COLONIAL ARCHITECTURE

INTRODUCTION

The political atmosphere in India during the last phases of the Mughal rule. The political
unity achieved in the subcontinent under the Mughals gave way before the sectarian
division promoted later Mughal rulers. The oppression by the Mughals forged several
new faiths into militant religious sects. Death of emperor Aurangzeb (1707) brought the
whole of India into a series of rivalries.

 The competing local rulers appealed to the British and the French with their
superior logistical capabilities to intervene in the territorial battles.
 These calls for help ultimately enabled the colonial powers to expand its power.
 The French led the way in turning aid into domination.
 The British were quick to emulate the French.
 The Europeans brought with them concepts of town planning and architecture
which was new to India.

Renaissance Planning Concepts of Jesuit

Churches
St. Francis Of Assisi Church- Goa

• Planning resembles typical renaissance churches.

• They had hall like naves.
• Subsidiary chapels like in the renaissance churches.
• Had minimal transepts.
• They did not have Aisles.
• The majestic central space and its opulent fittings culminate in a great arch
retable (i.e a raised shelf above an altar for the altar cross, lights, and flowers)
behind the altar instead of a dome.

 SE CATHEDRAL, OLD GOA

BASILICA OF BOM JESUS, OLD
GOA

The mausoleum was designed by the 17th-century

Florentine sculptor Giovanni Battista Foggini. It
took ten years to complete. The casket containing
his body is made of silver. The holy relics of the
saint are displayed every ten years during the
anniversary of the saint's death. 

PORTUGUESE HOUSES

Iberian Porch with articulated entrance steps

Courtyards with long, deep verandas Arcades And Portals

Narrow balcony with cast iron grill

Balcons
 FRENCH- PONDICHERRY

• By 1752- formal grid iron pattern

• It had classical public buildings, tree
lined avenues and garden houses.
• Built up along the coastline
• Fort- five sided space in the centre
• Around the fort the European
settlements are straight streets and
open squares.
• The canal divided the plan into
various quarters.
• The town was divided into black and
white towns
• Black towns were further divided into
quarters based on their occupation.

GOVERNMENT HOUSE- PONDICHERRY

•A richly detailed loggia is placed in front of a building which has been designed
simply.
•Loggia forms a screen in front of the south façade inside which lie the most
important rooms with a corridor on the opposite side.
•The baroque influence is clearly visible in the importance given to the central
staircase.
•On the whole the building is excellently suited for its tropical setting due to its
sensitive approach towards climate control.
•The upper floor, rows of banquet halls, governors meeting rooms and private rooms
are placed between well ventilated galleries which provide coolness and fresh air.
•It came to be a significant prototype for future public buildings.
•What were copied were the functional elements of the building like the climate
TYPICAL
controlFRENCH HOUSES IN PONDICHERRY
strategies.

Set within high compound walls and ornate gates, most French houses were built on
a rather similar ground plan with variations in size, orientation and details.
•The plan is the local version of the “hotel particulier”, the typical mansion of the
18th century urban upper class in France.
•The main feature is the symmetrical plan and façade which usually opens to the
garden/court.
•The plan is marked by interconnected large rooms without corridors (a 19th
century innovation). In front of the main facades colonnaded porticos were built to
provide better protection from rain and sun as well as to provide a pleasant
transition to the garden.
•A major change from the French model is the use of flat terraced roofs instead of
the pitched roofs of the Parisian villas -an influence of local climate and
construction techniques.

•The private garden court forms the major

space onto which the other building
spaces open.
•In most cases the entrance court and
private court are combined and the
interior facades – arcades colonnades –
face the courtyard.
•The interiors are more ornate than the
exterior and the rooms are marked by high
ceilings, high arched doors and windows
with louvred or wooden shutters and
bands.
• Series of arched openings are usual in
the case of long halls.
•The ceilings are marked by heavy wooden
beams and wooden joists supporting
Madras terrace roofing, the huge wall area
is sometimes divided into ornate panels
by plaster decoration and a simple cornice
runs below the ceiling beam ;the floors are
of plain cement or coloured with red oxide,
occasionally with teak wood flooring.
•In the case of two storied buildings an
arched staircase connects the two floors.
 Features of a French House

Layout of the Tamil Town • The Tamil Town is to the west of the
Grand Canal which bisects the old
town into the French and Tamil parts.
•When the Dutch came to
Pondicherry in 1693, Pondicherry
was a fishing hamlet with irregular
street pattern.
•As the town developed in stages
over the decades, the streets were
straightened out following an
orthogonal pattern and the French
relocated the native population to
the West of the present Grand
Canal.

•As the town grew, the Tamil part developed into three quarters, Hindu, Christian and
Muslim.

TAMIL HOUSE- PONDICHERRY

• Traditional Tamil houses are strictly
functional, and a series of open ,semi-
covered and covered spaces with subtle
levels and a through-axis characterize the
plan.
• The Thinnai marks the transition space,
after which the house is entered through a
finely carved wooden door and a vestibule,
and once inside , the Muttam (open
courtyard) becomes the central space
around which various other private spaces
are functionally arranged.
• The Muttam is an age old concept, and
according to the Vaastu-Shastra, each
house was to possess an open which is the
Brahmastanam or ‘vital space’.
• In the case of two storied buildings this
space covered by a clerestory.
• In the case of wealthy houses multiple
courtyards are common.
 • Climatic controls include :
i. Direct openings and large
volumes were avoided (totally
contrasting with the design
approach of the large colonial
villas on the other side of the
town-for the same climate).
ii. On the street side where the walls
are exposed to direct sun or rain,
the use of Thalvaram and
Thinnais provide shaft and
protection.
iii. The courtyard induces ventilation
due to updraft.
• In the case of country tiled roofs, the successive layer of tiling traps the heat
and provides effective insulation.
i. The mix of open, covered and semi-covered spaces offers a choice
according to the climate.

FORTS- COLONIAL ARCHITECTURE

• Followed regular polygonal

geometry.
• They had triangular bastions with
recessed flanks. This feature
maximised all round cover and
minimised vulnerability of the
curtain wall.
• Defence in depth brought about
by ditches and earthworks
between main ring Bastions and
lower outlying parts.
• Beyond the earthwork lie the
gently sloping field of fire or the
Maidan.
• Fort St. George in Madras was
rebuilt in its present semi-
octagonal form in accordance
with the principles of Vauban.
• The new Fort William in Calcutta
was completed in 1780 and it too
had a Maidan called “The
Esplanade”.
• On an island site by the river
unencumbered by buildings, the
fort of Bombay also emulated the
maidan concept.
FORT WILLIAM, CALCUTTA FORT ST. GEORGE, MADRAS

NEW DELHI
In the 3,000 years of its existence, the name ‘Delhi’ (or Dhillika, Dilli, Dehli,)
has been applied to these many cities, all more or less adjoining each other
in their physical boundary, some overlapping others. Invaders and
newcomers to the throne, anxious to leave imprints of their sovereign
status, built citadels and settlements here like Jahanpanah, Siri, Firozabad,
Shahjahanabad … and, eventually, New Delhi. In December 1911, the city
hosted the Delhi Durbar (a grand assembly), to mark the coronation of King
George V. At the end of the Durbar on 12 December, 1911, King George
made an announcement that the capital of India was to be shifted from
Calcutta to Delhi. There were many reasons behind this decision. Calcutta
had become difficult to rule from, with the partition of Bengal and the
growing antipathy towards foreign rule amongst Bengal’s educated and
conscious elite. What was more, Delhi had been, for centuries, a major
centre of power. Ever since Shahjahan had shifted the Mughal capital from
Agra to Delhi, Delhi had remained, uninterrupted, the seat of the Mughals.
Like the numerous dynasties that had ruled Delhi over the years, the British
realized the need to build their own city here, New Delhi. In the meantime,
though, Lord Crewe of the India Office in London, after many deliberations,
decided on two architects to design New Delhi. Edwin Landseer Lutyens, till
then known mainly as an architect of English country homes, was one. The
other was Herbert Baker, the architect of the Union buildings at Pretoria.
Lutyens’ vision was to plan a city on lines similar to other great capitals of
the world: Paris, Rome, and Washington DC. Broad, long avenues flanked by
sprawling lawns, with impressive monuments punctuating the avenue, and
the symbolic seat of power at the end— this was what Lutyens aimed for,
and he found the perfect geographical location in the low Raisina Hill, west
of Dinpanah (Purana Qila). Lutyens noticed that a straight line could connect
Raisina Hill to Purana Qila (thus, symbolically, connecting the old with the
new). This hill, therefore, became the focus of Lutyens’ and Baker’s plans for
the new city. New Delhi was developed on a geometric design—mainly the
use of hexagons and triangles—and had, as its core, the central vista. As per
the plans, atop Raisina Hill would stand the Government House (today,
Rashtrapati Bhavan). Below it would be the main offices of the government,
From Government House, a long wide avenue—King’s Way (Rajpath) would
sweep down the hill and away into the distance, in the direction of Purana
Qila. Midway would be a grand memorial arch (today, this arch is India
Gate). On either side, connected by straight roads at precise angles to
King’s Way, would be other government and public buildings, all impressive
pools of the British Imperial Authority.
Lutyens and Baker, both firm believers in the ‘perfection’ of classical
western architecture, had been inclined to create resoundingly European
buildings in Delhi. But the Viceroy, Lord Hardinge, wanted Indian
architectural elements included (it was also a matter of politics – the Indian
national movement was growing stronger, and it was important to appease
the populace). Hardinge’s advisor on the city’s design, Henry Lanchester,
also played an important part in suggesting ways to connect the new city
with the old.
The plans for New Delhi were finalized in March 1913. It took nearly twenty
years to build it all, a city to accommodate 60,000 people.
A city painstakingly built from scratch. Lawns were planted, trees carefully
selected for their adaptability to Delhi’s harsh climate and their visual
appeal.
On 13 February, 1931, the Viceroy of India, Lord Irwin, inaugurated New
Delhi.

PLAN OF NEW DELHI

From Government House, a long wide avenue—King’s Way (Rajpath) would
sweep down the hill and away into the distance, in the direction of Purana
Qila. Midway would be a grand memorial arch (today, this arch is India
Gate). On either side, connected by straight roads at precise angles to
King’s Way, would be other government and public buildings, all impressive
pools of the British Imperial Authority.
Lutyens and Baker, both firm believers in the ‘perfection’ of classical
western architecture, had been inclined to create resoundingly European
buildings in Delhi. But the Viceroy, Lord Hardinge, wanted Indian
architectural elements included (it was also a matter of politics – the Indian
national movement was growing stronger, and it was important to appease
the populace). Hardinge’s advisor on the city’s design, Henry Lanchester,
also played an important part in suggesting ways to connect the new city
with the old.
The plans for New Delhi were finalized in March 1913. It took nearly twenty
years to build it all, a city to accommodate 60,000 people.
A city painstakingly built from scratch. Lawns were planted, trees carefully
selected for their adaptability to Delhi’s harsh climate and their visual
appeal.
On 13 February, 1931, the Viceroy of India, Lord Irwin, inaugurated New
Delhi.

RASHTRAPATI BHAVAN

Rashtrapati Bhavan (literally, ‘President’s House’, the official residence of

the Indian President) was designed as the residence of the Viceroy.
It was envisaged as the crowning glory of the central vista of Imperial Delhi:
the monument towards which would naturally be drawn the eyes of any
visitor to King’s Way or its surrounding area. Edwin Lutyens took on the task
of designing this building, then known as Government House or the
Viceroy’s House and 29,000 workers were employed on the project.
Construction began in 1914 and continued till 1927; but the end product,
was the largest residential complex ever built for a head of the state
anywhere in the world.
Initial discussions for the plans of the central vista had envisioned the
Government House (designed by Lutyens) alone atop Raisina Hill, looking
down on the city below. It was however decided at some point that the
Secretariat buildings (designed by Lutyens’ associate and friend Herbert
Baker) would also be placed on the hill. While it appears that Lutyens agreed
to this proposal, it soon became clear that the Government House located
400 yards beyond the Secretariat, would be hidden from view as one
approached the complex. Lutyens suggested modifying the slope up to the
Government House, but this was not acceptable because it would divide the
square between the two block of the Secretariat.
The architecture of Rashtrapati Bhavan is an interesting example of Imperial
architecture designed during a period of growing anticolonial feeling. It is an
awe-inspiring structure, a stolid symbol of British imperialism
Lutyens spent time travelling across India, trying to find elements in
indigenous architecture that would fit with classical western designs.
Some of these elements are carved stone elephants, small domed pavilions
(chhatris), chhajjas (dripstones), marble floor inlaid with coloured stone,
elegant floral-carved stone jalis (screens) and many more.
The most obvious Indian element (or, rather, Delhi element) is the building
material—red and buff sandstone—a nod to preceding dynasties, which also
used it in their major monuments. Interestingly, Lutyens used no steel in
this construction.
The other very visible Indian element at Rashtrapati Bhavan is its large
dome. This was inspired by both the stupa (a structure containing Buddhist
relics within) at Sanchi and the Pantheon in Rome. The bronze dome is twice
the height of the building. Maybe considered disproportionate but is
balanced by the sheer length of the front façade which is 630 ft.
The influence of the pantheon is more clear in the interiors where one can
see the dome in Durbar hall with circular coffers and a large oculus.
The Durbar Hall was, and is still, used for major state functions. Another
important hall in the Rashtrapati Bhavan is the Ashoka Hall, formerly the
ballroom, its walls and ceiling painted with scenes from Persian poetry.
These two halls, the State Dining Room (for formal banquets), a large
number of guest suites, and the private apartments of the Viceroy and his
family were planned down to the last detail by Lutyens. He designed
everything from chandeliers to furniture for these areas.
Lutyens designed another major component of the Rashtrapati Bhavan
Estate: the Mughal Gardens that sprawl over 13 acres behind the building.
As in the traditional Mughal garden, there are water channels and pools,
chhatris, parterres, and carved fountains— although the design of ornate
fountains here, carved as numerous interlocking circles, is not traditional.
Rashtrapati Bhavan contains 340 rooms, of which only a few rooms are
occupied by the President and his/her family. The others are used as offices,
display galleries, storerooms, and so on.
In front of Rashtrapati Bhavan, you can see a 145 ft high column of buff
sandstone, topped with a bronze lotus and a glass star. Inspired largely by
Trajan’s Column in Rome, this is known as the Jaipur Column.

SECRETARIAT BUILDINGS : NORTH BLOCK & SOUTH BLOCK

Herbert Baker worked on the design of the secretariat buildings.
These buildings, two identical blocks facing each other across King’s Way,
were to house (and still do) important ministries of the government. It was
essential, therefore, that they form a composite whole with Government
House.
Baker and Lutyens managed to create a harmonious set of buildings. Like
Rashtrapati Bhavan, the two buildings (North Block and South Block) of the
Secretariat are made of buff and red sandstone, with the red sandstone
forming a broad ‘base’ for the outer walls.
Baker used a combination of European and indigenous architectural
elements. The semi-circular arches, the Corinthian columns, and the
baroque dome are unmistakably western; the carved elephants and lotuses,
red sandstone jalis, chhajjas, and the chhatris on the terraces are just as
obviously Indian.
In a nod to Mughal architecture, Baker designed the main entrances of both
blocks to resemble a traditional Mughal gateway. If you’ve seen the tomb of
Humayun (near Nizamuddin, in Delhi), you’ll note the same details here: a
small arched doorway, set into a much larger (also arched) gateway. As in
Humayun’s Tomb, here too circular medallions decorate the inner corners of
the archway, and a small, ornate balcony projects above the inner door.
The North and South Blocks sit on a plinth about 30 ft above the ground and
are connected by an underground passage (still in use). Between them, the
four-storied Secretariat buildings have about 4,000 rooms, several inner
fountain courts, and miles of corridors.
Outside each block are two sandstone columns—a total of four columns in
the Secretariat. These, known as the Columns of Dominion, were ceremonial
gifts to India from the colonies of Britain which had dominion status:
Australia, Canada, New Zealand, and South Africa. Each column is topped by
a bronze ship in sail (to symbolize Britain’s maritime traditions).
Today, the South Block is home to the Prime Minister’s Office, and the
ministries of Defence and External Affairs. The ministries of Finance and
Home Affairs occupy the North Block.

INDIA GATE
In keeping with the concept of an impressive central vista, Lutyens and
Baker envisaged a massive memorial arch to form one of the structures of
the main axis, that is the King’s Way. The ‘All India War Memorial’ would be
to King’s Way what the Arc du Triomphe is to the Champs Élysées (Paris).
The monument was built as a memorial to Indian soldiers killed in battle
during the First World War, Indo-Afghan war, India Pakistan was of 1971 and
Kargil.
This is in addition to the names of soldiers awarded the Param Vir Chakra.
The relatively plain façade and clean lines of India Gate lie in sharp contrast
to the more ornate appearance of the Secretariat buildings or Rashtrapati
Bhavan. Like these buildings, though, India Gate is also composed mainly of
buff sandstone.
Between the narrower sides of the columns are two large sandstone pine
cones, symbolizing eternal life. Topping the arch is a shallow dome with a
bowl to be filled with burning oil on anniversaries to commemorate martyrs.
A similar structure was installed under the arch, where oil was ceremonially
burnt on the anniversary of the memorial’s inauguration.

KING GEORGE V MEMORIAL

Just beyond India Gate is a domed, tall-columned canopy, standsing in the
middle of a large pool of water and built to commemorate King George V.
Lutyens drew his inspiration for this from an ornate pavilion at
Mahabalipuram.

PARLIAMENT HOUSE
The original plans for the central vista of New Delhi had not included a
separate building for a parliament, since the body of representatives that
acted as a council was then small enough to have its meetings in modest
halls. In 1919 the representation rose and there was a need for a separate
building.
What resulted was the Council House, today known as Sansad Bhavan or
Parliament House.
Parliament House stands north-west of Vijay Chowk (at the foot of Raisina
Hill) and was designed by Herbert Baker.
The design finally implemented was a circular building, ringed on the
outside by a colonnaded verandah. The edifice, mainly of buff sandstone,
sits on a red sandstone platform and sprawls over six acres. It is 560 ft in
diameter. (The niches built into this platform bear plaques with inscriptions
honouring the more prominent people involved in the building of New Delhi).
Parliament House consists of a central hall topped by a dome and three
semi-circular chambers that are surrounded by garden courts. The three
semi-circular chambers housed the Chamber of Princes, the Council of State,
and the Legislative Assembly.
 In present-day India, the Rajya Sabha (the Upper House) holds its sessions
in one chamber, while the Lok Sabha (the House of the People) uses the
other chamber. The third chamber has been converted into the Parliament
Library. The central hall is now used as a venue for major international
functions and for joint sessions involving both houses of Parliament.
Chamber of Princes: This chamber, unlike the much simpler Council of State
chamber, has carved screens to allow women members in purdah to attend
sessions.
As in the case of the Secretariat, at Parliament House too Baker used a
combination of western and Indian architectural forms. The dome, the semi-
circular arched windows, and the towering columns of the verandahs
surrounding the three chambers on two floors, are European. On the other
hand, the geometric patterns that comprise the jalis of the boundary wall
and the parapets echo
Indo-Islamic architecture. The capitals of the pillars supporting the portico
roof are also very Indian.