CULTURAL TOURISM BASED ON CHETTINAD ARCHITECTURE

CULTURAL TOURISM BASED ON CHETTINAD ARCHITECTURE

DISSERTATION REPORT

by MUHSIN JAFFAR KHAN

ABSTRACT

People from metro and other places lead a different lifestyle than the people from villages. Majority of the people living in India is occupied in agriculture in spite of industrialization. Numerous people living in rural area can get employment and business opportunities with the help of tourism. Support and attention have to be given to rural tourism in India due to its significance. Rural tourism in India can facilitate people of different cultures, beliefs, lingo, and lifestyles close to each other. Rural tourism generally falls into categories like scenic value, cultural assets, special wildlife assets, agricultural, horticultural, forestry assets, farm systems and special facilities for sporting activities. Migration of people from rural to the urban area can be prevented with the help of cultural tourism and it can also enhance the rural culture and arts. Thus cultural tourism could attract tourists by providing the excellent glimpse of the village ambiance with local cuisine. Moderate but clean, accommodations for tourists should be constructed by the villagers in traditional design. This present study aims at understanding the tourists‟ opinion about Chettinad village and culture”. The researcher had taken the brief historical and cultural details of the Chettinad village. This study will be useful to the concerned authority of Chettinad to understand the tourist’s tastes, preferences, and opinion about the Chettinad village.

OVERVIEW

i. INTRODUCTION

Chettinad is a village located in Sivagangai district of the state of Tamil Nadu. Karaikudi, as a major town, is most famous in the entire village. Chettinad region, which comprises of 75 villages. Trichy and Rameshwaram are connected by this town since it is situated on the highway. It is a well-known town in this southern state of India mainly because of the style of houses that is unique to the place. The houses in this village are constructed using the limestone that is called „karai veedu‟ in the local language. It is a well-known fact that the family of Chettiars was instrumental in developingthe villageofChettinad. Eventoday, theChettiar community makes the majority of the population of the village. They are into trade and commerce ever since the establishment of Chettinad. They have helped shape the town and brought it into prominence by building an educational institution, funding banks, constructing temples and celebrating festivals in the traditional ways. They have also taken upon them the onus of bringing social reforms. Apart from the lure of watching a film being shot, tourists are attracted to the place because of the lip-smacking dishes that are part of the local cuisine of Chettinad. The famous classification of local cuisine „Chettinad‟ derives its name from the Chettiar Kings who played an important role in the establishment as well as the development of the town. The other name for the Chettinad cuisine is Karaikudi cuisine. Locals refer to the cooking of Chettinaddishes as “Achi Samayal‟.Thedishes are preparedusingavariety of spices and herbs, and the cooking method employed for making these dishes is also very unique.

ii. AIM

The aim of the research is to study about the Chettinad Village and its culturalandhistoricrelevancetobringoutcultural tourismtothedestination and to protect it from ruin out.

iii. OBJECTIVE

 To know the demography of Chettinad village to a cultural tourism spot.

 To ascertain the purpose of the visit of tourists visiting Chettinad

 To analyse the historical and cultural relevance at the Chettinad

 To find out the satisfaction level of tourist visiting Chettinad.

iv. SCOPE

Tourists visited Chettinad were the respondents for this study. This study will be useful to understand the various events and cultural and to protect it fade away.

v. LIMITATION

The survey was confined only to Chettinad village and it may not be applicable to other tourist spots. The preferences of the tourist may vary with time and the economic conditions of the tourists

vi. METHODOLOGY

• DATA COLLECTION

FINDINGS OF DATA

- PRIMARY DATA (Original in character)

Field survey and Analysis.

FIELD SURVEY

Documentation survey method

Visual survey (Observation Method)

Interviews Method

Telephonic Method

Panel Method (Emails.)

Photographs

Questionnaire Method

- SECONDARY DATA

Data’s which are collected through Internet ,Books ,Magazines etc.

Data’s which have already been passed through the statistical process. Reference to the data which have already been collected and analysed by someone else.

• DATA ANALYSIS

- Framing the data collected

- Findings

Art Works

Climatic Analysis

Architecture

Settlement Planning etc.

- Endings

Interpretation in design

Community Tourism

Involvement in the Design Elements etc.

Proposal of Design

CHAPTER 1

1 INTRODUCTION

1.1 CHETTINAD VILLAGE

‘Chettinad, Village Clusters of the Tamil Merchants’.

Chettinad is a semi-arid zone of 1,550 square kilometres in the heart of Tamil Nadu, inhabited by some 110,000 Chettiars who are spread over two cities and 73 villages. Since the time the communitywas founded, the Chettiars have upheld a vision of urban planning and development which makes this area an outstanding heritage region. It’s a culturally and historically important region famous for its unique cuisine, agriculture and architecture

The Chettiars belong to a lineage of wealthy traders and financiers who made their fortunes by extending their business to the whole of Southeast Asia, particularly during the 19th century when they were at the peak of their economic power. As a result of their travelling, the Chettiars integrated diverse influences into their traditions which contributed to their uniqueness. Their villages were constructed as per precise and sophisticated rules of urban planning, represented namely by orthogonal streets and specific water management system, which are also directlylinked to the Tamil tradition with rectangular plots and houses The houses which evolved over two centuries are veritable palaces Courtyard at the Raja’s Palace with an inner courtyard.

The economic pressure and land speculation in the big cities of Tamil Nadu have eliminated almost all the traditional houses in the State. Chettinad is the only remaining site which bears testimonyto the traditional Tamil architecture and urban planning. The houses which evolved over two centuries are veritable palaces. On the ground floor, the architecture is typically Tamil, while one can see Western influences on the higher floors. This reflects the ways of life of the Chettiars who knew how to combine their vibrant traditions with the global economy. In order to build these palaces, materials and expertise from all over the world were used, only adding to the cultural glory of Chettinad.

1.2 CULTURAL TOURISM

Cultural tourism is the subset of tourism concerned with a country or region's culture, specifically the lifestyle of the people in those geographical areas, the history of those people, their art, architecture, religion, and other elements that helped shape their way of life. Cultural tourism includes tourism in urban areas, particularly historic or large cities and their cultural facilities such as museums and theatres. It can also include tourism in rural areas showcasing the traditions of indigenous cultural communities, and their values and lifestyle.

Cultural tourism is important for various reasons; it has a positive economic and social impact, it establishes and reinforces identity, it helps build image, it helps preserve the cultural and historical heritage, with culture as an instrument it facilitates harmony and understanding among people, it supports culture and helps renew tourism.

Cultural tourism helps preserve the cultural and historical heritage. Tourism makes an importantcontributiontocultureandhistoricalheritagebyprovidingmeansfor keeping the traditions alive and finances the protection of heritage as well as increase visitor appreciation of that heritage.

The economic and social impact is caused by the incomes created by the cultural tourism business and supporting businesses. There is an increase in local production since the cultural tourism activities are strongly connected with other branches of economy. As cultural tourism is employment demanding, there is an increase in employment in the area, as guests participate and appreciate local culture. This helps keeppeoplein the region, whichis a positivecatalyst forregionaldevelopment. It, thus, improves the demographic situation in regional areas by giving a perspective to the youth.

Cultural Tourism in Chettinad will be an extremely enrich experience for the region as the place is full with rich culture heritage, exotic food and remarkable specimens of Chettinad Architecture. Tourism will include with the well-known mansion, temples and culinary delicacies.

2 LITERATURE CASESTUDY

2.1 ORGIN

The origin of Chettinad begins in the 13th century when the Nattukottai Chettiars migrated to Karaikudi. They left their previous area, the Cauvery Poompattinam, following a massive flood. The new settlement eventually became the Chettinad region (Land of the Chettiars) of 96 villages (in 1947) over a 600-1500 square mile area, out of which around 75 villages still exist today. Starting as traders, the Chettiar’s travels took them to various states in South East Asia, such as Sri Lanka, Singapore, Burma, Cambodia, Vietnam and Malaysia.

2.1.1 NATTUKOTTAI CHETTIARS

Among the Chettiars of Chettinad, the Nattukottai Chettiars are considered to be of the elite class. They are a community well-known for their cultural heritage and philanthropy. Aside from building Shiva and Murugan temples wherever they went, theywerealsoinvolvedinbuildingschoolsanduniversities.Theircommunityisknown for honesty and integrity as well as for their hard-working nature. They were also wealthymerchants that began their business with salt trading before moving on to gems

and finally using their wealth to become moneylenders and financiers by early nineteenth century.

2.1.2 TYPES OF CHETTIYARS

1. Nattukottai Chettiyars (Nagarathar)

Place of Origin: Tamil Nadu- Pudukottai, Ramnad, Sivagangai

2. Vaniya Chettiyars

Place of Origin: Tamil Nadu

3. 24 MTC (Manar Telungu Chettiyars)

Place of Origin: TamilNadu, Kerala, Andrapradesh

4. Perankan Chitty

Place of Origin: Malaysia, Singapore

2.2 CULTURE AND TRADITION

2.2.1 ART AND CRAFT

Chettinad is home to a community famous for its affinity towards art and craft. As the homeland of the Nattukottai Chettiars, Chettinad is renowned for its huge and beautiful mansions, colourful culture, exceptional clan temples and its tantalizing cuisine. Though the clantemples andextravagantlylarge mansions are themost alluringaspects of Chettinad, for the people who obsess over local arts and crafts, it offers a wide array of options to behold, as well. The cultural heritage and way of living of the Chettiar community are largely visible through the local art and craft forms of Chettinad.

The affinity of the Chettiars towards arts and crafts can be called a tradition transpired through their culture.

The leaves of the doub palm are used to create Kottans that have a wide range of uses in the lives of the people of Chettinad. The kottans created using the leaves of the doub

palm effectively combine craft and utility together. The kottans were produced in varying colours and dyes are used to colour them. The kottans used for a wide range of occasions, especially during marriages and the Kottans used in such occasions were embellished further using beads and other ornamental items.

There also is a weaving community in Chettinad that produce exceptional sarees. The weaver’s colony is the place where most of the weavers stay and indulge in weaving attractive sarees.

Athangudi in Chettinad is another important cluster where tile making art happens. Inspired byvarious tilesanddesigns usedin several Europeancountries, the tilemaking process is ingenious to Chettinad. Being a rare variety of tiles that are handmade, the tiles are demanded greatly by people all over the nation.

Chettinad also makes several kitchen utensils from clay, wood and metal and these utensils are even used today. A wide range of kitchen items can be bought from Chettinad such as the vegetable cutter, spice box, papad maker, coconut grater and spoon holder along with several others.

Asaregion that breathes eachofits breath tethered throughcultural heritage andtemple customs, there are several items made from brass and bronze used in these temples. These artefacts adorn a wide range of artistic expressions based on the diverse flora and fauna of the region, Hindu mythology and several abstract patterns and drawings.

DuringtheSevvai PerumThiruvizhafestival,terracottamodelsofanimalssuchas cows and horses are made and ornated. These models are made locally for the purpose of worship during the festival. Though it is specifically made for the festival, it is also a derivative of the affinity of the community towards crafting.

Fig1.Kottans as local crafts. Fig2. Kitchen Utensils used in Chettinad.

2.2.2 FOOD CULTURE OF CHETTINAD

Chettiar food is a feast for the gourmet. With a generous dose of pepper and not chilli, making it spicy but not hot. The spicing is subtle and its secret is the instinctive hand, dumping a handful of this and a pinch of that in the masala leading the taste buds on a journey of intrigue and delight.

Chettiar cuisine is an innate sensitivity to the taste buds, an inherited sense of economy and thrift and a deep concern that food should be tasty and healthy

Chettiar table is a groaning board but also because the cuisine is uncommonly subtle and aromatic, a heritage of Chettiar participation in the centuries-old spice trade, the global import and export of pungent seeds and fruits and barks from places like Cochin and Penang, the Banda Islands, Arab ports in the Straits of Hormuz.

As Chettiars had business contacts throughout the world from time immemorial their cuisine is famous for its use of a variety of spices used in preparing mainly nonvegetarian food. The dishes are hot and spicy with fresh ground masalas. They also make a lot of sun dried salted vegetables called vatthals, duringthe season and use them in the off season, reflecting the dry environment of the region and economic nature. The meat is restricted ot fish, prawn, lobster, crab, chicken and mutton. Chettiars do not eat beef and pork.Most ofthedishes are eatenwith rice andricebased accompaniments such as idlis, dosais, appams, idiyappams and adais. The Chettinad people through their mercantile contacts with Burma, learnt to prepare a type of sticky rice pudding made with purple rice called “Kavanarisi”.

Chettinad cuisine offers a variety of vegetarian and non-vegetarian dishes. Some of the popular vegetarian dishes include idiyappam, paniyaram, vellai paniyaram, karuppatti paniyaram, paal paniyaram, kuzhi paniyaram, kozhakattai, masala paniyaram, adikoozh, kandharappam, seeyam, masala seeyam, kavuni arisi & athirasam. The Chettiars used seafood to create many of their signature dishes such as the meen kuzhambu (fish curry), nandu (crab) masala, sura puttu (shark fin curry), and eral (prawn) masala.The most popular of Chettinad dishes, Chettinad Chicken or Chettinad

Kozhi is a regional culinary gem. Made from soft and succulent chicken simmered in a medley of roasted spices and coconut.

2.2.3 FESTIVALS

The Chettinad calendar is filled with various other festivals through out the year.

PONGAL:

The Tamil harvest festival in the month of January is celebrated for 5 days with much gusto. Rice is boiled and partaken in public with communal participation. The next day is the "mattu Pongal," a thanksgiving festival unique to Tamil Nadu.

While the first half of the day is spent in adorning and offering Pongal to the cattle, the second half is for the brave hearts to participate in "jallikattu"- a bull run through the main streets to be challenged bythe youth who tryand remove the garland around bull's horns - an adrenalin rush not for the faint-hearted.

NAVARATRI:

The beginning of spring and the beginning of autumn are two very important periods of climatic and solar influence. These two periods are taken as sacred opportunities for the worship of the Divine Mother. The dates of the festival are determined according to the lunar calendar. Navaratri is the celebration of Goddesses Lakshmi, Saraswati, and Durga, the manifestations of Shakti (Female Energy or Power). Customarily, the Navaratri festival or ‘Nine Nights festival’ is prolonged by one extra day which is the culmination of nine days and nights of joyful celebrations when the women of a household are particularly celebrated.

Fig3. Pongal Kolam drawing by native ladies

MARRIAGE CEREMONY:

Marriage is the grandest celebration in a Chettiar family. The marriage ceremonyof the Chettinad people is celebrated in a majestic way. The minimum period of the celebration is three days, which consists of various traditional rituals. The bride's trousseau is legendary and famous for the sheer number of items in all forms of gold, silver and steel. The Chettinad people gift a large number of items to the bride from diamonds to broomstick in multiples of seven. Though almost all the nagarathar stay away from their nagara village/ home town, they prefer to have their son/daughter’s marriage in their native. The marriage in Chettinad in good old days, was more elaborate and complex. The marriage ceremony was long drawn procedure punctuated with various rituals, customs including gift giving for the wellbeing of the newly married and thus marriage was six days affair. Moving into a new house and attaining sixty years of age are also celebrated as major events with much pomp.

Fig4. Chettinad style marriage.

2.2.4 TEMPLES AND WORSHIPS

The central theme of Chettinad culture is worship and every Chettinad village has at least one temple, while some have four or even five. Each temple has its annual festival, called 'tiruvila' which is attended by the entire vilage in an act of collective worship.

Originallybuilt byearly Tamil dynasties like the Cholas, the temples of Chettinad form thecoreofitsculture.ItissaidthatNagaratharscannotdowithoutconstructingatemple wherever they reside. Numerous temples dot the Chettinad region, each with its own tank called oorani where water lilies are grown.

The Chettiars were invited to their current settlement by the king of the region at the time. Even the various clans within the Nagarathar community were identified as belonging to different Kovils (Temples). The association with each clan (and temple) decided the protocols for marriage within the community. The temples played a central part in the town planning, and the guides can take you to vantage points to explain how the city evolved around the temples, affecting everything from culture and architecture to business. Therefore the temples in the Chettinad region play an immeasurable role in defining their history and their culture.

There are 9 clans in Chettinad community. Each clan was associated with one temple with its own water tank. That is how 9 Chettinad Temples are famous in Chettinad region. Each clan had their own rules and protocols to be maintained. Nine of these temples are the most famous ones. Illaiyathangudi, Mathoor, Vairavankoil, Nemamkoil, Illupaikudi, Surakuddi, Velangudi, Iraniyur and Pillaiyarpatti.

Each temple is unique. Religious activities dominated the daily life of people in these regions for centuries. The traditions and rituals handed down generations after generations People within the same temple of Chettinad region are considered as siblings. To get married the bride and groom should belong to different temples.

A special feature of any Chettinad house is the decorative art of "Kolam" practiced every day at dawn on the cleansed threshold of the house. During auspicious days and especially on lifecycle rituals like Nadu veetu kolam birth and marriage Culture & related

Fig5. Temple in Pallathur

2.2.5 KOLAM

Fig6. Kolam in front of entrance of Chettinad Buildings

2.3 TRADE AND ECONOMY

Chettiars were originally moved to a dry, dusty inland area of South India after a flood had washed away their villages. The land was no good for farming so they became traders, and over the centuries developed a reputation for trust as they were a small community who intermarried so there were always family links between them.

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 communitystartedhavingtradecontactswithVietnam,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.

2.4 DEMOGRAPHY

In the 19th and early 20th centuries, many residents of Chettinad emigrated to South and Southeast Asia, particularly Ceylon and Burma. Chettinad is a region in the heart of Tamil Nadu inhabited by about 11,000 Chettiars, spread out over two sleepy towns and 73 villages. The population was much higher in the earlier century and was consisting about 96 villages, but due to migration to Chennai as well as other regions of south-east Asia, the population has come down.

Chettinad is categorized to three clusters.

Cluster 1 and 2 are with in Sivagangai District with four settlements each. And Cluster 3 is in Pudukottai District with three settlements.

Cluster 1 – Karaikudi, Athangudi, Kandanur, Chokalingampudur

Cluster 2 – Kottaiyur, Pallathur, Kanadukathan, Kothamangalam

Cluster 3 – Rayavaram, Kadiapatti, Ramachandrapuram

2.5 CLIMATIC ANALYSIS

Chettinad features a tropical wet and dry climate. Chettinad lies on the thermal equator and is also coastal, which prevents extreme variation in seasonal temperature. For most of the year, the weather is hot and humid. The hottest part of the year is late May and early June, known locally as Agni Nakshatram ("fiery star") or as Kathiri Veyyil, with maximum temperatures around 38–42 °C (100–108 °F). The coolest part of the year is January, with minimum temperatures around 18–20 °C. The lowest temperature recorded is 13.9 °C and highest 45 °C (Data as per as on 30 May 2003). The average annual rainfall is about 1,400 mm. The city gets most of its seasonal rainfall from the north-east monsoon winds, from mid-September to mid-December. Cyclones in the Bay of Bengal sometimes hit the region. Highest annual rainfall recorded is 2,570 mm in 2005. The most prevailing winds in Chettinad is the South-westerly between the end of May to end of September and the North-easterly during the rest of the year.

Table1. Climatic Data of Chettiand

CHAPTER 3

3. LIVE CASE STUDY

India is rich in cultural heritage and historic buildings are in abundance in different regions of the country. Chettinad is one of them, a culturally strong region located in South India significant for its palatial mansions and its unique architecture. Many of these mansions due to negligence are falling into a state of decay or they are being dismantled systematically for the reuse of its materials of construction. Therefore the preservationandappropriatereuseofthesemansionsbecomesnecessaryforitscultural, social and economic sustainability. This case study show the heritage and architecture of Chettinad houses and settlement pattern with their tradition and culture.Settlement pattern in Chettinad follows a perfect urban grid and cultural components of caste, clan, kinship, joint family are manifested in the spatial organization of the Chettinad houses.The pattern of settlement and design of mansions are sensitive to context connected with a complex network of rain water harvesting serving the entire village community. The houses all lie on an east-west axis, allowing shadows, coolness and breezes in. The walls are of brick and lime plaster and the roofs use terracotta, creating a cool internal micro climate.

Study was limited to Pallatur and Kanadukathan, the area which belongs to 2nd Cluster of Chettinad settlement.

MAP OF KANADUKATHAN

MAP OF PALLATHUR

3.1 SETTLEMENT PATTERN

Chettinad is one the rich settlements and represent over 150 years of architecture. Their villages were constructed following precise and sophisticated rules of urban planning with orthogonal streets, specific water management schemes, technical innovation, artisticcreativity,etc. Thesesettlements arealso built inharmonywith 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.

GRID IRON SETTLEMENT OF PALLATHUR, A SETTLEMENT IN CHETTINAD

Roads in the village are oriented north-south with 9.1 meter wide road and streets are oriented east-west direction 7.62 meter wide road. Due to the height of the houses on either side of the road and the small width of the road, a shadow will always be present at any place expect for a few hours during the day.

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

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 houseandouthouses. On thestreet sides,thewall is aligned with thestreet 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 thedifferent villages oftheregion. Insidethecompound thebuildingandits 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.

Fig7. Streetscape of Chettinad

3.2 SPATIAL PLANNING

The concept of the Chettinadu house is believed to have originated from the historic trading centre of Kaveripoompatnam. The practice of raisingthe plinth by2 metres was prevalent to prevent the water from entering the house due to frequent flooding. The planning concept of the house was based on four reasons, the occupation of the people, their desire, cultural influence, climatic consideration.

Based on 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.

Based on the cultural 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.

Based on the 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: 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.

NIGHTANALYSIS: Thenegativepressureand effect createdinsidethe 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

PLANNING OF CHETTINAD HOUSES

3.3 CHETTINAD HOUSES

The Chettinad houses were originally single-storeyed buildings made of sundried brick of mud and bamboo and thatch. They evolved to become tile-roofed with a small twostoreyed tower at both ends of the front elevation, They later expanded vertically into two-storeyed structures, and horizontally through the addition of numerous halls and courtyards that could accommodate guests at marriages and other ceremonies It was not unusual for three generations to live together in one house.

The houses are built on a rectangular, traversal plot that stretches across two streets, with the front door opening into the first street and the back into the second. Looking in from the main threshold, your eye travels in a straight line across a series of inner courtyards, each a diminishing rectangle of light, leading out to the back door. The courtyards supply ample light and air but leave the rest of the house in deep and cool shadow. The courtyards have tiles placed exactly under the storm-water drainpipes so that the stone floor is not damaged. Underground drains run right through the house, with stone stoppers carved exactly for their mouths. Large stone vats for water and wooden bins for firewood line the inner courtyards.

First comes an outer - thinai - Large raised platforms on either side of the central corridor, where the host would entertain male guests. The platforms lead off on one side into store rooms and massive granaries and on the other, into the (Kanakupillai) or Accountant's room. This area also usually leads off to the men's well. From here, the huge elaborately carved teak front door, with image of Lakshmi carved over the head and navaratna or nine precious gems buried under the (Vasapadi) threshold. The door leads into the first open air courtyard, with pillared corridors running on each side that lead into individual rooms, each meant for a married son, each with a triangular slot cut into the wall for the evening lamp. Then comes the second courtyard with large dining spaces on either side.

The third courtyard was for the women folk to rest and gossip, while the fourth, or nalankattai comprised the kitchens, leading out to the backyard with its women's well and grinding stones. The wealthier the merchants the larger the house, often spreading out to a second floor.

The various spaces in the typical Chettinad house are the following:

 Madhil Suveru - The compound wall abutting the front street.

 Nadaipaathai - The central highlighted access.

 Keezh Paththi - The lower paved area and a raised platform.

 Kannakkupillai aria - Accountant room.

 Pattagasalai - Men’s relaxing room.

 Valavu, Erandam kattu, Mundram kattu - Two or three courtyards first of bigger scale to conduct functions and to celebrate festivals, second of slightly larger scale used for household activities and the third for the services like cooking, washing etc.

 Suttru paththi - Corridors surrounding courtyards, series of rooms at two levels around the courtyards

 Arias/Valayu veedu - first set of rooms for sleeping and second set of rooms for storing valuables.

 Patikkattu - Staircases at all the four corners accessed from the corridor of the kitchen.

 Aduppadi/Samayal Arai - Large kitchen with traditional choolas - open hearth using firewood

 Bhojana - A dining hall in front.

 Pinpuram/Kollaipuram - The rear yard for cattle and rough uses with a well for water supply.

 Pinkadhavu - The rear doorway exiting into the rear street

3.3.1 THINNAI

The Chettinad houses were conceived as fortresses, guarding both valuables and the even more valuable, cool air. So, from outside, you perceive no idea of the house's design. Thus instead of lawns in front of the house, the Chettiars had courtyards inside. But they retained the thinnai (platform outside the house that projects towards the street from the house's front wall), typical of ethnic Tamil architecture. The thinnai ended in granaries on one side and a room, generally the accountant's room, on the other side. Theheavyand elaboratelycarved front doors,with images of deities, Goddess Lakshmi

especially (from the shiploads of Burmese teak, of course) sometimes had precious gems inlayed on it.

3.3.2 COURTYARD

Most Chettinad mansions have at least a couple of courtyards. The living space leads one immediatelyinto the courtyard. The first open-air courtyard, with corridors flanked by huge pillars on its sides, generally was bordered by rooms along its sides. You also notice triangular slots cut into the walls of these houses, an inbuilt shelf for lamps. The second courtyard opens out immediately and is flanked by spaces used for dining generally. The third courtyard served as a restroom for the womenfolk, while the fourth one housed the kitchens.

Each of the small rooms off the main courtyard is the property of one married son in the patriarchal lineage of the ancestral builder of the home. It is the only part of the house, besides a section of the kitchen, to which a separate ownership can be attributed. Even today, men and women are segregated in a Chettinad house: the men occupy the outer veranda and front room; and the women occupy the kitchen courtyard and work around the main courtyard. No house comes with less than two vast kitchens, not to mention several giant grinding stones and rows of fireplaces in the last courtyard – all meant to entertain gigantic gatherings.

Fig8. Thinnai, first area of Chettinad houses

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 accessibilityfrom the washing and preparation areas of both houses and can thus cater to a very large crowd of about 150 people, reflecting the selfsufficient nature of the Chettiars.

Fig9. Courtyard of Chettinad houses

3.3.3 BHOJANA HALL

Fig10. Dining room of Chettinad houses

3.4 ARCHITECTURAL ELEMENTS

3.4.1 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

3.4.2 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

Fig11. Roofscape view to the courtyard

3.4.3 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.

Fig12. Arches in the entrance of the house

Fig13.Coloums used around the courtyard and thinnai

3.4.4 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.

3.4.5 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.

Fig14. Art work with concrete

3.4.6 CARVED WOODEN FEATURES:

The Chettiars used to bring teak from Burma back to their country 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.

Fig15. Parapet design in the Chettinad house.

Fig16. Wooden carving in the roof

3.4.7 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.

3.5 MATERIALS

 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 colour 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 fibre 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.

3.5.1 ATHANGUDI TILES

The Athangudi tiles are popular handmade decorative floor tiles, originating from a village called Athangudi in the Chettinadu region of Tamil Nadu. Athangudi tiles are completely handmade floor tiles, which add charm to the interiors of a house. These floor tiles of Athangudi stand out for its class, bringing forth the rich cultural heritage of the Chettiar community. The art of making these tiles is a traditional activity at Chettinad. The raw materials used for making athangudi tiles are the local soil, cement, baby jelly and synthetic oxides. It is unique and supreme, as it comes in a variety of colours and patterns made by a distinctive process of making tiles. The charisma of the tiles lies on the local sand used and for the right composition. Cement, baby jelly and sand along with synthetic oxides make the composition of the tile. Due to the relatively slow manufacturing process and less shelf life, the demand for these tiles has drastically declined. The artisans possess expertise in manufacturing these traditional tiles of great quality. The process of making these tiles is done by initially choosing the designs and colours from the existing designs, followed by adding of different colours on the glassed frame in a sequence and designing it. It is layered with a coat of dry mixture of sand and cement and overlaid with mortar.

Fig17. Athangudi tile used for flooring

3.6 CONSTRUCTION TECHNIQUES

The construction material, decorative items and furnishings were mostlyimported from East Asian countries and Europe.

The marble was brought from Italy, chandeliers and teak from Burma, crockery from Indonesia, crystals from Europe and wall-to-wall mirrors from Belgium. The woodwork and stonework was inspired that of the houses in France and other European destinations Construction techniques.

The huge elaborately carved teak front door, with image of Lakshmi carved over the head and navaratna or nine precious gems buried under the (Vasapadi) threshold.

Pillared corridors running on each side that lead into individual rooms, each meant fora married son, each with a triangular slot cut into the wall for the evening lamp. Large dining spaces on either side.The third courtyard was for the women folk to rest and gossip, while the fourth, ornalankattai comprised the kitchens.

The evolution of a whole way of life, from culture and history to the use of materials and new technologies, to an understanding of the environmental factors Construction

Many of the windows, with orange segment shaped fanlights over some of them, or barred and grilled doors, with pierced screen ventilators on top, have been treated with dark green paint. The basketwork has been used as lamps, as decorative flourishes in a niche and as containers for holding food in it.

3.6.1 MADRAS TERRACE ROOFING

Handmade floor tiles from Athangudi, are inlaid on the madras terrace roof pattern with the joists imported from Burma as battens are melamine Burma teak.

3.6.2 MADRAS PLASTERING TECHNIQUE

Lime egg plastering, another traditional technique used to paint walls white and keep the insides of houses cool that lasts virtually the entire life of the building.

3.6.3 EXTERNAL FAÇADE TREATMENT

The central is surrounded by pillars of Burma teak and there is a combination of scarlet tiles and sloping woodwork. The construction material, decor items and furnishings were mostly imported, work were inspired by French and other European architecture.

3.7 KANADUKATHAN PALACE

Kanadukathan place is also known as Chettinad palace is located in Kanadukathan in Chettinad region. This mansion was constructed in 10 years from 1902 to complete its construction. The rooms of this mansion are embellished using Burmese teak wood and the furnishings of the palace have been imported from various European and East Asian countries. There is a huge dining hall in this palace that can accommodate around 250 peopleatatime.Theopencourtyardofthismansionhasbeautifullystone-carvedpillars that add to the beauty of this heritage home.

The palace at Kanadukathan symbolizes the exquisiteness of architectural marvels, woodwork and ancient lighting, besides the cultural ethos of the region. All homes have one to three `mittam’, or the inner pillared courtyard. Italian glossytiles have been used on walls and ceilings. Burma teak, granite pillars, stained glass, artistic grills and such exquisite materials used in the buildings speak volumes of the quality and lifestyle of its owners and the skilled workforce. In these houses are numerous windows and very high ceilings

At the entrance is a pillared veranda or thinnai, meant for receiving visitors. Heavy ornate wooden doors lead to the main hall, decorated with elephant tusks, antique furniture and portraits of family members. Typically, the Palace extends further in a series of three courtyards, with the doors aligned in such a way that, from the entrance, you can see straight through to the end of the house. Italian marble, Burma teak, stained glass and a fusion of colour and ornate wrought iron, handmade tiles and woodwork, light up this home.

Fig18.Kanadukathan palace from exterior

CHAPTER 4

4. CULTURAL TOURISM

The concept of cultural tourism it is first necessary to have a basic understanding of the two complex definitions of culture and tourism. However, it should be noted that recognizing the two concepts of culture and tourism separately is considered as a prerequisite for defining cultural tourism. The definition of cultural tourism itself is quite different and should not be assumed as a combination of the meanings of these two terms, culture and tourism.

Comparing to the broad concept of culture, tourism is perhaps an easier term to deal with. The known definitions of tourism is divided into two categorizes; the conceptual definition of tourism, dealing with the core meaning of tourism, and the technical definition of tourism, focused on evaluating and measuring the value of tourism which is particularly variable in different countries.

Culture is a very complex concept; hundreds of definitions for it are in literatures. Generally, culture is viewed as a complex whole, which delivers a unifying concept for the extensively varied ways of life. Trying to describe culture in a single broadly acceptable definition therefore produces a level of generalization which renders the act of definition useless.

Fig19. Kanadukathan Palace inside the compound.

The main usage of the term cultural tourism involves the consumption of a wide range of cultural manifestations like heritage, art, folklore and etc. by tourists. Cultural tourism can be generally seen as a sociocultural relationship between people which is promoted, moderated and mediated by a range of various actors including, planners, politicians, researchers, marketing professionals, travel agencies and so on. Cultural tourism can be regarded as a meeting between social systems and cultures which will produce changes in both of them. As a social practice, cultural tourism reconstructs or constructs identities and will eventually contribute to globalization and framing a globalized world.

• Architecture (ruins, famous buildings, whole towns)

• Art, sculpture, crafts, galleries, festivals, events

• Music and dance (classical, folk, contemporary)

• Drama (theatre, films, dramatists)

• Language and literature study, tours, events

• Religious festivals, pilgrimages

• Folk or primitive cultures and sub-cultures

4.1 CULTURAL TOURISM OF EGYPT

Egypt has a thriving cultural tourism industry, built on the country's complex history, multicultural population and importance as a regional centre.

Egypt's cultural tourism trade has fluctuated since the 19th century, increasing in popularity alongside the rise of Egyptology as an academic and amateur pursuit. Successive Egyptian governments have placed great emphasis on the value of cultural tourism, "confident that no other countries could actually compete in this area".

Egyptology is the study of ancient Egyptian history, language, literature, religion, architecture and art from the 5th millennium BC until the end of its native religious practices in the 4th century AD. A practitioner of the discipline is an "Egyptologist".

CHAPTER 5

5. ANALYSIS AND INFERANCE

Once a glorious land of the Chettiars fell into apathy in the middle of the 20th century. The marvellous architectural heritage left by the previous generations are silently but steadily disappearing under the threat of time and the lucrative business around the export of columns, windows, ceilings and decorative elements. Houses and entire villages are rapidly vanishing packed into containers headed for Western countries.

The region went into decline about sixty years ago as a result of major economic difficulties following the independence of Burma and Malaysia. This in turn led to the gradual disappearance of the urban and architectural heritage.

Today, besides a few palatial homes which are still maintained by the families for the purpose of large important occasions and gatherings, a considerable amount of smaller houses have been already demolished, and those which have survived, whose exact number is yet to be determined, are in a critical state of conservation. Their total disappearance seems almost inevitable for various reasons, in particular the lack of financial means of the owners and a joint ownership, dismantling the houses for the purpose of sale. This could totally wipe out the living evidence of a way of life, of an extraordinary page in history, which constituted the cultural wealth of India. The dismantling of houses has led to a lucrative antiques business and many architectural elements, in particular pillars and doors have been exported all over the world from Kochi, Chennai, Mumbai and Delhi. In 1947, there were 96 villages in Chettinad. Today, there are only 75 villages.

The architectural style and urban planning of Chettinad is to be revived, the analysis and finding of this study explains to reveal the elements in the form of a tourism which can also be encouraging the tourists to get knowledge about the architectural mansion with the culture and lifestyle of the people in Chettinad.

CULTURAL TOURISM BASED ON CHETTINAD ARCHITECTURE DISSERTATION REPORT