Chettinad Architecture

Lifestyle, Architecture and planning concepts

Samyukthaa N
8/16/2015
INTRODUCTION:

The name chettiar, is derived from the generic term ‘chetty’ which denotes business
communities or trading groups. This could have been derived from the Sanskrit word ‘Sreshti’
which means ‘merchant’. They were originally belived to be gem merchants in a town
called Santhyapuri in Naganad, somewhere in north of Tamil Nadu. The Chettinad is
organised around nine clan temple. . The Chettiars, in particular the Nattukkottai Chettiars
have played a very important role in the development of the Tamil Country. Community
divided into various groups according to the temples they worship in. Nine such families
belonging to nine villages – Ilayatrangudi, Martrur, Vairavan, Iraniyur, Pillayarpatti,
Nemankovil, Iluppaikudi, Sooraikudi, and Velangudi temples. As population increased, a
number new village were formed by different groups of Chettiars. Chettinadu occupies
about 1554 sq.km in central Tamil Nadu. Ramnad district and Thirumangalam - Pudukottai
district comprises these villages

TRADE AND COMMERCE:

For centuries, the Chettiars were traders in salt and semi-precious stones.Always led urban
lives and had little interest in cultivation. The Nagarathars set sail across the seas to trade and
acquire wealth. It was the British who first asked the Chettiars to finance rice cultivation in
Burma. Even though they started as the agents of British banks in Burma, the Chettiars swiftly
graduated to being money-lenders.The Nagarathar community started having trade
contacts with Vietnam, SriLanka, Malaysia, Cambodia, Laos, Indonesia and to some extent
also Mauritius and South Africa. The Chettiars mainly earned their money abroad and sent it
back home to save. At home, they mainly engaged in banking and later ventured into
agriculture,industry and other businesses.

SETTLEMENT ORGANISATION:
Rayavaram is one the rich settlements of chettiand and represent over 150 years of
architecture. Their villages were constructed following precise and sophisticated rules of
urban planning (orthogonal streets, specific water management schemes, technical
innovation, artistic creativity, etc.). These settlements are also built in harmony with Tamil
traditions: rectangular plots, houses with an inner courtyard. Housing and community spaces
in the village are located independent of each other with no distinct interrelation between
the two. The village follows a grid iron pattern to prevent mingling with foreign communities.
The houses follow the grid pattern measuring 120X60m. Each grid consists of 4 houses
measuring about 60X30m. All houses are self-contained and homogenous. Houses in two
separate rows arranged such that their backyards face each other. Roads in the village are
oriented north-south(width=9.1m) and streets are oriented east-west direction(width=7.62m)
Due to the height of the houses on either side of the road andthe small width of the road, a
shadow will always be present at any place expect for a few hours during the day.
Example of grid iron town planning in Kanadukathan, a chettinad settlement.

Tanks in the region are designed in concentric circles with access through a flight of steps from
all 4 sides. Each tank is dedicated to a particular temple. Rain water from each house is taken
by underground drains which collectively terminate in the tanks. When the tank overflows, the
excess water runs into the adjoining tanks through provisions in the previous tank

Oorani or wter tanks in temple of Chettinad towns

STREETSCAPE:
The compound wall is a specific feature which is particular to the urban landscape of the
Chettinad villages. A peripheral wall runs around each property containing the house and
outhouses. On the street sides, the wall is aligned with the street axis, running from the North to
South with important arches/doors facing one each other on an East to West axis. These arches
serve as the main gates of the properties and are a demonstrable symbol of wealth. The
compound wall provides an overall coherence with the different villages of the region. Inside
the compound the building and its facade are set back on a common alignment with the
other buildings of the street. The space between the entrance gate and the facade wall is
primarily for visitors who can sit in the outdoor thinnai. The height of the building never exceeds
2 levels, the ground floor and a first floor.
 HOUSE PLANNING CONCEPT:
The concept of the Chettinadu house is believed to have originated from the historic trading
centre of Kaveripoompatnam. The practice of raising the plinth by 2 metres was prevalent to
prevent the water from entering the house due to frequent flooding. The planning concept of
the house was based on
• The occupation of the people
• Their desires
 Cultural influences
 Climate consideration

The occupation of the people and their desires determined the spaces created and their
uses:
 Since the Chettiars were mainly involved in banking and trade, they needed storage
space for keeping their valuables. The siderooms, ullarai and veliarai served this
purpose.
 The very nature of business conducted meant frequent visits of guests, supporters and
foreign businessmen. The planning of the house was also geared towards providing
accommodation for the guests.
 As the men folk were away on business for long periods of time, the women had to be
provided with a residence which maximized security and made them self-sufficient.
This dictated the introverted nature of planning, avoiding multiple external accesses.
 The scale of spaces such as the kalyana kottagai and the bhojana hall were
determined by religious and family festivities.
CULTRAL INFLUENCES:
 In the earliest house a thinnai was provided in front of the house on either side of the
main entrance.
 This thinnai was mainly used by the male members of the houses for informal meetings.
 In the later houses, when contact with the neighbours was reduced owing to cultural
change, the front thinnai was enclosed for privacy.
 This reduced segregation between male and female members of the house.

CLIMATIC CONSIDERATION:
 A flat roof enclosed by a balustrade was used so that the lightest breeze could be
caught.
 The structure screened the sun’s rays and allowed the wind to penetrate keeping the
inner apartments cool and fresh.
 The light coloured chunnam (lime plaster) covering the building was very suitable as
a sun radiator during the hot season.
 The building was turned away from the sun and rooms kept cool by thick walls and
the whole mass of the building. Proper ventilation was ensured by the different parts
of the structure being arranged around an open courtyard.
 The double-roof system kept the interiors cool while the chajjas acted as sun breakers.

Orientation of the house facing towards east Night analysis

Day analysis
ORIENTATION: The entrance of the house is towards east. The main ventilation by which the
light enters the house is through central courtyard. On the Westside of the house there is a
garden which also acts as a main source of fresh air into the house which promotes warmth
in the house, and in the night the absorbed heat is radiated out through the courtyard. The
courtyard acts like a thermostat which controls the temperature of the house. Negative
pressure is created in the courtyard as it is surrounded by rooms and less exposed. This low
pressure helps to draw more air towards it.

NIGHT ANALYSIS: The negative pressure and effect created inside the house during the
daytime escapes out during the night time due to the floor materials of the courtyard
projections.

DAY ANALYSIS: As the temperature in the day time is high, little amount of heat is absorbed
by the ground due to the top opening of the central courtyard and the light is reflected in
the awkward direction resulting in the rise of temperature inside the house.

MATERIAL USED:
 The foundation is laid for the house is rubble work done in stone combined with mud
and mortar. The foundation is the step foundation.
 Tiles are basically used for flooring. They are the typical Athangudi tiles which are
locally manufactured. The color of the tiles is attained by the usage of paints
imported from Italy. The process of manufacture of these tiles is done with a glass slab
and dry cement. The flooring of the mezzanine floor and the central courtyard is
cemented. Some part of the central courtyard is covered with mud tiles.
 The walls are of baked bricks, plastered over by sand and lime mortar with a mix of
fiber roots which acts as a bonding agent and also coated with egg white to give
silken smooth walls which are washable.
 The bricks are made up of red soil available in the local area. These bricks reduce the
temperature surprisingly, giving a cool and comfortable atmosphere inside the house
and also providing an immense stability.
 The pitched roofs are made with alignment of country tiles over wooden bars which
rest on wooden logs connected to the wall. The roofing of the ground floor is done
with mud mortar, mud bricks and properly finished with Calicut tiles along the edges
of the wall.

BRICK AND MORTAR ATHANGUDI TILES TILED ROOF

ORGANISATION AND USAGE OF SPACES:

RECEPTION – This being the introductory space to the house, it is designed to express the
grand image of the owner. Located in front of the house, it has level variations and is used
not only to receive visitors but also for relaxation.
PATTAGASALAI – This elevated space is used both for relaxing at normal times and for
confidential dealings. Its sanctity is protected by the difference in level. It also serves as an
elevated seating area during ceremonial occasions. This space mixes with the central
space.
MULTIPURPOSE CENTRAL OPEN SPACE – Located amidst the rooms and close to often used
semi-public and commercial spaces, this area exists as the first stage of private spaces. It
answers the need for desired introverted planning, though the flexibility of its nature allows it
to undergo extreme change, creating a festive space for ceremonies when necessary.
RECEPTION – This being the introductory space to the house, it is designed to express the
grand image of the owner. Located in front of the house, it has level variations and is used
not only to receive visitors but also for relaxation.
PATTAGASALAI – This elevated space is used both for relaxing at normal times and for
confidential dealings. Its sanctity is protected by the difference in level. It also serves as an
elevated seating area during ceremonial occasions. This space mixes with the central
space.
MULTIPURPOSE CENTRAL OPEN SPACE – Located amidst the rooms and close to often used
semi-public and commercial spaces, this area exists as the first stage of private spaces. It
answers the need for desired introverted planning, though the flexibility of its
nature allows it to undergo extreme change, creating a festive space for ceremonies when
necessary.
FRONT VERANDA – Front thinnai is used by the men to hold informal discussions and also
to receive visitors and guests. The verandah is also used for business such as pawning. Such
usage restricts the circulation of visitors inside the house.
MUTTARAM AND PATTAGASALAI – One of the salient features of the Chettinad houses that
emphasise the introverted nature of planning is the muttaram (main courtyard) which is
surrounded on the sides by aisles with roofs sloping down into the court. The main courtyard
is used for drying paddy and the aisles are used for chatting and sleeping. The pattagasalai
(inner thinnai) is used by men for sleeping and for discussing family matters. The aisles
Lead to the ullarai and veliarai (secret cellars). During festivities the muttaram was used as
the wedding space in the earlier phases of planning. The aisles surrounding the courtyard
were used for seating, while the pattagasalai seated the melakarar (musicians).
KALYANA KOTTAGAI – This is primarily used as the main living space but gets converted into
the wedding hall during marriages. The central double- storeyed hall is used as the
thirumangalya medai (marriage stage) and seating place for women during muhurtams. The
high ceiling and the polished granite columns provide the required grandeur to the place.
The surrounding aisles are used for keeping the seervarisai (dowry) and by the melakarar
(musician). The area has direct access to the bhojana hall so that the guests could proceed
to the dining hall as soon after the muhurtham.
SERVICE AREA – These comprise a double courtyard with 4kitchens in the front and 4 store
rooms (2 metres on each side). The corridor spaces around the courtyards are used as
preparation spaces during festive occasions. The circulation of the cooks is restricted to the
service areas.
The courtyards which open to the sky resolve the problem of lighting and ventilation and
clear off the smoke and other pollutants from the kitchen.
There are steps to the first floor where the whole plan is repeated. This area has direct access
to the street to be made use of by the servants and often serves as the servants’ quarters.
The insignificance of the space is reflected in the lack of craftsmanship is its columns
which is in sharp contrast to the rest of the house.

SERVICE YARD – This comprises a central courtyard divided by a passage around which is the
service thazhvaram. A well (keni) which is located in the courtyard is used by the woman
and the servants. On both extremes are spaces meant for storage of unimportant materials
and vegetables.

SPATIAL PLANNING AND HIERARCHY

The twin house of formed by two adjoining houses which, on occasions, share resources. Use
of space differs from the single house primarily in the double courtyard and bhojana hall.

DOUBLE COURTYARD SPACE – At normal times when the main bhojana hall is not used, the
double courtyard and the space surrounding it is used as the main dining space and the
side rooms are used as storage spaces. During festivities, the space gets transformed into a
preparatory space, the food prepared in the kitchen is stored in the adjacent room to be
served in the bhojana hall. The courtyard space could be used as a waiting space and also
for hand washing.

BHOJANA HALL – This is a dining space common to the two houses having an entrance from
the street. It has a central courtyard surrounded by aisles with roofs sloping into the
courtyard. The open courtyard provided both lighting and ventilation and enhances the
quality of the space. The area has accessibility from the washing and preparation areas of
both houses and can thus cater to a very large crowd of about 150 people, reflecting the
self-sufficient nature of the Chettiars.

ELEMENTS OF ARCHITECTURE:

ROOFSCAPE: Chettinad roofs have great importance as a tool for collecting rainwater and
for air cooling. The repetition of rectangular plots, positioned in accordance with the major
axes East/West and North/South, the organization of the houses in successive courtyards and
the hierarchy of the pavilions with sloping and terrace roofs has created a specific
roofscape, unique to Chettinad

roof

ARCHES AND PORCHES: The rural landscape of the Chettinad region is marked by a
series of elegant arches on the main roads that go around the villages. Further, each house
has an imposing entrance porch at the level of compound wall showcasing the wealth and
the social status of the owner. These richly decorated porches showing influence from
various architectural styles are the essence of Chettinad heritage identity.
 Arches and porches

COLUMNS:The wooden columns are mainly used for inside areas and stone pillars for the
courtyards (main or kitchen). In a later period, granite pillars were used in the outdoor
thinnai. The elegance of the shaped wooden columns is very typical of Chettinad.

CONCRETE FIGURES: Every house is embellished with concrete figures. Front façades were
subject to particular attention and one can see different themes of inspiration:Deities, such
as Gajalakshmi, Lord Shiva or Lord Krishna; kings and queens, rajas and ranis, British soldiers,
Hunters, or allegorical representations of fauna and flora.
BALUSTRADES, PARAPETS AND CORNICES: Balustrades, parapets and cornices are very much
part of the architectural identity of the region.The stucco cornices create elegant lines
around the walls which follow the different levels and pavilions of the house.Different layers
of balustrades and parapets increase the grandeur of these huge mansions, giving them
a palatial dimension. These particular elements of architecture are mostly made of
Chettinad plaster with delicate combinations of natural colours.

CARVED WOODEN FEATURES: The Chettiars used to bring teak from Burma back to their
country (nadu) during their economic expansion in eastern Asia. Before the use of modern
materials such as iron in construction, the structures of their homes were made from bricks,
stone pillars and teak wood beams. The flares of the columns were shaped with pure
lines.They brought and developed skills such as wood carving. Tops of pillars, door frames,
door and window imposts and ceilings were delicately carved with great inspiration:
Goddesses, Yallis, flora and fauna and geometry are present in every element. Chettinad
therefore, became a centre of excellence in wood carving skills during the community’s
most affluent period.
STUCCOS AND WALL PAINTINGS: Chettinad plaster is very famous for its soft texture
and appearance while being quite firm. It has endured through yearsand centuries. This
particular material is made of sea shell lime and eggs. It is the last stage in a long
process of wall finishing. The bricks are coated with different layers of white lime mortars, and
then finished with lime plaster. The Chettinad plaster is the last layer which gives both
softness and hardness as well as brightness and coolness to the walls. The art of painting
frescoes onto these plaster walls has also been developed across the region. Paintings on
door or window transom, friezes along the cornices and so on, combine both aesthetic and
spiritual sensibilities.

painting of deities

References:
Yatin Pandya, “Concepts of Space in Traditional Indian Architecture.”.
D.K.Bubbar, “The Spirit of Indian Architecture, Vedantic Wisdom of Architecture for Building Harmonious Spaces & Life.”
Bernard Dragon, Michel Adment,UNESCO,”,INDIAN HERITAGE PASSPORT PROGRAMMEON THE CHETTINAD TRAIL IN TAMIL NADU”