After the British left India in 1947, Indian architecture dropped into an abyss.

Indian architects, who wererelegated to

the role of being assistants to the British architects under the British Raj, took their own timeto express their ingenuity.
Perhaps, there was an identity crisis, a dilemma whether to bask in the glory of the past or move forward with times
using new ideas, images and techniques. While in other fields like art,music and culture, the distinct Indian
imprint was more enhanced in the post -Independence period; nosuch thing was discernible in the case of
architecture. It is no doubt that the Indian architects were unableto achieve a transformative architecture
despite the existence of great potential at the time of Indian Independence. The postIndependence period saw the emergence of three schools of thought in architecture theRevivalist on a
smaller scale, the constructivist Russia and the Modernist on a larger scale. The Revivalists,who advocated
"continuity with the past", could not break the shackles of the colonial legacy and left nosignificant impact on the neoIndian architecture. The Modernists too depended heavily on the Europeanand American models and tried to
adopt them in India without taking into consideration the regionalaspirations, diversities and
requirements. The contemporary Indian architecture was
also beset withp r o b l e m s l i k e p o p u l a t i o n e x p l o s i o n , l a c k o f v i s i o n a m o n g t h e p l a n n e r s , l a
c k o f s u p p o r t f r o m t h e government and a less than satisfactory standard of architecture education. The result
was that duringthe initial years after the Independence, foreign architects continued to play a leading role
in Indianarchitecture. Jawaharlal Nehru, the first Prime Minister, had called for an open architectural competition for
the designof the Ashoka Hotel in 1956, which was won by B.E.Doctor, an architect from Bombay. Using technology
tocreate large pillar-less spaces, Doctor created a facade that borrowed from Isla mic, Hindu, British
andmodern architecture.Indian architecture witnessed a revolution when the Punjab government engaged Le
Corbusier to designthe new city of Chandigarh. Built in three stages, Corbusier divided the city into three sections.
The 'head'consisted of political, bureaucratic and judicial buildings, the administrative parts of the city. The
'body'housed the university and residential complexes in the heart of the city. The 'feet' consisted of industrialsectors
and the railway station. Apart from the initial layout of the city, Corbusier also designed severalbuildings in
Chandigarh. The High Court building has a sloping roof, supported by concrete walls which a l l o w
air to pass through them. The Assembly is a squarish structure topped
wi t h a h u g e i n d u s t r i a l chimney while the Secretariat is made up of hundreds of rooms with an airy
exterior. Taking inspiration from Le Corbusier's creativity, a young Indian architect D V Joshi designed the Instituteof
Indology in Ahmedabad. Charles Mark Correa, Doshis contemporary, designed
the Hindustan Leverpavilion for the India International Trade Fair in 1961. The pavilion was an exposed
concrete structureresembling a crumpled packing case made of concrete with a zigzag ramp to walk
along. Correa alsodesigned the Gandhi Sanghralaya in Ahmedabad as a tribute to Mahatma Gandhi. The Asiad
Village in New Delhi, designed by Raj Rewell and built as
a colossalc o m p l e x w i t h m o r e t h a n 8 0 0 r e s i d e n t i a l u n i t s , l a n d s c a p e d c o u r t s , s t r e e t s , restaurants
and shops, all catering to sports persons who had assembled for the1982 Asian Games, is one of the
architectural landmarks of modern India. The

lotus-shaped Bahai temple in New Delhi, designed by Fariburz Sabha in 1980 and completed in December1986, is
an awe-inspiring example of the ingenuity of the Indian architects.However, the fact remains that the contemporary
architecture in India has failed to inspire. Even after 50years of Independence our cities are still symbolised by preindependence buildings. For instance, Calcuttais symbolised by the Victoria Memorial, New Delhi by the
Rashtrapati Bhawan, Mumbai by the Victoria Terminus and the Gateway of India and Chennai by the Victoria
Memorial Hall. The post-independencebuildings such as the New Secretariat building in Calcutta or the Vigyan
Bhawan in New Delhi has nothingmuch to offer in terms of architectural style.In contrast most major cities in the world
have splendid modern buildings to boast off, like Sydney has itsSydney Opera House, Paris has new Grand Arch and
the Georges Pompidos Centre, New York has its World Trade Centre, Chicago has the Sears Tower and
Toronto has the C.N.Tower. Even cities in other ThirdWorld countries have several buildings to feel
proud about, like Kuala Lumpur has its Petronas Tower,Shangai has the TV Tower, Hong Kong has its
Hongkong and Shanghai Corporation building and the Bankof China Building and even Colombo has its new
Parliament building.In November 1998, the media reported that the foundation stone of World Centre of Vedic
Learning, theworld's tallest building would be laid at Karondi village, in Jabalpur in Madhya Pradesh. The building,

whichwill be built by the Maharishi Mahesh Yogi Vedic University, is being designed according to the
MaharishiSthapatya Veda symbolising the victory of India's ancient knowledge of Vastu Vidya. The proposed
centrefor Vedic consciousness, which is modelled on Sao Paulo Tower of Brazil, would be 677 metres (2222
feet)high and 339 metres (1111 feet) wide at the square base. Once completed it will be more than 213 metres(700
feet) taller than the Petronas Tower in Kuala Lumpur and will achieve the distinction of being theworld's
tallest building. It was also reported that a consortium of architects and engineers who havedesigned
several of the tallest structures in the world is undertaking the design of the building. Indeed, India will
have something to cheer about if this building materializes!Ma d h ya P r a d e s h s e e m s
t o b e t h e o n l y s t a t e i n I n d i a wh i c h h a s s e ve r a l g r a n d p u b l i c b u i l d i n g s a n d international award
winning projects. The New Assembly building in Bhopal and the Madhya Pradesh StateElectricity Board office in
Jabalpur, The Judicial Academy in Bhopal, the Rajiv Gandhi Jal Grahan Mission inRaipur and the proposed "White
House" in Bhopal are some fascinating examples which show that globalaesthetics is moving very fast into the
smaller Indian cities. Paradoxically, it is the smaller cities andtowns like Indore, Raipur, Rajkot, Baroda and
Bhopal, with no greatly visible architectural traditions
liket h a t o f J a i p u r , H y d e r a b a d o r L u c k n o w , t h a t a r e d i s p l a y i n g u n p r e c e d e n t e d a l a c r i t y i
n a d a p t i n g t o 'international styles'. There is a growing brand of young and dynamic architects, which include
CharlesCorrea, Prashant Diwakriti, Ajay Kataria, Anjum Gupta, Vineet Chadha, Nikhil Sompura and others, who
donot shy away from experimentation. Most often these architects employ a hybrid style that is a free mix of Roman,
English, Gothic, Rajasthani and Mughal styles. This new-age architectural aesthetics has redefinedthe idea of space.
The emphasis now seems to be on having more open spaces, green spaces and naturallighting. It is, however, not
possible to term this new trend as a 'representative' architecture of our timesas it is highly restricted in geographic
terms and also confined to the affluent lot.

applied arts. Several schools for industrial design were a post-war development. hence the winds of change
sweeping over the Indian design scene remained confined only to the field of architecture. Two of the internationally
recognized disciplines of modem design in the second half of the twentiethcentury are industrial design and graphic
design; the later, because of its fairly recent preoccupation withthe design of modern communication and mediaoriented activities, is also known as visualcommunications design. These disciplines received a fillip in India because
of a conscious decision by thecountrys post -independence rulers to launch a concerted drive to attain economic and
industrial self-sufficiency On the industrial front there was, by the middle of the
1950s,
a dear vision of the process of industrialization on a national scale. High technology and high volumes in production,
on the one hand,and handwork and craft production. on the other, were bridged by small-scale production.tntIias
first industrial revolution in the early 1950s resulted in the creation of a vast industrial inlrastructure and inculcated
a tcchnological attitude in the post-iiidcpcndcncc generation. By the late 1950sthe country had a number of plants
manufacwring capital goods and machinery, some of which began toproduce consumer products. But these plants
eventually became the domain of a different level of pro.duction the small-scale sector, which in the early l960s
ushered in what could rightly be called Indiassecond industrial revolution.AN
INSTITUTE OF DESIGN
It was then that the idea of starring an institute of design was mooted by the ministry of commerce andindustry of the
government of india. It eventually took the form of a comprehensively written proposal byCharles Eamcs and Ray
Eames, American husband and wife architect and designer ream, the
India Report.
Except for architecture, there were no seats of design learning in pie-independence India, nor was
there anindigenous design profession as such. But there were people who, though in a minority, were educated
inmodem design and yet were primarily concerned with the design idioms of traditional India. According tothem, these
idioms, which evolved over centuries as a result of soclo-cukural_processes,_had been_lyingdormantand were
waiting to be discovered.
They
were seen as poised to influence and change the complexion oithe design process, which, in fact, was horn of the
International Design movement. If such cultural identity,discussed at length in the
india Report.
was one art-a of need, then the second and more urgent area of need
was
the economic and industrial development of the nation. Such juxtaposition of sicws might seemto lead to a dichotomy,
but the authors of the
India Report
and thc Iou.iding fathers of the proposedinstitute of design already hcld a view that the historical imperar ivc.s which
led w the birth of moderndesign must be dearly understood and distinguished from those responsible for Indias
traditional designthinking. Only then would a parity be clearly perceived and the design wisdom of an ancient culture
andsociety be fruitfully assimilated into the education and prokision of the modern Indian designers.

The monumental failure of modern Indian architecture

Posted on March 30, 2010 by Anirban

All great civilizations boast architectural wonders that are not only expanses for the soul, but temples of the mind. I gaze upon temples and stupas and get a
glimpse into the heart of ancient India. In the medieval forts and palaces, I am transported into my countrys heritage. I look at the Taj Mahal and see both
the extremes of love and the cruelty of a Mughal emperor. These are all icons of our glorious past. But when I wish to see a vision for our nations future, I
am left bewildered. As someone born in in free India, I humbly ask my fellow citizens, why is it that we have failed to create architectural icons
representative of the nation in over sixty years?

Kalighat: The simple grace of Bengal.

The post-colonial establishments of free India Parliament, Raj Bhawan, India Gate were designed by our British rulers. Even the Supreme Court of India,
which was designed by Ganesh Bhikaji Deolalikar shortly thereafter, bore the hallmark of the same Indo-British style. Our rulers changed with
Independence, and they changed the names of our cities, streets, and buildings. Yet ironically, the physical reminders of a foreign regime became the most
visible icons of modern India.

I find it disconcerting that we cheerfully embrace all our colonial icons in post-Independence India, especially since there has never been a dearth of
architects in this country.

The first years after Independence, Nehruvian thinking and Five-Year Plans guided our development. Massive dams and bridges were built. Roads,
schools, and hospitals were constructed. These were very noble ideals that were required then, as much as they are now. However, the resulting architecture
neither represented the cultural aspirations of the local communities, nor were the buildings entirely utilitarian. Nehruvian Chandigarh is neither an
example of simple living, nor of high thinking. Frenchman Le Corbusiers Modernist structures for Chandigarh are massive, stately buildings, yet they are
vapid and sterile. Where is the link to the rich living heritage of the people of Punjab and Haryana?
Clearly, Modernist architecture did not mesh with local culture and identity. Even in urban conglomerates such as Mumbai, the Indo-British style
epitomized in colonial-era buildings such as Gateway of India and Chatrapati Shivaji Terminus was more appealing than thevague Modernist style found in
monstrosities such as the Bombay Stock Exchange.
Perhaps, the concept of pan-Indian architecture is a foolish notion. In a pluralistic country such as India, the concept of nation might be best defined as the
sum of the myriad disparate, and often chaotic subcultures. Perhaps, we should look locally for inspiration.

After Independence, the chief minister of West Bengal, Dr. Bidhan Chandra Roy, spearheaded efforts towards the development of the state. Durgapur
became an industrial complex; Digha became the popular beach town; and Bidhannagar was planned as a a major suburb of Calcutta. The first Indian

Institute of Technology was established at Hijli near Kharagpur. For economic progress, we required bold, utilitarian buildings. Unfortunately, that
is all we ever got from successive governments.
As a result, today, the icons of Kolkata are the icons of imperial Calcutta. Victoria Memorial, Raj Bhavan, Writers Building, Shaheed Minar, and Howrah
Bridge are lasting legacies. Religious monuments in Kolkata and surrounding areas such as Kalighat, Dakhineswar Kali Temple, St Pauls Cathedral, Belur
Math, Nakhoda Masjid, and the Jain Temple also predate Independence. Major projects since Independence such as Vidyasagar Setu and Salt Lake
Stadium are useful, but nondescript, and forcefully linked to the city only in physical presence. Other buildings such as Chatterjee International are
downright offensive. The only sense of architectural belonging I feel in the city is in the Metro rail system with its beautiful murals.
Elsewhere, buildings pop up like mushrooms during the monsoons. Shopping malls, cinema mutiplexes, steel technology parks, and high-rise housing
complexes jostle for attention in the bustling metropolis. I know that the problems for architects and urban planners are daunting. But where is the sense of
identity? Where is the link to Bengals cultural past and vision for the future? Every day, old buildings are torn down and replaced by ugly ones made from
shoddy materials. Memory is fleeting and mediocrity substitutes for creativity.

Urban architecture stands in stark contrasts to the vernacular buildings dotting the countryside. The temples of Bishnupur are always inspirational, but we
need only to look to the nearest thatched kachha-houses complete with courtyards and intricate alponadesigns for elegance and economy. In fact, I find the
small tulsi-mancha in front of nearly every home in rural Bengal to be more aesthetically appealing than any of the thousands of hideous buildings coming
up these days.

Indo-Saracenic Revival architecture

From Wikipedia, the free encyclopedia

North Block of the Secretariat Building, New Delhi, designed by Herbert Baker

The Chhatrapati Shivaji Terminus in Bombay.

Examples of the 'Indo-Saracenic' style

The Indo-Saracenic Revival (also known as Indo-Gothic, Mughal-Gothic, Neo-Mughal, Hindoo or Hindu-Gothic) was
an architecturalstyle movement by British architects in the late 19th century in British India. It drew elements from native IndoIslamic and Indian architecture, and combined it with the Gothic revival and Neo-Classical styles favoured in Victorian Britain. The
style gained momentum in the west with the publication of the various views of India by William Hodges and the Daniell duo,
(William Daniell and his uncle Thomas Daniell) from about 1795. Saracenic was a term used by the ancient Romans to refer to a
people who lived in desert areas in and around the Roman province of Arabia, and who were distinguished from Arabs.[1]
This section is
empty. You can help
by adding to it. (March
2011)

[edit]Indo-Saracenic

Features of the Confluence of Indian and Persian styles

Mughal Design Terms : The Indo-Persian style flourished in the Mughal period, and culminated in the Taj Mahal

Mughal Style soon became individualistic, as the 'Akbari' architecture was further developed into the 'Shahjahani' style in which the
parent styles became less visible.
Design Vocabulary and changing trends of the Indo-Persian style

Main articles: Indian Architecture and British architecture

Confluence of different architectural styles had been attempted before during the mainly Turkic, Delhi Sultanate and Mughal periods.
Turkic and Mughal conquest in the Indian subcontinent, introduced new concepts in the already rich architecture of India. The
prevailing style of architecture was trabeate, employing pillars, beams andlintels. The Turkic invaders brought in the arcuate style of
construction, with its arches and beams, which flourished under Mughal patronage and by incorporating elements of Indian
architecture, especially Rajasthani Temple architecture
Local influences also lead to different 'orders' of the Indo-Islamic style. After the disintegration of the Turkic Delhi Sultanate, rulers of
individual states established their own rule and hence their own architectural styles, which was heavily influenced by local styles.
Examples of these are the 'Bengal' and the 'Gujarat' schools. Motifs such as chhajja (A sunshade or eave laid on cantilever brackets

fixed into and projecting from the walls), corbel brackets with richly carved pendentive decorations (described as stalactite
pedentives), balconies, kiosks or chhatris and minars (tall towers) were characteristic of the Mughal architecture style, which was to
become a lasting legacy of the nearly four hundred years of the Mughal rule.
[edit]The Mughal Style

Main articles: Mughal Architecture and Akbari Architecture

Mughal Interiors Racinet, c. 1876

The Mughal style was conceived by Akbar the Great, the third mughal emperor and also the architect of the Mughal empire. This
'Akbari' Style was an amalgam of earlier Timurid, Persian and indigenous Indian styles. This style was further consolidated by his
grandson and fellow architecture enthusiast, Shah Jahan. Some of the significant architectural legacies of the Mughals
are Humayun's Tomb, the Taj Mahal, the Forts of Agra and Lahore, the city of Fatehpur Sikri, Akbar's Tomb.
[edit]Decline and Revival
Shah Jahan was succeeded by his puritanical son, Aurangzeb, who had no soft spot for art and architecture.[2] As a result, Mughal
architecture suffered, with all artisans migrating to work under the patronage of local rulers. With no major architectural projects
undertaken, the Mughal style rapidly declined. This decline was evident in buildings such as Bibi Ka Maqbara, built by Azam Shah,
son of Aurangzeb. However, local rulers embraced the style, as they had emulated it during the respective reigns of Jahangir and
Shah Jahan.[3] The last architectural marvel produced during this waning period of Mughal rule was Safdarjung's
Tomb, mausoleum to the second Nawab of Awadh.
By the early 19th century, the British had made themselves the virtual masters of the Indian Subcontinent. In 1803, their control was
further strenghthened with the defeat of the Marathas under Mahadaji Scindia. They legitimized their rule by taking the then weak
Mughal Emperor, Shah Alam II under their protection, and ruling through him. However, their power was yet again challenged when
in 1857, the Indian soldiers in their employ, together with rebellious princes lashed out in open revolt (which came to be known as
the Revolt of 1857). However, this uprising was doomed from the start, and was crushed by the British with ferocity, marking the end

of the Mughal Empire.[4] Soon after, they embarked on deliberate vandalism, by demolishing significant amount of buildings in
the Red Fort (the residence of the recently extinct Mughal Empire) and replacing them with towering and unimpressive barracks. It
was the first attempt towards erasing the architectural legacy of the Mughals.[5]
However, to usher in a new era, the British 'Raj', a new architectural tradition had to be founded. Hence they contemplated a
marriage between the existing styles of India with imported styles from the West such as Gothic (with its sub styles of French/Irish
Gothic, Venetian-Moorish etc.), Neoclassical and Art-Deco, Gothic even more so because their design philosophy was inclined
towards grand scale (as is evidenced by buildings such as the Taj hotel). By doing this they kept elements of British and
European architecture, while adding Indian characteristics; this, coupled with the British allowing some regional Indian princes to
stay in power, made their presence more 'palatable' for the Indians. The British tried to encapsulate South Asia's past within their
own buildings and so represent Britains Raj as legitimate, while at the same time constructing a modern network of railways,
colleges, and law courts.
[edit]The Style outside India

The architectural style was exported to British Malaya (present day Peninsular Malaysia) via British engineers and architects
influenced by Indo-Saracenic stylings in British India. During the design of a new town hall for Kuala Lumpur in the late 19th century,
C. E. Spooner, then State Engineer of the Public Works Department, favoured a "Mahometan style" over a neoclassical one to
reflect Islamic mores in the region, instructing architect Charles Norman, who was further assisted by R. A. J. Bidwell, to redesign
the building.[6] Norman and Bidwell, having previously served in northern India, adopted various elements of Indo-Saracenic
architecture into the town hall. Upon completion in 1897, the town hall, now known as the Sultan Abdul Samad Building, became the
first building influenced by Indo-Saracenic architecture to be built in Malaya.[6] The town hall inspired other civic buildings in the
vicinity to be built in a similar style, while a handful of commercial buildings in Malaya have also been known to adopt some of the
style's elements. The style was also favoured as one of several adopted by British architects with regards to Malayan mosques as
they did not feel the need to adhere accurately to the cultural heritage, and the traditional culture of the Malays, who remain
prominent in Malayan society and are Muslims, did not have the means to design a building of imperial scale; both the Jamek
Mosque and Ubudiah Mosque are examples of mosques that resulted from this combination.[7] While its popularity was limited to the
1890s to the 1910s, the style has been reused for newer governments buildings of the late-20th century and 21st century, such as
several public buildings in Putrajaya.
Indo-Saracenic designs were introduced by British imperialist colonizers, promoting their own sense of rightful self-glorification,
which came to appeal to the aesthetic sensibilities of continental Europeans and Americans, whose architects came to astutely
incorporate telling indigenous "Asian Exoticism" elements, whilst implementing their own engineering innovations supporting such
elaborate construction, both in India and abroad, evidence for which can be found to this day in public, private and government
owned buildings. Public and Government buildings were often rendered on an intentionally grand scale, reflecting and promoting a
notion of an unassailable and invincible British Empire.
Again, structures of this design sort, particularly those built in India and England, were built in conformance to advanced British
structural engineering standards of the 1800s, which came to include infrastructures composed of iron, steel and poured

concrete (the innovation of reinforced cement and pre-cast cement elements, set with iron and/or steel rods, developed much later);
the same can be said for like structures built elsewhere, making use of the same design vocabulary, by local architects, that would
come to be constructed in continental Europe and the Americas: Indo-Saracenics popularity flourished for a span of some 30-years.
Notable, too, is that the British, in fact Europeans generally, had long nurtured a taste for the aesthetic exuberance of such Asian
exoticism design, as displayed in innovative Indo-Saracenic style and also in their taste for Chinoiserie and Japanned. Supported
by the imagination of skilled artisans of various disciplines, exoticism promulgated itself across a broad demographic of British,
European and Americas citizenry, Adaptation of such design innovations spilled over into and determined the aesthetic direction of
major architectural projects, expressing themselves in the Baroque, Regency and design periods beyond.
Today, that spread of elaborate Asian exoticism design fulfillment remains evidenced in many residential and governmental edifices
wrought of the masterpiece initiatives of the 16th, 17th and 18th centuries; much had initially been contributed by the stupendously
rich and indulgent sea-merchant Venetian Empire, whose existence spanned nearly a millennium, and whose Gothic
architecture came to incorporate a plethora of Asian exoticism elements, such as the Moorish Arch in its windows, related to the
latter "harem window"
Generally, the insatiable craze for Asian exoticism relished in those earlier periods, testamentary in their parallel Chinoiserie
expression, likewise, ushered in this latter colonial British fascination with the luxuriant exoticism found in the indigenous Indian
design milieu, whose characteristics includes the following vocabulary list of design elements and motifs (often paralleling and
expanding upon the already ornateness of the earlier Venetians unique Gothic-Moorish, also known as Venetian Gothic
architecture ad-mixture):

onion (bulbous) domes

overhanging eaves

pointed arches, cusped arches, or scalloped arches

vaulted roofs

domed kiosks

many miniature domes

domed chhatris

pinnacles

towers or minarets

harem windows

open pavilions or pavilions with Bangala roofs

pierced open arcading

Chief proponents of this style of architecture were these: Robert Fellowes Chisholm, Charles Mant, Henry Irwin, William
Emerson, George Wittet and Frederick Stevens, along with numerous other skilled professionals and artisans throughout Europe
and the Americas.

Structures built in Indo-Saracenic style in India and in certain nearby countries were predominately grand public edifices, such
as clock towers and courthouses. Likewise, civic as well as municipal and governmental colleges along with town halls counted this
style among its top-ranked and most-prized structures to this day; ironically, in Britain itself, for example, King George IV's Royal
Pavilion at Brighton, (which twice in its lifetime has been threatened with being torn-down, denigrated by some as a
carnival sideshow, and dismissed by others as an architectural folly of inferior design, no less) and elsewhere, these rare and
often diminutive (though sometimes, as mentioned, of grand-scale), residential structures that exhibit this colonial style are highly
valuable and prized by the communities in which they exist as being somehow magical in appearance.
Typically, in India, villages, towns and cites of some means would lavish significant sums on construction of such "indigenous ethnic
architecture" when plans were drawn up for construction of the local railway stations, museums and art galleries.
The cost involved in the construction of buildings of this style was high, including all their inherent customization, ornament and
minutia decoration, the artisans' ingenuous skills (stone and wood carving, as well as the exquisite lapidary/inlaid work) and usual
accessibility to requisite raw materials, hence the style was executed only on buildings of a grand scale. However the occasional
residential structure of this sort, (its being built in part or whole with Indo-Saracenic design elements/motifs) did appear quite often,
and such buildings have grown ever more valuable and highly prized by local and foreign populations for their exuberant beauty
today.
Either evidenced in a propertys primary unit or any of its outbuildings, such estate-caliber residential properties lucky enough to
boost the presence of an Indo-Saracenic structure, are still to be seen, generally, where in instances urban sprawl has not yet
overcome them; often they are to be found in exclusive neighborhoods' (or surrounded, as cherished survivors, by enormous skyscarpers, in more recently claimed urbanized areas throughout this techno driven, socio-economic revolutionary era marking
Indias recent decades history), and are often locally referred to as "mini-palaces". Usually, their form-factors are these: townhouse,
wings and/or porticoes. Additionally, more often seen are the diminutive renditions of the Indo-Saracenic style, built originally for
lesser budgets, finding their nonetheless romantic expression in the occasional and serenely beautiful garden pavilion outbuildings,
throughout the world; especially, in India and England.
[edit]Examples
[edit]In

India

Municipal Corporation of Greater Mumbai

The Gateway of India

The Taj Mahal Hotel in Bombay

Mysore Palace

Madras Museum inMadras (Chennai)

Victoria Memorial inCalcutta

Ripon Building part of theChennai Corporation inChennai

Bombay GPO

Khalsa College, Amritsar

Daly College, Indore bySamuel Swinton Jacob

Central Secretariat, headquarters of the govt of India

Theatre

The major concern of the Indian theatre in the Post-Independence period has been to try to define its Indianness and to relate
itself to the past from which it was cut off. Several revival theatres grew and developed. After 1960, Indian theatres took a new turn.
As noted by Pundalik Naik in his paper presented at Sahitya Academy Seminar at New Delhi, the Indian theatre has been influenced
by Brecht. His techniques of play production being very close to the production techniques of Indian folk theatre, he was quickly
accepted. He was found meaningful for the Indian folk theatre. The narrative technique of the folk theatre --- Sutradhar and his
chorus --- returned meaningfully, so also dance and music. The drama was more or less freed from the tyranny of proscenium
theatre and the performers and the audience once again started breathing freely. As the Indian theatre started looking out at theatre
activity all around. Sartre, Camu, Becket and a host other dramatists inspired Indian theatre people. Their influences were
Assimilated in a meaningful way.

The beginning of 1960s saw Mohan Rakesh bursting on the Indian theatre scene with his play Ashadha Ka Ek Din and Dharmaveer
Bharati with his Andha Yug. In this play, audience saw the reflection of the contemporary world Adhe Adhure by Mohan Rakesh
explored the complex world of human emotions in clash with the hard realities of life. The play was translated in the Indian
languages and created a new awareness. Shombhu Mitra was active with his Tagore plays in Bengal. Badal Sircar with his plays Baki
Itihas, Pagla Ghoda came with a new kind of sensibility. Girish Karnad with his plays in Kanada Yayati, Tughlaq and Hayavadan
made his mark in the Indian theatre.

Vijay Tendulkar made a very significant contribution to Indian theatre by his Marathi play Shantata Court Chalu Ahe. His plays
Sakharam Binder, Gidhade and his most important play Gashiram Kotwal are studies in sex and violence inherent in human nature
in subdued or pronounced form. His candid exposition of bold themes gave new dimension to Indian theatre.

Jabbar Patel who directed the play Ghashiram Kotwal used various Marathi folk theatre forms while staging this play. The trend of
using folk theatre forms was well established by Habib Tanvir through his play Mitti Ki Gadi. In Karnataka Chandrashekhar Kambar
used folk forms in his play. Use of folk theatrical forms by contemporary writers and direction has given rise to a powerful trend. In
the words of M. L. Varadpande, this emerging trend is termed as the theatre of roots.

In Maharashtra the dramatist have been portraying the agonies of the oppressed. This is evident in the plays of 1970s. The theatre in
Maharashtra has made a tremendous influence on the contemporary Konkani theatre.

The traditional Marathi theatre in Goa while enriching the knowledge of the Goan playwrights strengthened their understanding of
drama in its full-fledged form. The Mochemadkar & Co. presented Marathi drama with the mixture of Konkani language. Such an
understanding coupled with lucid expression in mother-tongue Konkani nurtured Konkani theatre. One cannot but acknowledge
the subtle, yet tremendous contribution of the Marathi drama for the prosperity and pride of the Konkani stage.

Modern Indian Culture

The culture of modern India has evolved many folds since the ancient ages. The history of India has played a significant role in shaping up the Indian culture. In the
historical past, India has been invaded several times and this brought in a mix of cultures. The other factors that contributed towards shaping the culture of India are
its unique geography and different religions. The modern Indian culture is a much evolved version of the ancient cultures in India. Also, the modern Indian culture has
been profoundly influenced by the west.

Post independence, the culture of India began to evolve further to what we call the modern India culture. This can be seen clearly in its architecture, performing arts,
food, clothing, and festivals.

Modern Indian Culture: Architecture

Post independence, two schools of architecture came in India. These were:

Revivalist
Modernist

The Revivalists continued the colonial legacy in their architecture and the Modernists were inspired by the European and American form of architecture. The
contemporary Indian architecture could not blossom completely as several social problems beset it. Thus the foreign architects played a significant role and influenced
the modern Indian architecture. The designing of Chandigarh city revolutionized the concept of architecture in the country, which formed the basis of the modern
Indian architecture.

Modern Indian Culture: Music

The modern Indian music has been highly influenced by the western form of music. The modern Indian music comprises following types:

Remixes - where faster beats are blended into old tunes.

Fusion - where western music forms are combined with Indian classical music.
Film music -songs or instrumentals from films.
Indi pop- Indian version of the pop music from the west.

Modern Indian Culture: Theatre

Modern Indian theatres are not more limited to songs, dance, and dialogues but have much deeper connotation. Today the Indian theatres are portraying the picture of
the practical society. The amalgamation of the multi-religious aspects and the multi-lingual aspects along with the incorporation of modern techniques and concepts has
brought about newer developments in the theatrical culture of India.

Modern Indian Culture: Food

Today Indian cuisines are no more limited to the traditional Indian cuisines. The influence of westernization is prominent in the modern Indian platter as well. Food
items like breads, pastas, noodles, cakes, pizzas and others such foods which were once unknown to this section of world, features prominently in the Indian kitchens
today. The modern Indian cuisines pack in the traditional cuisines of India as well cuisines from other parts of the world. Over the years, newer and newer methods of
cooking from different parts of the world have influenced the Indian cuisine. Vegetables like broccoli and bell pepper and fruits like cherries and strawberries which
were unheard of in the ancient Indian kitchens are very much used today in Indian preparations.

Modern Indian Culture: Festivals

Some of the festivals of modern India are Diwali, Holi, Vijayadashami, Thai Pongal, Onam and Durga Puja. Besides, festivals like Bakr-Id, Eid ul-Fitr, Buddha Jayanti,
Vaisakhi and Christmas also feature on the modern Indian festivals calendar.

Modern Indian Culture: Clothing

The modern Indian clothing reflects a blend of traditional and western culture. While shirts paired up with trousers or jeans are worn by majority of the Indian men,
women in India are found to prefer salwar kameez, sarees and kurtis for clothes. Besides, Indian women also wear western outfits like shirts or tops paired with skirts,
jeans, or trousers and other western dresses

http://www.learn.columbia.edu/courses/indianart//pdf/after_independenc.pdf