Tamil Nadu architecture that emerged thousands of years ago. It is popularly regarded as Dravidian architecture.
Rocky architecture Pallava
The Pallava Dynasty ruled from 600 to 900 and their greatest architectural achievements are the Monumental Group in Mahabalipuram and their capital Kanchipuram , located in the current Indian state of Tamil Nadu . Pallava rulers were pioneers of Southern India architecture. The greatest achievements of Pallava Architecture are the temples sculpted on the rock of Mahabalipuram . In Mahabalipuram there are halls with excavated and sculpted columns as well as monolithic pagodas known as Rathat of Mahabalipuramit . It is worth noting the coastal temple built by Narasimhavarmani II near Mahabalipuramit, which is a UNESCO World Heritage Monument .
The earliest examples of temples in the Dravidian style belong to the Badami Chalukya-Pallava period. The most striking examples of Pallava architecture are rocky temples dating from the 610s to 690s and structural temples between 690 – 900. The greatest achievements of Pallava Architecture are the Rocky Temples of Mahabalipuram . There are salon houses with monolithic columns and pagodas known as Ratha . The shady temples were mostly dedicated to Mr. Shiva. The Kailasanatha Temple also known as Rajasimha Pallaveswaram in Kanchipuram , built by Narasimhavarmani II also known as Rajasimha is an excellent example of Pallava style temples. It is noteworthy to mention the Coastal Temple built by Narasimhavarmani II near Mahabalipuram, which is a part of the UNESCO World Heritage Site .
Contrary to the popular impression about the subsequent Empire Chola, who experimented with the construction of large temple complexes, was the Pallava dynasty, which in fact experimented not only with the creation of large temples after building rocky temples without using mortars, bricks and so on. Huge examples of these temples are Thiruppadagam and Thiruooragam Temples that have 8.5 and 11 m highs of Mr. Vishnu in the incarnation of his Pandavadhoothar and Trivikraman forms. In comparison, Siva Lingama in the royal temples of the Chola Dynasty in Thanjavur and Gangaikonda Cholapuram are 5.2 and 5.5 meters high. Considering that the Kanchi Kailasanatha Temple built by Rajasimha Pallava was the inspiration for the Brihadeeswara Temple in Thanjavur of Raja Raja Cholas, it can be concluded with certainty that Pallava rulers were among the first rulers in India to build that built as large temple complexes as well great statues of gods and idols. Many Shiva and Vishnu temples in Kanchi built by the great rulers of Pallava and involving [[Pancha Rathat | Rathat and Relievin Gang Removal (also called Arjuna’s Pendesa) are unmatched examples of Monuments protected by UNESCO in India . The constant generation of temples Chola, Pallava and Pandiya (along with those Adigaimanë near Karur and Namakkal), as well as the Sethupathy temple body between Pudukottai and Rameswarami, equally represent the Southern Architectural Style of India that surpasses the other form of dominant architecture between the plateau the Dean and Kaniyakumar. Needless to say, in the Telugu country the style was more or less uniform in the Indian-Southern or Dravidian style of architecture.
Architecture Pandya
Srivilliputtur Andal Temple is the official symbol of the Government of Tamil Nadu . It is said to have been constructed by Periyaazvari, the ruler’s goddess, with a clay god who won in the debates held in the palace of King Pandya, Vallabhadeva. The primary symbol of Srivilliputturit is the structure of a 12-storey tower dedicated to the ruler of Srivilliputturit, known as Vatapatrasayee. The tower of this temple is 59 meters high and is the official symbol of the Government of Tamil Nadu. Other Significant Temples of Pandya Architecture include the famous Meenakshi Temple in Madurai.
Chola Architecture
Chola kings ruled in the period between 848-1280 and included Rajaraja Cholan I and his son Rajendra Chola who built temples such as Thanjavur Brihadeeswarar Temple and Gangaikonda Cholapuram ‘s Brihadeeshwarar Temple, Daraburama Temple Airavatesvara and Sarabeswara Temple (Shiva) also called the Kampahareswarar Temple in Thirubhuvanam, where the last two temples are near Kumbakonam. The first three mids of the four temples above have been named the Great Living Temples Chola part of the UNESCO World Heritage Site in India . Chola rulers were quite fertile builders since the time of the first king Vijayalaya Chola, after which there is the eclectic lineage of the Vijayalaya Chozhisvaram Temple near Narttamalai. These are the earliest examples of Chola rule dravidian temples. His Aditya son built many temples around the Kanch and Kumbakonam regions. The construction of the temples took a strong impetus from the invasions and genius of Adityas I, Parantakas I, Sundara Cholas, Rajaraja Cholas and his son Rajendra Cholas I. Rajenda Chola built the Rajaraja Temple in Thanjur named after his name. The maturity and grandeur that developed. Chola architecture found expression in the two temples of Tanjavuri and Gangaikonda Cholapuramit . He declared himself as Gangaikonda. In a small part of Karaoke’s generation between Tiruchy-Tanjore-Kumbakonam, at the height of their power, Chola rulers left more than 2,300 temples, with the Tiruchy-Thanjavur belt that had more than 1,500 temples. The majestic temple of Shiva in Thanjavur built by Raja Rajai I in 1009, as well as the Gangaikonda Cholapuramit Brihadisvara Temple , completed around 1030, are two monuments suitable for the material and military achievements of the time of the two Emperors Chola. The largest and tallest temple in India of its time, Tanjore Brihadisvara is the culmination of the Indian-Southern Architecture. In fact, the two succeeding kings Chola, Raja Rajai II and Kulothunga III respectively built the Airavatesvara Temple in Darasuram and the Kampahareswarar Siva Temple in Tribhuvanam, both temples on the outskirts of Kumbakonam were built around the 1160s and 1200s. The fourth temples were built over a period of nearly 200 years reflecting the glory, prosperity and sustainability of Chola’s rule.
Contrary to the popular impression, Chola rulers supported the construction of a large number of temples spread throughout most parts of the Chola Empire. These include 40 of 108 Divya Vaishnav Desams, of which 77 are found distributed in most of Southern India and others in Andhra and Northern India. In fact, the Ranganathaswamy Temple of Srirangam , which is the largest temple in India and the Natarayar Temple at Chidambaram (though originally built by the Pallava Dynasty, was probably mastered by the Chola Dynasty when ruling from Kanchi) were two of the most important temples patronized and expanded by Chola rulers and by the time of King Chola, Aditya I, these two temples are valued in inscriptions as the temples of the defending divinities of Chola kings. Of course, the two Brihadeeswarar temples in Thanjavur and Gangaikonda Cholapuram , as well as other Shiva temples, respectively Darai Temple Temple Airavatesvara and Sarabeswara Temple (Shiva), which is also popular as Tempah Kampahareswarar in Thirubhuvanam, both on the outskirts of Kumbakonam , were temples kingdom of the Chola Dynasty to commemorate their countless invasions and subversions of their rivals from other parts of Southern India, Dean Ilangay or Sri Lankas and the Narmada-Mahanadi-Gang Belt. But Emperors Chola emphasized their non-negligible approach to iconography and religious belief by treating the temple deities of their two other unique creations, namely the Ranganathaswamy Temple dedicated to Vishnut in Srirangam and the Nataraja Temple at Chidambaram, which is actually the home of both gods , Shiva and Vishnu (extending like Govindarajari) to be ‘Kuladheivams’ or their defending deities. The Chola rulers also preferred to call these two temples that host their defending deities like Koil or ‘Temple’, representing the most important places of worship for them, highlighting their equality. The aforementioned temples are part of the UNESCO World Heritage, labeled as the Great Living Temples Chola . The Temple of Gangaikonda Cholapuram , the creation of Rajendra Cholas I, was designed with the aim of overcoming its predecessors in all respects. Completed around 1030, just two decades after the temple in Thanjavur and mostly in the same style, the greatest refinement in its appearance proves the most prosperous state of the Chola Empire under Rajendra’s rule. This temple has a Siva linga larger than that in Thanjavur, but the Vimana of this temple is lower in height than that of Thanjavur . The Chola period is also remarkable for its sculptures throughout the world. Among the existing specimens in museums around the world and in the temples of southern India can be seen many refined shiva figures of Shiva in varied forms, Vishnu and his wife Lakshmi as well as sahihi saints. Though generally according to iconographic conventions set by the long tradition, sculptors in the XI and XII centuries worked with great freedom to achieve classical elegance and grandeur. The best example of this can be seen in the form of the Divine Shepherd Nataraja.
Koili
Koili (also called Koyil or Kovil ) (meaning: God’s dwelling [Explanation 1] ) is the Tamil term for a particular style of the Hindu Temple of Dravidian Architecture . The two terms, coyil (in Tamil: கோயில் – kōil) and kovil (in Tamil: கோவில் – kōvil) are used as synonyms. In Tamil language kōvil ( கோவில் ) is a verbal word, according to the rules of Tamil grammar. In contemporary Tamil, the term is also used to refer to Christian churches. Even the non-religious sites considered sacred are called curtains by the Tamil , such as the shrines built in the remembrance of Thiruvalluvari (the 2nd century poet and philosopher), or Tamil Thait (translated as the Tamil Mother, honored as the personification of the Tamil language ) are respectively called Thiruvalluvar Koil and Tamil Thai Koil. In modern formal speech, the whims are referred to as aalayam by many Hindus and devaalayam by Christians. Ambalam is another term used by believers of the tenth-century Tamil monastic Vallalar. For shaivites (Hindu Sects), the main curtains are the Chidambaram Temple and the Koneswaram Temple, while for the Vaishnavites (the Hindu Sect), Sri Ranganathaswamy Temple in Srirangam, and Tirumala Temple Venkateswara in Tirupati are equally important. For the critically important Christians, Arokkiya Madha Koili (Our Lady of Good Health Basilica) in Velankanni, Santhome Devaalayami in Chennai and Poondi Madha Koili (Basilica of Poondi Madhas) in Thiruvaiyaru. The Koils in Tamil Nadu and the Curls in Sri Lanka have long history and have always been associated with the ruler of the time. Most kings supported building temples in their kingdoms and joining the watersheds and villages to administer them. Temples not only served as places of worship, but also as civic centers for the population, providing services to local communities in the form of hospitals, educational institutions, sports and crafts education.
Ancient Tamil was among the largest temple builders. The Sangam literature written before our era mentions some of the temples that set up the kings of Tamilokam (Ancient Place of Tamil). Sacred songs of Shaiva Nayanari and Vaishnava Alvaro dating from the period between the 6th and 9th centuries provide extensive references to the temples of that period. The stone inscriptions, found in most temples, show the vast patronage of the various rulers. The most ancient temples were built of bricks and mortar. By the year 700 the temples were mostly of rock type . Kings Pallava were great builders of temples on the cliff. The Chola Dynasty (850-1279) provided a large number of their monuments such as the Brihadeeswarar Temple in Thanjavur . Chola rulers added many fancied mandapas or temple halls and built huge towers. Pandya style (up to 1350) without the appearance of huge towers, high wall enclosures, and enormous porch with gopurama towers. Vijayanagar style (1350 – 1560) is famous for its beauty and beauty, especially for monolithic decorated columns. The Nayak style (1600 – 1750) is highlighted by the addition of great pracards (exterior courtyards) to the consecutive corridors of the sanctuaries and column halls.
Vimana
Vimana (in Tamil: விமானம், in Kannada: ವಿಮಾನ) is a term for the tower above the Garbhagrihas or Sanctum sanctorum in a Hindu Temple . In Akash (Hindi) / Vannam (Tamil) / Aakasha (Kannada / Sanskrutham), the Colosal Authority with all Grahat including Nathstran give Akarshana Sakthi to all people without any reward.
A typical Hindu temple in the Dravidian Style may have many gopurame , typically built on many-fold walls in the queue around the main pagoda. The temple walls are usually squared with the most exterior wall that has four gopurame, on each page, located accurately in the center of each wall. Garbhagriha (sanctum sanctorum or central shrine of divinity) and its top roof are also called Vimana . Generally, these do not take as much meaning as the outer gopurame, except for a few temples where the roofs of the sanctuary are as famous as the temple complex itself.
Famous examples
Kanaka-sabai (Golden Phase) at Thillai Nataraja Temple in Chidambaram is a famous example. This special pagoda is completely covered with gold tiles but is different in its structure and in massive proportions when compared with most other Vimanas. Historical evidence shows that during the 9th century Parantaka Chola I founded it to cover this Vimana with ornamental gold that has survived to this day. Vimana Ananda Nilayame of the Venkateswara Temple in Tirumala is a famous example where the gopuram of the main pagoda occupies a very special place in the history and identity of the temple. The Meenakshi Amman Temple has two golden vimas, the exquisite for Mr. Shiva, and the second for his Meenakshi wife. The Vimana of Brihadeeswarar Temple in Tanjore is another famous example, with a very high altitude. This form is not very common.
Gopurami
Gopurami (also known as Gopura ) is a monumental tower, usually decorated at the entrance to any temple, especially in Southern India. This forms a prominent feature of the Koil, the Hindu Temples in Dravidian Architecture . They are crowned by kalasami , a stone bulbous bulb. They function as porches around the walls surrounding the temple complex. The origins of gopurams can be traced back to the structures of the Tamil Kings of the Pallava Dynasty; and from the XII century, under the Pandya ruler, these porches became a dominant feature of the outward appearance of temples, shading the interior sanctuary that darkened by the colossal size of the gopuram. He also dominates the interior sanctuary even in the amount of ornamentation. Often a pagoda has more than one gopuram. They also appear in Architecture outside India , particularly in Khmer Architecture , as in Angkor Wat . A koil may have a multi-faceted gopurame, typically built on multi-fold walls around the main pagoda. The walls of the temple are usually squared with the outer wall that has gopurame. Garbhagriha and its roof (the central shrine of divinity) is also called Vimana .
Architecture
Gopurami is usually rectangular in the shape of doors at the ground level, often richly decorated, providing access to them. Above is the conical gopurame, divided into many floors that are reduced in size and narrowed by climbing in height. Usually the tower is headed by a roof with a barrel shaped dumbbell. The form begins modestly in the Xth century, as in the Mahabalipuram Coastal Temple , with the Xh century Temple of the Brihadeeswarar at Thanjavur, which marks a substantial step forward with multi-story gopura from that period, far greater than any other previous, though much smaller than the main temple tower ( vimana ). The four gopurame of Temple Thillai Nataraja in Chidambaram are important examples early in the mid-thirteenth century but completed in a long period of time. Gopurams are elegantly decorated with sculptures and reliefs painted with a variety of themes taken from Hindu mythology , especially those associated with the main deity of the temple where the gopurame is located. Sri Ranganathaswamy Temple in Srirangam , India’s Tamil Nadu state is the highest gopuram in the world.
Christian architecture
The Basilica of St. Thomas is a minor Catholic basilica (of the Latin ritual) in Santhome, in the city of Chennait (the former city of Madras) in India . It was built in the XVI century by Portuguese explorers and was rebuilt with the cathedral status by the British in 1893.
The Chennait Architecture
Chennai’s architecture is a blend of many architectural styles. From the ancient Dravidian temples built by the Pallava Dynasty to the Indo-Saracen Architecture (used for the first time in Madras) from the colonial period to the 20th Century skyscraper of steel and chrome. Chennai has a colonial nucleus in the harbor area, progressively besieged by the newest areas leaving the port, highlighted by old temples, churches and mosques. By 2014, the city of Chennai , within its city limits stretching to 426 km2, has about 625,000 buildings, of which about 35,000 are multi-storey (with four or more floors). Out of these, approximately 19,000 are designed as commercial buildings.
Short story
European architectural styles, such as Neoclassical , Roman , Gothic and Rilinda , were brought to India by European colonists. Chennai , being the first important British settlement on the Indian Sub-continent, had many early constructions built in these styles. The initial structures were utilitarian, such as warehouses and walled commercial sites, giving way to fortified cities along the coast. Though many European colonizers, respectively, Portuguese, Danish and French, initially influenced the architectural style of the region, were largely the British who left a permanent influence on the city’s architecture following the Mogulans in the country. They followed different architectural styles, most notably Neo-Gothic , Emperor, Christian , Renaissance , and Victorian .
Starting with the factories, many types of buildings were constructed such as courts, educational institutions, municipalities, and bungalows, most of which were common structures constructed by garrison engineers. Churches and other public buildings featured a more distinctive architecture. Most of the buildings were fit for buildings designed by British architects of that time such as Wren, Adam, Nash, and others in London and other places. For example, Pachaiyappa’s Hall in Chennai was modeled on the Temple of Athene at Tezeu . Unlike Europe , these buildings were mostly made of tulle and lined with lime, with ever-engraved facades for the stone. Some later buildings, however, were built with stones. Many churches were built based on London prototypes, with variations as overly original works. The earliest example is St. Mary’s Church at Fort St. George. The transfer of British crown powers from the English East India Company, the rise of Indian nationalism and the introduction of railroads marked milestone in the history of British Colonial Architecture in India. New concrete materials, glass, iron and steel were increasingly used in construction, which opened up new architectural opportunities. Indian indigenous styles were adopted and adaptable to architecture. All these factors led to the development of Indo-Saracen Architecture near the end of the nineteenth century. Victorian essentially borrowed much from the Islamic style of Mogul and Afghan rulers and was first of all a hybrid style combining various Hindu and Mogule architectural elements with arches, cubes, claws, vaults, minarets and painted windows of Gothic architecture . FS Growse, Sir Swinton Jacob, RF Chisholm and H. Irwin were the pioneers of this architectural style, with the latter two designing a lot of buildings in Chennai. Chepauk Palace, designed by Paul Benfield, is said to be the first Indo-Saracen building in India . Other prominent examples of this architectural style include the Courts, the Victoria Memorial Hall, the Presidency College and the Senate of the University of Madras.
Architectural Styles
Architectural style Indo-Saracen dominated the style of Chenna ‘s buildings just as the Gothic style dominated the style of Bombay buildings before introducing Art Deco style. Following the Indo-Saracen Architecture, Art Deco was the next major movement that influenced the city’s architecture and paved the way for international and modern styles. Interestingly, just as the Bombaji developed an intermediate style combining Gothic and Art Deco architecture, Chennai combined the Indo-Saracen and Art Deco style in the buildings of the University Examination Hall, Hindu High School and Kingston House (Seetha Kingston School). However, many buildings are also distorted by modern ornaments or are completely devastated to pave the way for new constructions. An example is the Oceanic Hotel that was built in the classic Art Deco style and has been completely destroyed for IT Park. The stylistic development of the University of Madras is another example.
Indo-Saracen and colonial style
In the city, one can notice the British influence in the form of old cathedrals and the mixture of Hindu , Islamic and Neo-Gothic styles that resulted in the Architectural Style Indo-Saracen . Many of the buildings of the colonial period are designed in this style. Chennai’s colonial legacy is more visible near the Chennai Port. To the south of the port is Fortesa St. George. The space between the harbor and the fort is mainly occupied by the Supreme Court of Madras and many clubs, some of which have existed since the British period. A little further south of the fort, along the Cooum River, is the critically acclaimed MA Chidambaram Stadium, another British element dating from 1916. To the north and west of the port is George Town, where field workers and other wing workers lived . George Town is now an overcrowded commercial center, but its architecture is significantly different from areas near the fort, with narrower streets and tight buildings. Most colonial-style buildings are concentrated in the area around the port and St. Fortress. George. The remaining parts of the city consist mainly of the modern architecture of concrete, glass and steel. Chepauk Palace, designed by Paul Benfield, is said to represent the first Indo-Saracen building in India. However, most Indo-Saracen structures in the city were designed by British architects Robert Fellowes Chisholm and Henry Irwin, which can be seen throughout the city, particularly in areas like Esplanade, Chepauk, Anna Salai, Egmore, Guindy, Aminjikarai and Park Town. The prominent structures in the Esplanade area include the Madras High Court (built in 1892), the General Postal Office, the State Bank of India building, the Metropolitan Administrative Courts, YMCA and Law College buildings. The Chepauk area is equally dense with these structures, where the Senate and the Madras University Library, the Chepauk Palace, the PWD Buildings, the Oriental Research Institute and the Victoria Hostel are located. Southern Railway Centers, Ripon Building, Victoria Public Hall and Madras Medical College’s Anatomy Block are examples of Indo-Saracen-style structures found in Park Town. Structure like Bharat Insurance Building, Agurchand Mansion and Poombhuhar Showroom are located along Anna Salait and Amir Mahali is in Triplicane. The structures found at Guindy include the College of Engineering and the Old Mowbrays Boat Club. Egmore is contained in many such structures including the Government Museum, the Metropolitan Administrative Court, the Veterinary College, the State Archives Building, the National Art Gallery and the College of Arts and Crafts. St. The George’s School Chapel and the Southern Railways Offices in Aminjikarai are other examples of Indo-Saracen structures in the city.
Art Deco
In the early twentieth century, many important modern institutions such as banks, commercial buildings, railways, media and education were located in the city, mainly through colonial rule. The architecture of these institutions followed the previous directions of Neo-Classical and Indo-Saracen Architecture . The residential architecture was based on bungalows or prototypes of houses in the row. By the 1930’s, many buildings in George Town were built in the Art Deco style of architecture. Art Deco , a popular international design movement flourishing between 1920 and 1940, was adapted from cities like Bombay and Madras almost immediately. Although Chennai does not have a uniform Art Deco landscape like Bombeji , the city has significant stains that are entirely in Art Deco style. A long stretch along the NSC Bose road from EID Parry and a similar stretch along the Esplanade area have many examples of public buildings in Art Deco style. Another example is along the stretch of the Poonamallee High Road between Chennait central and Egmores. Similarly, there are many areas in the south of Chennai with similarly designed bungalows. Some early examples are the United India Building and the Burma Shell Building (currently Chennai House), both built in the 1930s along the Esplanade. Dare House, the most famous symbol at the intersection of NSC Bose Road and First Line Beach Road, was built in 1940 as the Parry office. After this area was called Parry Corn. These buildings detached from the previous models as they were designed without exterior verandas and included new technologies such as lifts. Concrete canopies featuring concrete potential are seen in some of these structures. Outwardly, stylistic tools such as scalable motifs and curving curves in areas like shutters, parapet walls along with vertically large windows gave a coherent look. Efforts to Induct Art Deco also led to elegant, decorative buildings such as the Oriental Insurance Building built in 1930. Located on one of the corners of the Armene Road, it is imposingly subtle with dazzling pavements and ornate balconies . Such a thing is sometimes labeled ‘Indo-Deco’. Art Deco also continued in the ’50s, with the Bombay Mutual Building along the NSC Bose Road and the South India Chamber of Commerce in the Esplanade that was built in this period. Art Deco buildings located at the intersections of the streets have curvilinear profiles. This approach has sometimes been considered as a distinct style, Modern Streamline, inspired by aircraft, bullets, ships and other similar things, due to principles such as aerodynamics . In addition to Dare House, other buildings featuring these features are those along the Mount Road intersections as the Bharath Insurance building of the 1930s and showrooms as Bata showroom. Along Mount Road as well as in nearby areas there are other Art Deco style buildings , the Office of The Hindu newspaper with its scalable form and Connemara Hotel built between 1934 and 1937 are symbols of the city. While the cinema was introduced to Chennai in the early twentieth century, later cinemas also provided another platform for Art Deco exposure. Casino Theater and Kamadhenu Theater of the 1950s are evidence of this period. The Art Deco houses in the city are characterized by numerous verandas, graded angular windows, window and circular rooms as well as furnishings within homes that had motifs to resonate with the greatest theme. Middle and lower income group homes were also inspired to these expressions apparently in the City Improvement Trust project of Mambalam and homes in Gandhinagar. Art Deco continued in the city until the late 1950s, when modernity had gradually begun to take root. Art Deco served as the basis through which modernity was introduced.
The architecture of Agraharam
Some residential areas such as Triplicane and Mylapore have plenty of homes dating back to the beginning of the twentieth century, especially those that are far from the main road arteries. Known as Agraharam , this style consists of traditional rows of houses surrounding a temple. Many of them are built in the traditional Tamil style, with four wings surrounding a square yard covered with steep roof tiles. Strongly contrast to them are apartment buildings along the great streets in the same areas that were built after 1990. Typically, the agraharams can be seen where a whole street is occupied by the brahmins, especially around a temple. The architecture is unique with the Madras terraces, the roofs of the country covered with tiles, the mahogany from Burma and painted with lime. The longitudinal houses consist of mudhal kattu (host neighborhoods), irandaam kattu (residential quarters), moondram kattu (kitchens and back yard) and so on. Most of the homes have a skyward opening to the mall called mitham , large platforms lined out of the house called thinnai and a private well in the back yard. Floors are often painted with red oxide and sometimes roofs have glass tiegulla to allow light to enter. The agraharam tetrahedron that is seen in Triplicane is located around the Parthasarathy Temple and its sacred deposit, while Mylapores is located around the Kapaleeshwarar Temple and its sacred deposit. In Triplicane, about 50 families continue to live in agraharama. However, many of these homes are being replaced with modern multi-storey apartments, resulting in a reduction in their number.
Architecture after independence
After independence, the city saw a rise in the modernist style of architecture. The completion of the LIC Building in 1959, the tallest building in the country at that time, marked the transition from brick and lime constructions to concrete columns in the region. The presence of meteorological radar at the Port of Chennait, however, prevented the construction of buildings higher than 60 m in the 10 km radius. The area’s floor space in the business district of the district is also 1.5, much less than that of the smaller towns in the country. This has made the city stretch horizontally, unlike other metropolitan cities where vertical development is remarkable. By contrast, peripheral areas, particularly in the south and south-west of the city, are undergoing a vertical development with the construction of over 50-story towers.
Urban planning
The city of Chennai is modeled on a network model stretching from north to south and east-west. Roads and areas have undergone significant changes in the late twentieth century. Many areas along the western outskirts of the city are planned development efforts, such as Ashok Nagari, KK Nagari and Anna Nagari. Many areas in the south of the Adyar River, including Kotturpuramin, Besant Nagar and Adyarin, have been developed since the mid-60s. The peculiarities of all these areas are their unusually wide streets and planets of the Cartesian net. Many of these sites were remote neighborhoods when they began to develop. Current urban development efforts are concentrated across southern and western areas, requiring more or less the benefit of the rise of the IT Corridor to the south-east and the new ring road in the west. The extent of the informal areas of the city is apparent from the fact that the area administered by Chenna municipality is 174 km², while the entire urbanized area is estimated to be over 1100 km².
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