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Palace of the Elenaran

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Palace of the Elenaran after its renovation in 1723

The Palace of the Elenaran (in Hurmumol: Aryun Elenaran, or in long form, b'-Aryun-b'-w-Elenaran; Hurmu Norse: Arion Elenaran; Lakkvian: Elenarani loss) is the capitol of Hurmu, and a landmark of Huyenkula (Vesüha)), and the seat of the Order of the Holy Lakes and the Senate of the Lakes.

It was severely damaged during the Battle for the Palace of the Elenaran (as part of the 1719–1720 Hurmu civil conflict). The Palace was renovated, with opening up for Senate and Order business on 19.XIII.1723. About 30% of the interior of the Palace is still undergoing renovation (mainly the living quarters for visiting members of the Order of the Holy Lakes, with an expected finish date around II.1725.

Its principal architects/engineers were Talathiel (original structure, completed in 1488 AN), Jüri Laur (1604 AN), Maie Jõgi (renovations 1652 AN1659 AN), and Miina Benjaminitytär and Jovan Karakaš (for the renovations 1719 AN1723 AN).

Description and use


Pre-renovation side wing of the Palace of the Elenaran, c. 1715. View from Lake Cashma, at sunset. This shows the Menelmacari style and ornamentation.

Prior to its renovation, the Palace was one of the few buildings remaining on Micras from the Menelmacari era, in a fully Menelmacari imperial style. The Menelmacari style was one that emphasised the view that buildings should look as if they have "always" been there and become organically part of its sorrounding. Talathiel's view of this palace was transferred to Lake Cashma. The plot of land available for the Palace Elenaran, just by the shore of Lake Cashma, made it possible for his vision to be realized.

The palace, to outside viewers, looked like a mix of Neo-Gothic and Elfinshi architecture.

After renovation (1723)

After the renovation, the Palace looked a little less Menelmacari, as design had to depart from the Menelmacari style (as it would not be feasible), updated building codes, as well as increasing structural and other security of the building. With the redesign, the building became more compact, allowing it to be sieged and withstand heavy bombardment. The re-design was based on more traditional Hurmu masonic architecture, giving it a with a more spartan and austere atmosphere, both in its facade, but mainly in its interiors.


The entrance to the palace reveals an expansive entry foyer characterized by a shift from its previous Menelmacari aesthetics to a more minimalist native Hurmu design. The walls are constructed from solid stone, reflecting a departure from decorative elements in favour of structural integrity. Natural light permeates the space through tall, arched windows, casting a serene illumination upon the refined stone floors.

Senate chamber

At the heart of the palace's administrative activities lies the Senate chamber. The room's design, in contrast to its historical function, has embraced a minimalist approach. A substantial conference table stands as the focal point, meticulously crafted from timber harvested from local forests. Encircling the table are eighteen utilitarian senatorial chairs, embodying functional elegance. Adjacent to the chamber, a visitor's seating area has been incorporated, capable of accommodating up to 200 attendees.


The executive offices continue the palace's minimalist aesthetic, serving as practical spaces for leadership and decision-making. The offices of key officials like the Chancellor, Commander, First Secretary, and Secretaries of State exude a sense of purpose through their essential furnishings. Each senator's individual office reflects a sanctuary of contemplation, adorned with elements that mirror their responsibilities, as well as with decoration and ornamentation reflecting their own genealogies, cultural backgrounds, and tastes.


The palace houses a comprehensive museum that celebrates its historical legacy and the achievements of the Order. Within the galleries, artefacts and exhibits are displayed in a manner that underscores the narrative's significance. The design language of the exhibit halls prioritizes a straightforward presentation, allowing the exhibits to tell stories of historical significance with clarity.


A guesthouse within the palace offers accommodations for visitors and members of the Order. The design of these lodgings adheres to the prevailing minimalist motif while providing a comfortable environment. These spaces combine functional design with modest indulgence, providing a serene haven for those seeking temporary residence.

Prince Nathan's Chapel

A small Bovic chapel is found in the Palace. It was inaugurated in 1586 for Prince Nathan, who in this year became Prince of Elwynn and Hurmu, and had his official residence in the Palace.

Banquet hall

The palace's banquet hall is designed to facilitate gatherings for both sustenance and conversation. The expansive stone floor leads to a raised platform where communal dining occurs. The hall's design prioritizes functionality over opulence, creating an ambiance where shared interactions take precedence.


Catering to practical needs, the culinary areas within the palace follow a theme of functional aesthetics. Employing solid wood and stone materials, these spaces offer a utilitarian environment for dining and interaction, aligning with the overall ethos of the palace's design.

Dome and spires

Crowning the palace is a dome of understated elegance, flanked by a central mini spire cast in gold. This architectural feature, though less ornate than its predecessors, still commands attention as the pinnacle of the structure. The dome, characterized by its simplicity, adds a touch of grace to the palace's skyline. Above the dome, two imposing spires, known as minarets, rise even higher. These minarets, though modern in design, pay homage to the grandeur of the past while symbolizing the palace's enduring strength.

Flak tower

Where once a highly decorative bell-tower graced the palace, a starkly contrasting Brutalist flak tower now stands. This transformation reflects a shift from aesthetic to utilitarian priorities. Architects Miina Benjaminitytär and Jovan Karakaš, celebrated for their design contributions elsewhere in the palace, were not involved in the flak tower's creation. Instead, it was conceived and executed by internal Hurmu Fyrð engineers.

Reaching a height equivalent to the base of the dome, the flack tower is a monolithic presence in the palace's architectural landscape. Its imposing facade is devoid of windows, with the exception of its top two floors, which provide a unique vantage point. This tower has become the stronghold of the Hurmu Fyrð, housing garrisons and serving as the primary location for military offices.

Since 1729 AN, the tower has housed four ball turrets aligned to match the cardinal directions. Each of these has been adapted to house the firing aperture of a Vulcan Advanced Air Defense System. The ball turret mounting was intended to maximise the field of target engagement, including potential ground-based adversaries approaching the palace. Sensors associated with the targeting system of the weapon, including the radar array, are distributed around the palace grounds and the wider metropolitan region, albeit disguised to minimise their aesthetic impact wherever feasible. The command module of the system is however centrally housed within the tower.

Basement floors

Descending into the depths of the palace, three basement floors are dedicated to the Army's operations. These subterranean levels are in direct contact with the flack tower, ensuring secure and efficient communication and access. Among these basement levels, the (Senatorial Gate V2) is found, guarded by the Hurmu Fyrð.


Lake Cashma curves around two sides of the building. This lake not only serves as a reflective backdrop to the palace's architecture but also adds a sense of calmness to the surroundings. The stone bridge spanning the lake's inlet connects the palace to the city and acts as a historical link between the past and present. The bridge maintains its functional purpose while adding to the overall ambiance of the palace's setting.

The palace grounds feature gardens that align with the subdued and tranquil theme found within the palace's interior. These outdoor areas have been meticulously designed to create a sense of natural harmony, reflecting the minimalist style seen in the architecture. The gardens host native wild plants from different parts of the country, showcasing its biodiversity. The shift from ornate terraced gardens to a simpler natural setting is a deliberate move toward a more serene environment.

An obelisk, measuring 230 metres tall, was erected in the gardens of the Palace as a memorial to the dead of the Hurmu genocide.


There is also a cemetery on the Palace grounds. Important people buried here (with burial dates) are:

Eligible for funeral here are heads of state or government of Hurmu, as well as Senators, and immediate family members (if interred in the same grave), subject to approval by the Chancellor or Commander of the Order, the decision of which can be appealed to the full Senate.


Construction of the Palace began in 1479 AN using plans from the Menelmacari architect Elnorin Talathiel, originally intended for a summer palace for the Menelmacari elenaran/elentári. Construction was finished in 1488 AN, in record time, due to the masonry and stones intended for its construction had already been procured by the time in 1479, and it was all about transporting it to Huyenkula while foundational work was being in place. The Menelmacari government donated the materials and transport of the materials to Hurmu, and the costs 1479–1485 were covered 75% by the Menelmacari government. The rest was paid by Hurmu.

The Palace was intended to be the residence of the Elenaran of Menelmacar when in Hurmu (as Hurmu was a Menelmacari protectorate then), but by the time the palace was finished, Hurmu had left the collapsing Menelmacar and joined Cranda. At this point, the Palace became the capitol of the new Hurmu government, and the residence of the overlords of Hurmu since. In the years 1574 AN1592 AN, it was the official residence of the Prince of Elwynn, Amokolia and Hurmu, however, due to its geographical position, the Prince never did spend much time there, preferring Eliria instead.

The palace was severely damaged in 1603 AN, in the aftermath of the Hurmu Genocide. Small renovations, sponsored by the Lakkvian government, were carried out to allow for viewings of some of the main rooms, for making the foundation safe, and cleaning up the façade. In the 1650s, the Lakkvian government, in collaboration with the Order of the Holy Lakes, undertook a robust renovation of the Palace.

Following the reestablishment of the Hurmu state in 1690, it has become once again the headquarters of the Order of the Holy Lakes and the meeting place of the Senate.

The façade of the building was damaged in 1704 by insurgents during the Barikalus–Hurmu war. By 1706, the damaged façade had been fully restored.

The palace was to suffer further, and more serious, damage as a consequence of factional fighting during the 1719–1720 Hurmu civil conflict. The damages caused structural instability, with much of the "shell" of the building needing to be reconstructed. Hurmu architects Miina Benjaminitytär and Jovan Karakaš oversaw the re-design and re-construction. The design had to depart from the Menelmacari style (as it would not be feasible), updated building codes, as well as increasing structural and other security of the building. With the redesign, the building became more compact, allowing it to be sieged and withstand heavy bombardment.