, it seems, is this Balcony, where no one human can step to (without massive ladders). Why is this balcony made, while it is not accessible to the visitors of the temple? The answer which comes to the mind and heart is – it’s because this very area is not for human feet, not for human beings, as respectable they are as guests of the castle/temple. It’s a place which can be observed only with unconditional admiration and awe, mainly from the down below. The balcony signifies a sacred place, the place where spirit/s of perfection and glory is/are silently dwelling and silently accepting the silent admiration through the space of humility.

The temple as an architectural discourse combines two semantic accents – glory as the substance of humanity – a substance in a subordinate position – in a position of adjective “serving” the nouns “humanity” or “people”, and, on the other side, glory as a goal in itself, as the ultimate noun. In this separation of glorious sacredness as such – sacred glory, from glorious human creativity, like the one which inspired to create this building (this marvelous castle/temple) – we see the holy nucleus of the very feeling/thinking in the creative intuition of the constructors of this building.

The motif of centrality of an empty inner balcony with three windows/doors underlines a place for the entrance of “gods” in comparison with the parts of the building available for the expression of admiration of the metaphysical essences (“gods”) by the people visiting the temple (who can be identified through the study of Indian pantheon of gods or through projections by the people of various religious beliefs visiting the place).