18arc5.4 Hoa V Notes Module 4

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MODULE 04

AKBAR’S TOMB, SIKANDRA:


 The construction of the mausoleum is said to have commenced during Emperor Akbar's (1556-1605)
lifetime in 1604 but concluded during his son, Jehangir's reign (1605-1627). The Tomb of Akbar the Great
is set in 119 acres of grounds in Sikandra, a suburb of Agra, Uttar Pradesh, India.
 Based on a charbagh, or walled square garden composition much like his father Humayun's tomb. The
charbagh divided into quadrants by watercourses designed to evoke the rivers of paradise. Hence, the
mausoleum itself is physically and metaphorically located at the center of a heavenly garden, Behistan.
 The mausoleum complex is square in plan and aligned on the cardinal axis, with the tomb at its center
and four gates, one along each wall.
 The south gate is the largest. The gate consists of a colossal arched niche flanked on either side by
double-stacked balconies. Surmounting the gate pavilion are four towering white marble chhatri-
topped minarets, one at each corner.
 The tomb building is a four-tiered pyramid, surmounted by a marble pavilion containing the false tomb.
The true tomb, as in other mausoleums, is in the basement.
 The buildings are constructed predominantly of red sandstone, enriched with features in white marble.
Decorated inlaid panels of these materials and black slate adorn the tomb and the main gatehouse.
Panel designs are geometric, floral and calligraphic, and prefigure the more complex and subtle
designs.
 The domed and vaulted stepped galleries are of 105m side and serve as a large square plinth for the
four square storeys which steps in as the structure rises. The gallery space is rhythmically arranged with
massive pillars supporting arches roughly 6.7m apart.

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 The central bay of each side is marked by a high pishtaq surmounted by a rectangular chattri, or roof
kiosks. Only the southern pishtaq gives access to the burial chamber, a small square room at the end of
long corridor at the heart of the building. Of the vaulted bays behind the four pishtaqs, the southern one
is the most elaborate in ornamentation.
 Outside, the second story has an arcaded verandah on each side, which is composed of 23 bays. The
arcades are repeated on the subsequent floors forming peripheral walkways at each level and chattris
at the corners. The top floor has no superstructure but consists on an open terrace enclosed with marble
screen parapets.
 The top most storey is entirely made up of white marble. It has a square court, which is open to sky. The
central courtyard is enclosed in all the sides by slender arches and piers and divided into bays, which
has been roofed in the trabeate pattern.
 At the centre of the courtyard lies a square platform, over which a white marble cenotaph is laid out.
This cenotaph is profusely carved with arabesque and floral patterns.

ITMAD-UD-DAULAH’S TOMB, AGRA


Tomb of Itimād-ud-Daulah is a Mughal mausoleum in the city of Agra. Often described as a "jewel box",
sometimes called the "Baby Tāj", it is often regarded as a draft of the Tāj Mahal.
 Along with the main building, the structure consists of numerous outbuildings and gardens.
 The tomb, built between 1622 and 1628 represents a transition between the first phase of monumental
Mughal architecture – primarily built from red sandstone with marble decorations, as in Humayun's Tomb
in Delhi and Akbar's tomb in Sikandra – to its second phase, based on white marble and pietra dura
inlay, most elegantly realized in the Tāj Mahal.

 It was commissioned by Nūr Jahān, the wife of Jahangir, for her father Mirzā Ghiyās Beg, originally a
Persian Amir in exile, who had been given the title of I'timād-ud-Daulah (pillar of the state).
 He was also the grandfather of Mumtāz Mahāl (originally named Arjūmand Bāno, daughter of Asaf
Khān), the wife of the emperor Shāh Jahān
 Located on the right bank of the Yamuna River, it is set in a large cruciform garden criss-crossed by
water courses and walkways. The tomb itself covers about 21.3m x 21.3m square and is single storey
high.

 It is built on a base about 50 Sqm and about 1 m high plinth.


 On each corner are octagonal towers capped with cupolas, about 13 m tall.
 Over the central structure is an irrelevant rectangular marble kiosk with jaalis around
 The building was meant to display the accumulated wealth of the royal Mughals rather than being a
great architectural marvel
 The walls are made up from white Makrana marble from Rajasthan encrusted with semi-precious stone
decorations – cornelian, jasper, lapis lazuli, onyx, and topaz formed into images of cypress trees and
wine bottles, or more elaborate decorations like cut fruit or vases containing bouquets.
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 Light penetrates to the interior through delicate jālī screens of intricately carved white marble. The
interior decoration is considered by many to have inspired that of the Taj Mahal, which was built by her
stepson, Mughal emperor Shah Jahan.
 The only asymmetrical element of the entire complex is that the cenotaphs of her father and mother
have been set side-by-side, a formation replicated in the Tāj Mahal.

TAJ MAHAL, AGRA:


 The Taj Mahal was begun by Shah Jahan in 1631 and took over twenty years to build.
 The tomb was built for Shah Jahan's wife Arjumand Banu Begam (also known as Mumtaz Mahal).
 Later Mughal period - octagonal domed tomb + square chamber - tomb were combined to produce
octagonal tombs with four sides shorter than the others, thus producing a square with chamfered
comers.
 The Taj Mahal complex is organized in a rectangle, measuring approximately
 310 X 550m.
 From the south, the first part of the complex consists of a (former) bazaar, the forecourt and entry gates;
the second part consists of a large garden and garden pavilions, axially arranged along a riverfront
terrace with the three main structures: the mosque, the mausoleum and the mihmankhana.
 The Taj Ganj market aligned on axis with the southern entrance gate of the Taj complex once served as
a vital part of the entire complex.
 The jilaukhana or forecourt, served Mughal ceremonial purposes and acted as a transition space
between the street and the palace or royal building.
 To the northeast and northwest of the jilaukhana are the khawasspuras, two residential enclosures.
 The two saheli burj (inner subsidiary tombs) enclosures to the east and west of the jilaukhana are the
tomb complexes of two other wives of Shah Jahan.
 The great gate (darwaza-i rauza) that leads from the north of the jilaukhana to the garden, and
ultimately to the mausoleum, measures 38m at its base and is 30m in height. It is composed of panels of
red sandstone with accents in white marble.
 The garden of the Taj complex is laid out as a cross-axial chahar bagh with two large primary
intersecting walkways (khiyaban) with a shallow water channel (nahr) running along the centre of the
primary walkways.
 At the intersection of the primary walkways is a raised platform with a square water tank (hauz) at its
center, with five fountains.
 The two naubat khanas (drum houses) project into the garden where the main east-west garden
pathway meets the garden walls.
 The riverfront terrace articulated as an arcade of blind niches referred to as the kursi, or throne
accommodating the marble plinth upon it, supports the mosque, mausoleum and the mihmankhana.
 The walls of the garden tomb complex are strengthened by six octagonal towers capped with domed
chatris.

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 At the north end of the garden is the mausoleum of Mumtaz Mahal. The plan of which is based on the
nine-fold hasht-bihisht (eight paradises) plan - a square plan is divided into nine spaces: a central
chamber with four additional spaces at the centre of each side and four spaces at each corner.
 In the mausoleum of the Taj Mahal complex, the central chamber is double-height and octagonal in
plan. At its center rest the cenotaphs of Mumtaz Mahal and Shah Jahan in an enclosure of marble
tracery. The chamber is capped by a shallow dome and decorated with niches on each two-story wall.
 These niches on the cardinal axes have jali screens. The niches on the diagonal axes hold rectangular
doors. The niches are separated into lower and upper stories by an inscription band that runs around the
interior.

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 On the upper level, these frames are replaced by muqarnas that begin to transform the octagonal plan
into a circular ring for the dome.
 The central dome of the Taj Mahal including the finial is 73m above ground level and is raised up above
the pishtaqs by a tall circular drum,15m in height. The dome itself is 25.6m high and 17.6m wide.
 The central dome is flanked by four large domed chatris supported on piers between lobed arches.
 The four elevations reflect the symmetry of the mausoleum's plan. Each major (N,E,S,W) elevation is
similar and is divided into three frames, with a central pishtaq measuring 32.6m in height.
 The liwans are all composed of four centre-pointed arches with pietra dura decoration in the spandrels.
 The two frames flanking the central pishtaq contain blind arched niches on the upper and lower levels.
Each corner of the building presents a chamfered elevation.
 Each minaret is a 42m tall, slightly tapering, cylindrical structure with two intermediate balconies and an
open domed pavilion (chatri) on the top.

CARAVAN SERAI
• A Roadside Inn for travellers
• It is a large inn generally built for travellers as well as care takers of a place
• The inn generally has a central courtyard
• It was a place where there was flow of money, trade, information, networking of people on different
trade routes
• The word caravan means a group of traders, pilgrims or travellers engaged in long distance travel
• It was a building with a square or rectangular walled exterior with a single portal wide enough to permit
large or heavily loaded animals to enter. The courtyard was open to sky. The interiors of these walls
consisted of animal bays, niches, chambers etc to accommodate merchants and their servants, animals
and merchandise
• They provided water usually from wells inside the Serai for human and animal consumptions, for washing
and ritual washing before prayers
• Sometimes Serais consisted of elaborate baths. They also included fodder for animals and had shops for
travellers to buy goods
• Some of the famous Serais built during Mughal period include:
• Serai Lashkari Khan at Doraha near Ludhiana
• Akbari Serai at Lahore (At Tomb of Jahangir)
• Mehram ki Serai at Delhi

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SHER LASHKARI SERAI, DORAHA, LUDHIANA

• The Serai at Doraha is around 168 Sq.m in area and is an enclosure of battlement walls with an octagonal
bastion at each corner.
• Imposing gateways are located at the centre of Northern and Southern sides
• It consisted of 20 rooms on each of the Northern and Southern wings while 30 rooms were located on the
Eastern and Western sides
• Some of these rooms could have been used as Hammams and is considered to have inclined ventilators
• A mosque is located on the western wall. It was enclosed by a large compounded wall
• The centre of the Serai consisted of a suite with 3 rooms

AKBARI SERAI, SHAHDARA, PAKISTAN

• The Akbari Serai ("Palace of Akbar“) is a large caravan inn located in Shahdara Bagh at Lahore, Pakistan
• The Serai was originally built around 1637 for travellers, as well as for caretakers of the Tomb of Jahangir
• It is most notable for being the best-preserved example in Pakistan, as well as for its large gateway that is
richly filled with pietra dura that serves as a portal to the tomb of Jahangir
• A court historian to the Emperor Shah Jahan, mentioned the building by the name Jilu Khana-e-Rauza,
which means "attached court of the tomb“
• The Serai quadrangle is situated in the middle of the complex with Tomb of Jahangir to the east and
tomb of Asif Khan to the west
• It is considered that the construction of Akbari Serai began during the reign of Islam Shah Suri in the mid
1550s, and not during the reign of the Mughal Emperor Akbar
• The mosque at the Serai dates from the Suri period, though the cells which line the complex, and its
gateways, date from the Shah Jahan period in the mid 1600s.

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• The Serai is in the form of an oblong rectangle, which covers a total area of 12 acres
• The Serai measures 243m x 186m. The courtyard of the Serai complex is flanked on all sides by a raised
terrace where rows of 180 cells known as khanaha are located with a veranda and a common open
passage
• The corners of the Serai are flanked by towers. Tower chambers are the most elaborate of all
the Serai's cells, and feature an elliptical hall in front with a veranda, with an octagonal room at the back
• The Serai served as both a station for wayfarers also as a mail station known as a dāk chowkī
• Fodder for animals, hot and cold water, and bed steads were provided free of charge
• The Serai also had a physician, as well as a resident baker, and a water well located outside of the walls
of the Serai. As with many Serais, a small bazaar may have run between each gate

• The Serai has two large gateways in the Mughal style, located to the north and to the south that were
built to be visible from a distance. The gateway is two stories high
• The main arch serving as a portal to the tomb of Jahangir features a large double storied Iwan, flanked
by 4 other smaller arched niches featuring Ghalib Kari, or a network of ribs in stucco and plaster applied
to curved surfaces in each archway
• The central Iwan is decorated with muqarnas
• The façade of the gateway is richly decorated with Pietra Dura
• To the west in the middle of the cell rows is a mosque with three domes.
• It is clad in red sandstone with decorations. The interior of the mosque was probably once embellished
with frescoes and ghalib kari as well

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RED FORT, DELHI
• The Red fort (Lal Qila) also called Shahjahanabad at Delhi was built during the rein of Shah Jahan in 17 th
cent.
• It lies along the river Yamuna and has a perimeter of 2.41 km
• It served as the official Mughal residence for 200 years until 1857
• The main material for the fort wall is red sandstone and is an oblong octagon with N-S longer axis in plan
approx. 900m x 550m with a rampart 34m high
• The main gates include the Western Lahore darwaza and Southern Delhi darwaza, they are 3-storeied
structures flanked by octagonal towers
• The rampart is surrounded by a moat

• The fort includes Persian, European and Indian elements


• Lahori gate has been used to celebrate Independence day since 1947
• The civilian entrance had a domed shopping bazaar area (Chatta Chowk) which ends in a Naubat
Khana which is a drum house
• The Diwan-i-Am (Public audience hall) was accessed from the Naubat khana through a 160m wide inner
court
• The columns and arches exhibit fine craftmanship using plaster stucco with a raised recess for the
emperor to sit with a marble balcony
• This was used for state functions.

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• The imperial apartment consists of a row of pavilions on a raised platform with a canal running through
each pavilion (Nahr-i-Bihist: Stream of Paradise) Water was drawn from the river Yamuna
• The 2 southernmost pavilions were Zenana palaces called Mumtaz mahal and Rang mahal (Decorated
with a mosaic of mirrors)

• Khas mahal was the emperor’s apartment connected to an octagonal tower for the king to appear
before people
• Diwan-i-Khas (Private audience hall) was constructed in white marble and inlaid with precious stones
with the peacock throne being housed there in 17th cent
• Other structures included hammans, Jalau khana, Moti masjid, Hira mahal, Shahi mahal(Emperor study)
etc
• A baoli is located within the fort and is considered to be Pre-red fort era
• Most of the structures were destroyed during the sepoy mutiny in 1857

RED FORT, AGRA

• The Red fort (Lal Qila) at Agra is located 2.5km NW of Taj mahal
• The fort walls were built during the reign of Akbar in 1573 with bricks in the inner core and red sandstone
exterior
• It was built for military strategic point as well as royal residence
• Only the fort walls and Jahangiri mahal is from Akbar’s era, while the others were from Jahangir and
Shah jahan’s era.
• The Fort uses a double moat system, with one water moat (reputedly filled with crocodiles) and a dry
moat (populated with man-eating tigers)

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• It is further protected by two sets of red sandstone walls, the outer one 12.2m high and the inner wall 15m
high
• Access was via 2 primary gateways - Delhi Gate (main entrance), Amar Singh Gate (Akbar’s Darwaza)
• The Delhi gate was accessed by a wooden drawbridge and with 2 octagonal bastions on either side.

Jahangiri Mahal: Palace of Jahangir was 79.5m x 87.7m with a courtyard in the front. The entrance to the
palace is from a portal and consists of complex arrangement of rooms, halls, corridors, galleries and
verandas. It has a central court 22m x 22m and open to sky. It is a trabeated structure with red sandstone
with carved brackets and inlaid with white marble. It was considered to be the Zenana mahal for Akbar.
The corners area marked by chatris and consists of Hindu and Islamic motifs. A variety of arcuate ceiling
designs can be found in these interior spaces, including the use of arch netting, ribbed domes, pyramidal
vaults and covered ceilings.

Diwan-I-Khas : It is located on a plinth, about 1m high, and is entered from the Throne Terrace (two marble
thrones are placed in front of each other). Itwas constructed in 1635 A.D. This double-chambered structure
is open on three sides and is entered through five arched openings supported on double columns. These
double columns not only strengthen the structure but also add to its aesthetic effect. The inner hall which is
about 12.2m x 6m and the outer hall is about 22.2m x 10m are connected to each other by three archways.
The interior hall was known as Tambi khana and featured a wooden flat ceiling which was covered with
silver leaves in relief. This room was used by the emperor for reception of kings, ambassadors and nobles in
private and for dealing with important affairs of state.

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Diwan-I-Am: It was constructed by Shah Jahan between 1631-40. It measures 61.2m x 20.4m. It has two
arched gateways of red sandstone on the northern as well as on the southern sides. This flat roofed
rectangular assembly hall is open on three sides. The facade is composed of an arcade with nine bold
arches supported on strong double columns. The interior is divided into three aisles, constructed in red
sandstone, but covered with a highly burnished plaster, which looks like white marble. On the eastern wall
of the assembly hall is a richly decorated raised rectangular chamber that served as a throne room. It has
three arched openings. This portion is constructed in marble and is richly inlaid with precious stones. The
Peacock Throne, symbol of the emperor, was taken by Persians who captured the fort.

• Sheesh Mahal: 'Glass Palace’ - royal dressing room adorned by tiny mirror-like glass-mosaic decorations
on the walls
• Nagina Masjid: 'Gem Mosque’ : designed exclusively for the ladies
• Anguri Bagh: houses 85 square, geometrically arranged lush garden
• Khas Mahal: A white marble palace: Built for Shah jahan’s daughters with Anguri bagh in the front. It’s a
white marble structure.
• Mina Masjid: 'Heavenly Mosque’ - mosque
• Muthamman Burj: A large, octagonal tower with a balcony facing the Taj Mahal built in white marble
and gilded copper on top. Similar to the Bengal roof with cusped arches and inlaid with precious stones.

MEENA BAZAAR, AGRA


 Meenā Bāzār or Mina Bazaar is a special bazaar to sell items to raise money for charity and non-profit
organizations.
 During the Mughal era Meena Bazaars, also known as Kuhs Ruz ("Day of Joy") were exclusively held for
women, while the emperor and a few princes were the only males present. Agra Fort precincts houses a
Meena Bazaar
 The Bazaars took 5 to 8 days during the Norouz (New Year) festival.
 Emperor Humayun was the first to organize them, but Akbar and his successors made them more
elaborate.

 The fair was closed for the public, while the women of the harem, Rajput ladies and the wives and
daughters of the noblemen in the court, set up their own stalls to sell cloth, jewellery, handicrafts etc.
 Only the emperor, princes and some nobles were allowed to enter the bazaar to purchase the goods,
which were sold at high prices. The earnings were given for charity.
 Mumtaz mahal and Shah Jahan’s Relationship apparently started during one such fair held at Meena
bazaar

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EARLY COLONIAL ARCHITECTURE

EUROPEAN’S INFLUENCE
European Colonists brought to India concepts of their world view and a whole lot of concepts from
European architecture which included:
- Neo-Classical
- Romanesque
- Gothic
- Renaissance
The initial structures were Utilitarian Warehouses and walled trading posts giving way to Fortified Towns along
the coastline. Later structures like Bungalows, Town halls, Courts etc were constructed. Establishment of
Christianity as a religion became means of colonization to some and hence need for Construction of
Churches was prominent. The country from which the colonists came from influenced the style of
architecture followed.

Colonial Architecture – Portuguese: 1498 to 1961


 The first Portuguese encounter with India was on 20 May 1498 when Vasco da
Gama reached Calicut on Malabar Coast.
 The Portuguese arrived as merchants in the 1498 and were more driven by a Catholic missionary zeal
than gaining powers in India.
 The Portuguese gained a foothold in Goa and ruled for 400 years.
 Portuguese adapted to India the climatically appropriate Iberian galleried patio house and Baroque
churches of Goa
 Se Cathedral and Arch of Conception at Goa were built in the typical Portuguese-Gothic style
 Other examples included: St.Francis Church at Cochin and Castella de Aguanda, Mumbai
 The high bell towers and detailed portal and windows are typical of Portuguese churches

Portuguese Baroque architecture


 The buildings are single-room basilicas, deep main chapel, lateral chapels (with small doors for
communication), without interior and exterior decoration, very simple portal and windows. It is a very
practical building, allowing it to be built throughout the empire with minor adjustments, and prepared to
be decorated later or when economic resources are available.
 Structures built: Mainly churches in Goa

Colonial Architecture – Dutch: 1605 to 1825


 The Dutch entered India with the only interests of Trade in the early 17th Century.
 During their 200 years in India, they colonized Surat, Bharuch, Venrula, Ahmedabad, Malabar Coast,
Kochi and Tranquebar.
 Apart from textiles, the items traded in Dutch India include precious stones, indigo, and silk across
India, salt and opium in Dutch Bengal, and pepper in Dutch Malabar.
 Dutch influence is evident in Nagapatnam, Tranquebar, Serampore
 Nagapatnam was laid out in squares and canals

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Colonial Architecture –French: 1673 to 1954
 French expanded their empire by colonizing coastal towns.
 Yanam in Andhra Pradesh, Pondicherry, Karaikal in Tamil Nadu and Mahe in Kerala with a French
atmosphere of quiet towns around beaches.
 French spelling on signage and traffic signs still remains.
 The French gave a distinct urban design to its settlement in Pondicherry by applying the Cartesian grid
plans and classical architectural patterns

Colonial Architecture – British : 1615 to 1947


 The British arrival in 1615 overthrew the Mughal Empire. Britain reigned India for over three hundred years
and their legacy still remains through building and infrastructure that populate their former colonies.
 The major cities colonized during this period were Madras, Calcutta, Bombay, Delhi, Agra, Bankipore,
Karachi, Nagpur, Bhopal and Hyderabad.
 British left a lasting impact on Indian architecture. They saw themselves as the successors of Mughals
and used architecture as a symbol of power
 The British followed various architectural styles:
• Gothic
• Imperial
• Christian
• English Renaissance
• Victorian
 The buildings built were Factories and later on Courts, Schools, Municipal Halls, Dak Bungalows. Initially
most building were built by garrison engineers but later they were adaptations of buildings which were
built in England by leading architects there.
 Eg: St. John at Calcutta (1787) was inspired by St. Stephens church at Walbrooks
 Government building, Calcutta was modeled on Kedleston Hall
 Architecture in South Mumbai (Mainly Colaba area) can be one of the most important examples of
British influence on Indian Architecture during the colonial time
 Unlike in Europe, However the Indian buildings were built mostly of brick and stuccoed with lime
sometimes incised to look like stones
 Churches were symbols of colonialism. Examples include St. Mary’s church in Fort St. George in Chennai

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 The passing of power from East India company to the British crown, the rise of Indian nationalism and the
introduction of railways were the watersheds in the British colonial Indian architectural history
 New materials like concrete, glass, wrought and cast iron opened up new architectural possibly
 The British also started assimilating and adopting the native Indian styles in architecture

St Andrews (Kirk) , Chennai St Mary’s Church Chennai


 All these factors led to the development of INDO-SARCENIC ARCHITECTURE towards the end of 19th cent
- Victorian in essence it borrowed heavily from Islamic style of Mughals.
 Infact it’s a pot pouri of architectural styles, a hybrid style that combined in a wonderful manner- diverse
architectural elements of Hindu and Mughal with Gothic cusped arches, domes, spires, tracery, minarets
and stained glass
 Indo-sarcenic style was Indian on outside and British inside since the façade was built with Indian touch
the interiors were solely Victorian
 Few examples are:
Chepauk palace at Chennai is first such building
Prince of Wales museum, Mumbai
Victoria memorial hall
Gateway of India
Mysore Palace

FORTS:
 Initially they came as traders and building were warehouses. But as they progressed, they needed to
fortify and protected garrisons emerged to protect the warehouses, residences, official quarters,
churches, banks, theatres etc.
 Fort William: The fort William was built to house the entire European community. It was modelled on
state-of-art European forts with ramparts, redoubts, ditches and earthworks
 Fort at Daman: Portuguese introduced the Star-shaped plan of the fort at Daman. Later the British and
French used regular polygonal geometry with triangular bastions at each angle thus maximizing all
round cover and protected the curtain walls.
 Forts at Bombay, Madras and Calcutta consisted of double walls and angular bastions built low for
artillery to command the level approach
 Fort St. George, Madras: Built in mid-17th cent. It is the oldest fort to be built by the East India Company.
Within its stellar fortifications, this separated the natives from the European settlements

Fort William, Calcutta Fort St. George, Madras

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INFLUENCE ON DESIGNS AND STYLE OF ARCHITECTURE
NEO- CLASSICAL
Characteristics:
 Derived from ancient Rome.
 Construction of geometric structures fronted with lofty pillars.
 Geometrical structures with lofty pillars mark this style. Elphin stone circle is an example of it. Flora
Fountain is named after roman goddess flora.
 Examples: The Town Hall
 Idea behind:
 Covered arcaded could better protect pedestrians & shoppers from the scorching Sun & rain.
 To symbolise the splendour of British empire through magnificent Rome architecture.
 Motivation was drawn from glorious Rome to resemble the glory of imperial India.

Neo Classical : Town Hall Bombay, Neo-Gothic : High Court Building, Bombay

NEO- GOTHIC
Characteristics:
 Derived from churches during medieval period in Western Europe.
 Featured high pitched roofs, pointed arches and splendid decoration.
 Example: Victoria Terminus.
 Victoria terminus designed by the architect Frederick William Stevens modeled on the St. Pancras station
is finest example of Gothic architecture with a subtle Indo-sarcenic motifs (Use of Polychromatic stones,
Decorated Tile marble, Stained glass)
Idea behind
 This architectural style was revived in nineteenth century for churches. The probable reason is religious
ideals and to assert their monarchy.

GOTHIC STYLE
 The ribbed vault; flying buttress and pointed arches are features of gothic style in most of the churches
in Mumbai. Mumbai high court; St john church; Victoria terminus etc. are some examples.
 Inspiration was drawn from European church with pointed and long arch resembling the long physique
of pope assimilating sense of piety.

INDO- SARCENIC

Municipal Building, Mumbai


Characteristics:
 A blend of Indian and European styles that developed in early 20th century.
 The prominent features of medieval architecture like chhatris, jalis, arches were adopted.
 Example: The Municipal Corporation building.
18ARC 5.4 HISTORY OF ARCHITECTURE-V NOTES (SHRUTHI A MURTHY) DSCA 70
 The leading Architects of 1ndo-Saracenic Buildings in India were Robert Fellowes Chisholm, Charles
Mant, Henry Irwin, William Emerson, George Wittet, Frederick W. Stevens

Idea behind:
 To assert their rightful authority in India.

The following are the principal Characteristics of Indo-Saracenic Buildings:


 Onion (Bulbous) Domes
 Overhanging Eaves
 Pointed Arches, Cusped Arches, or Scalloped Arches
 Vaulted Roofs
 Domed Kiosks
 Many Miniature Domes, or Domed Chatris
 Towers or Minarets
 Harem Windows
 Open Pavillions
 Pierced Open Arcading

The prominent Buildings in the lndo-Saracenic Style types include:


 Courts and other Civic Buildings
 Clock Towers
 Government Colleges and High School Buildings
 Railway Stations
 Art Galleries
 Palaces of the Indian Maharajas

VICTORIAN STYLE
 Considerable height; mixing of different architecture styles; decoration are features of this style. Victoria
terminus; town hall are Victorian style combined with roman; Indian and Gothic style.
 Inspiration was taken from large decorative buildings of Victorian era to show the magnanimity of British
rule in India. But only interior of most of the buildings in Mumbai shows Victorian decoration while exterior
remains Indian

ART DECCO OR DECCO SARSENIC


 It is a style with rich embellishments; geometric pattern; stylish floral and sunrise pattern ; angular shaped
with facade visible in grills and railings; floor; balcony; veranda of most of the buildings in Mumbai. Eros
cinema in Mumbai is noticeable example of it.
 Inspiration is drawn from the fashionable artistic movement flourished in Manhattan and France to show
the gorgeousness of British rule.

Art Decco: Eros Cinema, Mumba

18ARC 5.4 HISTORY OF ARCHITECTURE-V NOTES (SHRUTHI A MURTHY) DSCA 71

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