GUJARAT STYLE

First and Second Periods (1300- 1458)

Third or Begarha Period (1459- 1550)

The Gujarat style is the most important of all the provincial styles in India.

Two factors are responsible for the prodigious output of architecture in this region:

1. The egotism of the powerful Ahmed Shahi dynasty who wanted to surround themselves with
architectural evidences of their might.
2. The supply of skilled indigenous workmen.

The Gujarat style is the most indigenous Indian style of all the provincial styles. Many structures are
adaptations or extracts of local Hindu and Jain temples.

The style can be divided into three main periods:

First Period (First half of the 14th Century A.D.)

1. Consisted of the customary phase of demolition of temples followed by reconversion of the

building materials.
2. The buildings of this period have the appearance of being formative and experimental.
3. Many buildings were built using materials from Hindu temples. Most often, the pillars would be
used as they were, while the walls would be built of original masonry, sometimes using stones
taken from the temples and recut to suit the requirements.

Second Period (First half of the 15th Century A.D.)

1. In this period, we see the art approaching an early consummation, with slightly tentative qualities.
2. There is more directional authority in the buildings and increased assurance in the design.
3. This can also be called the Ahmed Shahi period, after the Sultan Ahmed Shah.

Third Period (Second half of 15th Century A.D.)

1. This is the most magnificent aspect of the style.

2. Most of the development in this phase happened under Sultan Mahmud I Begarha (1458-1511).

Main Buildings
First Period Second Period Third (Begarha) Period

1. Jami Masjid or Adina 1. Jami Masjid at 1. Bai Hari Wav

Masjid at Patan Ahmedabad 2. Sidi Sayyid Masjid
2. Jami Masjid at Bharuch 2. Teen Darwaza 3. Jami Masjid at
 3. Jami Masjid at Cambay Champanir

JAMI MASJID AT AHMEDABAD

JAMI MASJID AT AHMEDABAD
1. Built by Sultan Ahmed Shah in A.D. 1423.
2. Considered to be the high water mark of mosque design on western India.
3. Most of the architectural effect is concentrated in the sanctuary.
4. The flagged courtyard is 255' X 220'

Sanctuary Facade:

1. The architect has combined the two types of sanctuary facades, the screen of arches
and the pillared portico, with the screen in the centre and the portico on the wings.
2. The juxtaposition of the two elements creates contrast between the volume and strength
of the wall surface and the depth and airy lightness of the colonnade.
3. The large central archway has large moulded buttresses of minarets on either sides,
whose upper parts have now disappeared.
4. Two smaller archways are placed on either side of the central one.
5. Directly visible through the archway in the shadows is the colonnade of the interior with
its engrailed arch springing lightly from its slender columns.

Sanctuary Interior:

1. The sanctuary is a hypostyle hall 210' X 95'.

2. It consists of around 300 slender pillars, closely set at an average intercolumniation of 5'.
3. The columns are symmetrically arranged to form 15 bays across the long axis of the hall,
each surmounted by a dome and connected to the next through a columned interspace.
4. The central compartment of the nave rises up to 3 storeys, the side aisles are 2 storeys
and the rest of the hall is single storeyed.
5. The nave is composed of two pillared galleries one above the other. The enclosed triple
height space which is overlooked from the galleries is  square in plan on the first floor
and octagonal on the second and is covered by a dome.
6. Each overlooking balcony is provided with an asana or a sloping backed seat as seen in
temples.
7. Around the exterior of the balconies are pillared verandahs or loggias and in the arcade
between the pillars are stone jalis through which the galleries are illuminated.
TEEN DARWAZA
TEEN DARWAZA
1. Teen Darwaza is a triumphal archway straddling the 'King's Way' which connects the
royal citadel and Jami Masjid in Ahmedabad constructed by Sultan Ahmed Shah.
2. It is 37' high, 80' wide and 45' deep.
3. It consists of 3 archways, each of the same height, with the two side arches only
marginally narrower than the central archway.
4. The contours of the pointed arches are some of the best to be found in India.
5. The parapet is skillfully arranged, being relieved by three elegant oriel windows on
brackets.
6. The buttresses projecting from the piers are richly carved.
JAMI MASJID AT FATEHPUR SIKRI
JAMI MASJID AT FATEHPUR SIKRI
1. The Jami Masjid at Fatehpur Sikri was built by Akbar in A.D. 1571.
2. It covers a rectangular area measuring 542’ X 438’, with a large courtyard, originally
entered by gateways on the north, south and east. Of these, only the eastern or King’s
Gateway has remained unaltered by subsequent additions.
3. It is one of the largest mosques in the country.
4. The mosque follows the conventional plan form with a central courtyard surrounded by
cloisters on 3 sides and the sanctuary on the western side.
5. The sanctuary façade consists of a large rectangular fronton in the centre containing a
spacious alcove, with a pillared arcade on each side to form the wings.
6. Above and behind this central feature rises a large dome over the central nave and
smaller domes over the wings. 
7. A range of pillared kiosks all along the entire parapet breaks the skyline.
8. The nave is a square hall entered through three doorways in the alcoved fronton which
contains the principal mihrab on its western wall and is covered by the main dome.
9. The aisles are accessed through archways from the nave and correspond to the arcaded
wings of the façade. In the centre of each of the aisles is a small chapel, covered by one
of the two smaller domes.
10. There is an admirable combination of beams and arches, the two structural systems in a
well maintained balance.
AMI MASJID AT BIJAPUR(BIJAPUR STYLE)
JAMI MASJID AT BIJAPUR
1. Built in  Bijapur during the reign of Ali Adil Shah, the Jami Masjid at Bijapur clearly shows
the connection with the Bahmani style of the previous century.
2. The structure was never completed, as it lacks the two minarets which were supposed to
flank the exterior of its eastern entrance, the whole part being left unfinished. 
3. An entrance gateway was added later by the Mughal Emperor Aurangzeb.
4. Other features such as the ornamental merlons above the parapet of the courtyard are
also missing.
5. The structure covers a rectangle 450' X 225'.
6. The exterior has been treated by introducing two storeys of arcades recessed into the
wall, the lower one being ornamental while the upper one is open and discloses an
arched corridor running across the entire back and sides of the exterior.
7. The courtyard is a square of 155' side, contained on three sides by seven arches on
each side. On the west, this arcade shows a central opening emphasized by foliations,
forming the facade of the sanctuary.
8. A wide and deep cornice supported on brackets projects above this arcade.
9. Above the middle of the sanctuary the arcaded square clerestory rises which supports
the dome which is no longer stilted but hemispherical in shape with a metal finial
crowned by the crescent symbol.
10. The interior of the sanctuary is a large hall 208' X 107', divided into five aisles by arches
on large masonry piers.
11. The nave is a square of 75' diameter contained within 12 arches.
12. The arches intersect at the top to form an octagonal cornice for supporting the base of.
the dome.
13. Around the nave are the square bays of the aisles, whose ceilings are built on the same
principle as the nave, but modified to suit their smaller size.
14. Ornamentation has been kept to a minimum, being of a broad and restrained order and
any plastic treatment is of an architectonic nature, more for accentuating a line or space
than for embellishment.
15. An incongruous ornament, in the form of a mural design in relief was added at a later
date but is confined to the mihrab arch.
IBRAHIM RAUZA (BIJAPUR STYLE)
IBRAHIM RAUZA
1. Built as the tomb for Ibrahim Adil Shah just outside the city walls of Bijapur to the west.
2. The building consists of a tomb and a mosque within a square enclosure, the whole
forming a garden retreat.
3. The enclosure is a square of 450' side, while the tomb building is a 115' side square. 
4. The two main buildings stand on a terrace 360' X 150', at the eastern end of which is the
tomb and at the western end, facing it, is the mosque. The area between the two is
occupied by an ornamental pool and fountain.
5. In order to achieve symmetry, both buildings have been balanced in style in volume,
though the tomb is the more splendid conception.
6. The tomb building follows the conventional plan, comprising a central chamber
surrounded by an arched verandah, the whole surmounted by a dome.
7. Two of the arches on each facade are narrower than the others, providing a subtle
variety in the voids.
8. This alteration in spacing is a feature carried through in the rest of the composition,
emphasized also by the intervals between the ornamental finials above the parapet.
9. Tall minar-shaped turrets rise from each corner of the building.
10. The enormously ornamented and bracketed upper storey is the crowning feature of the
composition with the bulbous dome.
11. Within the arched verandah is a row of pillars, forming a double arcade around the
mausoleum chamber.
12. The entire structure is profusely ornamented, especially the outer wall of which every
part is covered with ornamental carving.
13. Each wall is spaced into an arcade of three shallow arches and these are enclosed with
a system of borders and panels with a fine engaged pier at the corner of each wall.
14. The tomb chamber is a small room 18' square covered by a gracefully curved and
coffered ceiling. This, while creating a well proportioned room below, created an large,
empty and useless void above inside the dome.
15. The masonary of the roof was joggle-jointed, which meant that the ceiling appeared to
float without any apparent support. This shows that the masons of Bijapur were experts.
GOL GUMBAZ (BIJAPUR STYLE)
GOL GUMBAZ
1. The Gol Gumbaz is the mausoleum of Mohammed Adil Shah.
2. It is one of the largest single chambers ever built.
3. Externally, the building is a great cube with a turret or tower attached to each angle, with
a large hemispherical dome covering the whole.
4. The effect of the building is derived from the fine proportions between its various
elements, especially between the cubical part below and the domed part above.
5. Subsidiary elements include the wide cornice supported by closely spaced brackets.
Above this is an arcade of small arches, their formality broken by their skillful spacing.
Above this is are the massive merlons with finials which break the skyline well.
6. Above the merlons are the foliations around the base of the dome concealing the
junction between the dome and the cube below.
7. The wall surface of the cube has three arches sunken into them, the central one paneled
out to bring it to the size of a normal doorway.
8. The width of each of the sides is equal to the height which is a little above 200'. The
exterior diameter of the dome is 144'.
9. The interior of the structure is a single large hall, one of the largest ever built, measuring
135' across, 178' high and the gallery from where the dome springs is 110' from the
pavement.
10. The main architectural features of the hall are the tall pointed arches which support the
dome above.
11. The arches have their bases within the sides of the square plan while their planes of
surface are at an angle, the intersection above forming an eight sided figure on which
the circular cornice is projected. 
12. The dome is set back some 12' from the inside of this cornice so that some of its weight
is transferred onto the four walls, while the rest is projected onto the intersecting arches
which also receive and counteract any outward thrust.
13. The dome is a plain plastered vault with six small openings through the drum and a flat
section at its crown but no central pendant.
14. The dome consists of horizontal courses of bricks with substantial layer of mortar
between them. In other words, it consists of a homogeneous shell of concrete reinforced
with bricks, the whole being of a thickness of 10'.
15. Due to the system of oversailing courses of brickwork, timber centering would be
unnecessary, hence it was probably not used in the construction of the dome except in
the section near the crown.
16. The system of supporting the dome on intersecting arches was something the Bijapur
masons were surprisingly familiar with as this system is almost unheard of elsewhere,
the only other example being on a much smaller scale, in the sanctuary cupola in the
cathedral of Cordova in Spain, built some six centuries earlier.
QUTUB MINAR (DELHI /IMPERIAL STYLE)- SLAVE DYNASTY
QUTUB MINAR
1. Built near Quwwat-ul-Islam Mosque in 1200 by Qutb-ud-Din Aibak.
2. The height of the tower is 238'.
3. The tower was originally four storeys high with a domed roof. Renovations have added a
storey.
4. The tower is entered from the a gateway on the north side which opens out into a spiral
staircase.

Storeys

1. Each storey has a different pattern in plan.

2. First storey- Alternate wedge shaped and round projections
Second storey- Circular projections
Third storey- Star shaped
Fourth storey- Round

Balconies

1. Each storey has a balcony around it.

2. The balustrade around the balcony originally showed merlons called kanjuras.
3. The balconies are supported by stalactite vaulting, represented by clusters of miniature
arches with brackets in between, influenced by the tracery of temple ceilings.
ARHAI DIN KA JHOMPRA (DELHI /IMPERIAL STYLE)- SLAVE
DYNASTY
ARHAI DIN KA JHOMPRA
1. Built by Qutb-ud-din Aibak in 1200 A.D. at Ajmer.
2. Built on a levelled terrace probably used previously as a fair ground for a fair which
lasted 21/2 days, hence the name of the structure.
3. Built on the same lines as the Quwwat-ul-Islam mosque, using materials from
surrounding temples, but twice the size of the Delhi mosque.
4. Three pillars from Hindu temples are placed one above the other to achieve the height of
the cloisters which is 20'.
5. Tall stairway in four flights reaching up to front portico with a minaret on each side.
6. A screen was added across the front of the sanctuary by Iltutmish. Above the main arch
over the parapet are two minarets. The arches are of the 4 centered type.
7. The smaller arches are of the multi-foil pointed style, inspired by Arab sources.
8. The screen is 200' wide, 56' high at the centre and 12' thick.
9. The rectangular panel is seen in the spandrel of each arch, a feature seen in ancient
Arabian mosques.

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MALWA STYLE
15th Century A.D.

Main examples of the style are found in the cities of Dhar and Mandu.

Malwa was influenced more by the early Tughlaq style from Delhi. This was due to the lack of
significant local traditions in Malwa and hostile relations with neighbouring Gujarat.

Salient Features:

1. Battered walls.
2. Pointed arches with spear head fringe.
3. Combination of Arch, Lintel and Bracket.
4. Boat keel domes.
5. Most artistic combination of arches with pillar and beam.
6. Buildings are raised on high plinths, accessed by long and stately flight of steps.
7. Prominent use of colour in decoration. Use of different coloured marble, semi-precious
stones and glazed tiles. The artisans in Malwa possessed a secret formula for creating
Turquoise blue colour.

The style can be divided into 3 phases:

First Phase:
Dismantling of temples and converting them into mosque.

Second (Classical) Phase:

Monuments of original character. Sober and elegant. More substantial and formal order.

Third Phase:
Less austere and more fanciful structures, implying a life of ease and luxury. Main examples are
pavilions, loggias, kiosks, terraces etc.

Main Buildings
First Phase Second (Classical) Phase Third Phase

1. Kamal Maula Masjid 1. Jami Masjid at 1. Baz Bahadur's Palace

(Dhar) Mandu 2. Kushk Mahal
2. Lat Masjid (Dhar) 2. Ashrafi Mahal (Chanderi)
3. Malik Mughis 3. Hushang Shah's 3. Jami Masjid at
Masjid (Mandu) Tomb Chanderi
4. Hindola Mahal
5. Jahaaz Mahal
JAHAAZ MAHAL

JAHAZ MAHAL
1. Probably built by Mahmud I early in the last half of the 1400's
2. The palace is a double storeyed structure, 360' long and 50' wide, extending along the
edge of Kaphur Lake and Munja Lake.
3. The shape, dimensions and position gives the illusion of a ship, hence the name.
4. The building has a continuously arcaded front shaded by a broad eave above which is a
triforium of recessed arches with a wide parapet showing a repetitive tile pattern.
5. The roof has a series of open pavilions, kiosks and overhanging balconies.
6. The interior consists of pillared compartments, cool corridors and sumptuous bathing
halls.
7.  The character of the building is lively and entertaining, showing a progression from the
phase of solidity and quiet solemnity to the lightly elegant and fanciful mode, with friezes
of brightly coloured glazing on its surfaces.
CHAR MINAR

1. Presents the most real architectural value of the buildings of the Qutub Shahi period.
2. Built in A.D. 1591 in Hyderabad.
3. The Char Minar is a triumphal archway, built for a purpose similar to the Teen
Darwaza in Ahmedabad.
4. It is a square in plan and measures 100' side.
5. The minars, one in each corner are 186' high.
6. The ground storey consists of large archways on each side, each having a span of 36'.
Above the arches, the upper storeys show first a triforium, surmounted by a smaller
arcade and a perforated balustrade above.
7. The building displays the showily attractive character of the buildings of this period and
style and a superfluous application of detail.
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ISLAMIC ARCHITECTURE IN INDIA
Islamic architecture in India can be broadly classified into two phases: The Delhi Sultanate
Phase (Pre-Mughal Phase) and the Mughal Phase.

Due to the contrasting natures of the political setups of the two stages in Islamic history in India,
two distinct styles of architecture developed under the two phases.

The formative phase of Islamic architecture in India can be said to fall under the Delhi Sultanate
phase. The nature of this state, wherein the ruler in Delhi was loosely in control of a federal
system of vassal states, often at war with each other and even with the rulers in Delhi
themselves meant that each area in India developed its own distinct provincial style. The
Mughal Empire was much more centralized, and therefore, under the Mughals a more unified,
national architectural style developed. Also, due to the stability and wealth of the Mughal
empire, Islamic architecture in India reached its zenith during this period. 

The various styles and their correlations can be understood from the following diagram:

Islamic Architecture

Delhi Sultanate Mughal Empire

 Delhi /Imperial style

-Slave dynasty
-Khalji dynasty
-Tughlaq dynasty
-Saygid dynasty
-Lodi dynasty

 Panjab style
 Gujurat style
 Bengal Style
 Janugre Style
 Malwa Style
 Kashmir Style
 Deccan Style
-Gulbarga
-Bidar
-Golkonda
-Bijapur
-Khaudesh
DELHI GATE AT AGRA FORT

DELHI GATE AT AGRA FORT

1. Delhi Gate is the western gate of Agra fort, forming its main entrance.
2. Built by Akbar in A.D. 1566, one of his earliest architectural efforts.
3. The structure, along with the ramparts flanking it is constructed of red sandstone.
4. The front or outer façade consists of two broad octagonal towers joined by an archway,
while the back or inner façade consists of arcaded terraces surmounted by cupolas,
kiosks and pinnacles.
5. The gateway is large enough to accommodate a number of large rooms in the interior for
guards.
6. Architectural and decorative features such as arcades, arched recesses, patterns in
white marble inlay give the structure an attractive appearance from all sides without
detracting from its basic purpose as an essential part of the fortifications.
7. One motif, repeated on the borders is a conventional representation of a bird, contrary to
the Islamic principle of taboo against representation of animate objects, reflecting the
tolerant nature of Akbar’s reign.
Golkonda
Golkonda, also known as Golconda, Gol konda ("Round shaped hill"), or Golla konda, is a
citadel and fort in Southern India and was the capital of the medieval sultanate of the Qutb
Shahi dynasty (c.1518–1687), is situated 11 kilometres (6.8 mi) west of Hyderabad.
The Golkonda fort is listed as an archaeological treasure on the official "List of Monuments"
prepared by the Archaeological Survey of India under The Ancient Monuments and
Archaeological Sites and Remains Act. Golkonda actually consists of four distinct forts with a
10 km long outer wall with 87 semicircular bastions (some still mounted with cannons), eight
gateways, and four drawbridges, with a number of royal apartments and
halls, temples, mosques, magazines, stables, etc. inside. The lowest of these is the
outermost enclosure into which we enter by the "Fateh Darwaza" (Victory gate, so called
after Aurangzeb’s triumphant army marched in through this gate) studded with giant iron spikes
(to prevent elephants from battering them down) near the south-eastern corner. At Fateh
Darwaza can be experienced a fantastic acoustic effect, characteristic of
the engineering marvels at Golkonda. A hand clap at a certain point below the dome at the
entrance reverberates and can be heard clearly at the 'Bala Hisar' pavilion, the highest point
almost a kilometer away. This worked as a warning note to the royals in case of an attack.
The whole of the Golkonda Fort complex and its surrounding spreads across 11 km of total
area, and discovering its every nook is an arduous task. A visit to the fort reveals the
architectural beauty in many of the pavilions, gates, entrances and domes. Divided into four
district forts, the architectural valour still gleams in each of the apartments, halls, temples,
mosques, and even stables. The graceful gardens of the fort may have lost their fragrance, for
which they were known 400 years ago, yet a walk in these former gardens should be in your
schedule when exploring the past glories of Golkonda Fort.
Bala Hissar Gate is the main entrance to the fort located on the eastern side. It has a pointed
arch bordered by rows of scroll work. The spandrels have yalis and decorated roundels. The
area above the door has peacocks with ornate tails flanking an ornamental arched niche. The
granite block lintel below has sculpted yalis flanking a disc. The design of peacocks and lions is
a blend of Hindu – Muslim architecture.
Toli Masjid, situated at Karwan, about 2 km from the Golkonda fort, was built in 1671 by Mir
Musa Khan Mahaldar, royal architect of Abdullah Qutb Shah. The facade consists of five
arches, each with lotus medallions in the spandrels. The central arch is slightly wider and more
ornate. The mosque inside is divided into two halls, a transverse outer hall and an inner hall
entered through triple arches.
Much thought went into building this gate. A few feet in front of the gate is a large wall. This
prevented elephants and soldiers (during enemy attacks) from having a proper ramp to run and
break the gate.
The fort of Golkonda is known for its magical acoustic system. The highest point of the fort is the
"Bala Hissar", which is located a kilometer away. The palaces, factories, water supply system
and the famous "Rahban" cannon, within the fort are some of the major attractions.
It is believed that there is a secret underground tunnel that leads from the "Durbar Hall" and
ends in one of the palaces at the foot of the hill. The fort also contains the tombs of the Qutub
Shahi kings. These tombs have Islamic architecture and are located about 1 km north of the
outer wall of Golkonda. They are encircled by beautiful gardens and numerous exquisitely
carved stones. It is also believed that there was a secret tunnel to Charminar.
The two individual pavilions on the outer side of Golkonda are also major attractions of the fort.
It is built on a point which is quite rocky. The "Kala Mandir" is also located in the fort. It can be
seen from the king's durbar (king's court) which was on top of the Golkonda Fort.
The other buildings found inside the fort are :
Habshi Kamans (Abyssian arches), Ashlah Khana, Taramati mosque, Ramadas
Bandikhana, Camel stable, private chambers (kilwat), Mortuary bath, Nagina bagh,
Ramasasa's kotha, Durbar hall, Ambar khana etc.
This majestic structure has beautiful palaces and an ingenious water supply system. Sadly,
the unique architecture of the fort is now losing its charm.
The ventilation of the fort is absolutely fabulous having exotic designs. They were so
intricately designed that cool breeze could reach the interiors of the fort, providing a respite
from the heat of summer.
The Huge gates of the fort are decorated with large pointed iron spikes. These spikes
prevented elephants from damaging the fort. The fort of Golkonda is encircled by an 11-km-
long outer wall. This was built in order to fortify the fort.
The Rashtrapati Bhavan (  pronunciation (help·info), "rásh-tra-pa-ti bha-van" ; Presidential
Residence"), formerly known as Viceroy's House, is the official home of the President of India,
located at the Western end of Rajpath in New Delhi, India. It may refer to only the mansion (the 340-
room main building) that has the president's official residence, halls, guest rooms and offices; it may
also refer to the entire 130-hectare (320 acre) President Estate that additionally includes huge
presidential gardens (Mughal Gardens), large open spaces, residences of bodyguards and staff,
stables, other offices and utilities within its perimeter walls. In terms of area, it is one of the largest
residences of a head of state in the world.

History[edit]
This decision to build a residence in New Delhi for the British Viceroy was taken after it was decided
during the Delhi Durbar in December 1911 that the capital of India would be relocated
from Calcutta to Delhi. When the plan for a new city, New Delhi, adjacent to and south of Old Delhi,
was developed after the Delhi Durbar, the new palace for the Viceroy of India was given an
enormous size and prominent position. About 4,000 acres of land was acquired to begin the
construction of Viceroy's House, as it was officially called, and adjacent Secretariat Building between
1911 and 1916 by relocating Raisina and Malcha villages that existed there and their 300 families
under the Land & Acquisition Act.[3][4]
The British architect Edwin Landseer Lutyens, a major member of the city-planning process, was
given the primary architectural responsibility. The completed Governor-General's palace turned out
very similar to the original sketches which Lutyens sent Herbert Baker, from Simla, on 14 June 1912.
Lutyens' design is grandly classical overall, with colours and details inspired by Indian architecture.
Lutyens and Baker who had been assigned to work on Viceroy's House and the Secretariats, began
on friendly terms. Baker had been assigned to work on the two secretariat buildings which were in
front of Viceroy's House. The original plan was to have Viceroy's House on the top of Raisina Hill,
with the secretariats lower down. It was later decided to build it 400 yards back, and put both
buildings on top of the plateau. While Lutyens wanted Viceroy's House to be higher, he was forced
to move it back from the intended position, which resulted in a dispute with Baker. After completion,
Lutyens argued with Baker, because the view of the front of the building was obscured by the high
angle of the road.

The sloping approach from the east, which hides the lower part of the building, as Lutyens feared
Lutyens campaigned for its fixing, but was not able to get it to be changed. Lutyens wanted to make
a long inclined grade all the way to Viceroy's House with retaining walls on either side. While this
would give a view of the house from further back, it would also cut through the square between the
secretariat buildings. The committee with Lutyens and Baker established in January 1914 said the
grade was to be no steeper than 1 in 25, though it eventually was changed to 1 in 22, a steeper
gradient which made it more difficult to see the Viceroy's palace. While Lutyens knew about the
gradient, and the possibility that the Viceroy's palace would be obscured by the road, it is thought
that Lutyens did not fully realise how little the front of the house would be visible. In 1916 the
Imperial Delhi committee dismissed Lutyens's proposal to alter the gradient. Lutyens thought Baker
was more concerned with making money and pleasing the government, rather than making a good
architectural design.
Cannon outside the entrance to Rashtrapati Bhawan
Lutyens travelled between India and England almost every year for twenty years, to work on
construction of Viceroy's House in both countries. Lutyens reduced the building from 13,000,000
cubic feet (370,000 m3) to 8,500,000 cubic feet (240,000 m3) because of the budget restrictions
of Lord Hardinge. While Hardinge demanded that costs be reduced, he nevertheless wanted the
house to retain a certain amount of ceremonial grandeur.
When Chakravarti Rajagopalachari assumed the office as the first Indian-born Governor General of
India and became the occupant of this building he preferred to stay in a few rooms which is now the
family wing of the President and converted the then Viceroy's apartments into the Guest Wing where
visiting heads of state stay while in India.
On 26 January 1950, when Rajendra Prasad became the first President of India and occupied this
building, it was renamed as Rashtrapati Bhavan – the President's House.

Architecture designs[edit]
Design[edit]

Main gate of Rashtrapati Bhawan with Jaipur Column in background.

Elephant statues on the outer wall

Consisting of four floors and 340 rooms, with a floor area of 200,000 square feet (19,000 m2), it was
built using 700 million bricks and 3,000,000 cu ft (85,000 m3) of stone with little steel.
The design of the building fell into the time period of the Edwardian Baroque, a time at which
emphasis was placed on the use of heavy classical motifs in order to emphasise power and imperial
authority. The design process of the mansion was long, complicated and politically charged. Lutyens'
early designs were all starkly classical and entirely European in style. His disrespect for the local
building tradition he dismissed as primitive, is evident in his numerous sketches with appended
scrawls such as 'Moghul tosh' and his short remark that 'they want me to do Hindu – Hindon't I say!'
In the post-Mutiny era, however, it was decided that sensitivity must be shown to the local
surroundings in order to better integrate the building within its political context, and after much
political debate Lutyens conceded to incorporating local indo-Saracenic motifs, albeit in a rather
superficial decorational form on the skin of the building. Various Indian designs were added to the
building. These included several circular stone basins on top of the building, as water features are
an important part of Indian architecture. There was also a traditional Indian chujja or chhajja, which
occupied the place of a frieze in classical architecture; it was a sharp, thin, protruding element which
extended 8 feet (2.4 m) from the building, and created deep shadows. It blocks harsh sunlight from
the windows and also shields the windows from heavy rain during the monsoon season. On the
roofline were several chuttris, which helped to break up the flatness of the roofline not covered by
the dome. Lutyens appropriated some Indian designs, but used them sparingly and effectively
throughout the building. There were also statues of elephants and fountain sculptures of cobras in
the gar of the retaining walls, as well as the bas-reliefs around the base of the Jaipur Column, made
by British sculptor, Charles Sargeant Jagger.[5] The column has a "distinctly peculiar crown on top, a
glass star springing out of bronze lotus blossom".[6]

Rashtrapati Bhawan central dome

There were grilles made from red sandstone, called jalis or jaalis.[citation needed] These jalis were inspired
by Rajasthani design. The front of the palace, on the east side, has twelve unevenly spaced massive
columns with the Delhi Order capitals.[citation needed] These capitals have a fusion of acanthus leaves with
the four pendant Indian bells. The bells are similar in style to Indian Hindu and Buddhist temples, the
idea being inspired from a Jain temple at Moodabidri in Karnataka.[citation needed] One bell is on each
corner at the top of the column. It was said that as the bells were silent British rule in India would not
end. The front of the building does not have windows, except in the wings at the sides. Lutyens
established ateliers in Delhi and Lahore to employ local craftsmen. The chief engineer of the project
was Sir Teja Singh Malik, and four main contractors included Sir Sobha Singh.[7]
Lutyens added several small personal elements to the house, such as an area in the garden walls
and two ventilator windows on the stateroom to look like the glasses which he wore. The Viceregal
Lodge was completed largely by 1929, and (along with the rest of New Delhi) inaugurated officially in
1931. Interestingly, the building took seventeen years to complete and eighteen years later India
became independent. After Indian independence in 1947, the now ceremonial Governor-General
continued to live there, being succeeded by the President in 1950 when India became a republic and
the house was renamed "Rashtrapati Bhavan".
Lutyens stated that the dome is inspired by the Pantheon of Rome.[8] There is also the presence
of Mughal and European colonial architectural elements. Overall the structure is distinctly different
from other contemporary British Colonial symbols. It has 355 decorated rooms and a floor area of
200,000 square feet (19,000 m²). The structure includes 700 million bricks [9] and 3.5 million cubic feet
(85,000 m³) of stone, with only minimal usage of steel.

Layout plan[edit]
The layout plan of the building is designed around a massive square with multiple courtyards and
open inner areas within. The plan called for two wings; one for the Viceroy and residents and
another for guests. The residence wing is a separate four-storey house in itself, with its own court
areas within. This wing was so large that the last Indian governor-general, Chakravarti
Rajagopalachari, opted to live the smaller guest wing, a tradition that has since been followed by
subsequent presidents. The original residence wing is now used primarily for state receptions and as
a guest wing for visiting heads of state.[2]

Halls and rooms[edit]

Rashtrapati Bhavan has many halls which are used for state functions and other purposes. Two of
them, Durbar Hall and Ashoka Hall, are the most prominent.
Durbar Hall is situated directly under the double-dome of the main building. Known as the “Throne
Room” before independence, it had two separate thrones for the Viceroy and Vicereine. Presently, a
single high chair for the President is kept here under a 2-ton chandelier hanging from a height of 33
m by a 23 m long rope. The flooring of the hall is made of chocolate-coloured Italian marble. The
columns in Durbar Hall are made in Delhi Order which combines vertical lines with the motif of a bell.
The vertical lines from the column were also used in the frieze around the room, which could not
have been done with one of the traditional Greek orders of columns. The columns are made from
yellow Jaisalmer marble, with a thick line running along the centre. It is said that the line thus drawn
on the floor perfectly divides the mansion into two equal parts. It houses a 5th century Buddha statue
from the Gupta period. This ancient Buddha statue is in a perfect straight line to the Gupta-period
Bull placed outside and onto the India Gate at the end of Rajpath. The elevation of Raisina Hills is so
much that the top of the India Gate lies at the same level as the feet of the Buddha’s statue placed in
the Durbar Hall. The interior of this room and almost all the rooms of the palace are bare, relying on
stonework and shapes to show austerity rather than intricate decoration.
Durbar hall has a capacity of 500 people and it is here in this building that Jawahar Lal Nehru took
the oath of office of Prime Minister of Independent India from Lord Mountbatten at 8.30 am on 15
August 1947.
Ashoka Hall is a rectangular room of 32×20 m and the most beautiful of all the halls. It was originally
built as a state ballroom with wooden flooring. The beautiful Persian painting on its ceiling depicts a
royal hunting expedition led by King Fateh Ali Shah of Persia. The walls have fresco paintings.
The two state drawing rooms, the state supper room and the state library are each on the four
corners of Durbar Hall. There are also other rooms such as many loggias (galleries with open air on
one side) which face out into the courtyards, a large dining hall with an extremely long table to seat
104 persons, sitting rooms, billiards rooms and staircases.
Dome[edit]

Rashtrapati Bhavan
illuminated for Indian Republic Day
The dome, in the middle, reflects both Indian and British styles. In the centre is a tall copper dome,
surmounting a drum, which stands out from the rest of the building due to its height. The dome is
exactly in the middle of the diagonals between the four corners of the building. The dome is more
than twice the height of the building itself.
The height of the dome was increased by Lord Hardinge in the plan of the building in 1913. The
dome combines classical and Indian styles. Lutyens said the design evolved from that of
the Pantheon in Rome, while it is also possible that it was modeled partly after the
great Stupa at Sanchi. The dome is supported by evenly spaced columns which form a porch with
an open area between. In the New Delhi summer heat haze this gives an impression of the dome
being afloat. Workers began to form the reinforced concrete shell of the outer dome at the beginning
of 1929. The last stone of the dome was laid on 6 April 1929.

Other features[edit]
Water features are present throughout the mansion, such as near the Viceroy's stairs, which has
eight marble lion statues spilling water into six basins. These lions were symbolic of the heraldry of
Great Britain. There is also an open area in one room to the sky, which lets in much of the natural
light.

Mughal Gardens[edit]
The Mughal Gardens are situated at the back of the Rashtrapati Bhavan, incorporate both Mughal
and English landscaping styles and feature a great variety of flowers. The Rashtrapati Bhavan
gardens are open to the public in February every year.
Main garden: Two channels running North to South and two running East to West divide this garden
into a grid of squares. There are six lotus shaped fountains at the crossings of these channels.
Whereas the energetic fountains rising up to a height of 12 feet (3.7 m) create a soothing murmur
that enthralls the visitor, the channels are so tranquil in their movement that they seem frozen. In the
channels at appropriate times of day can be seen reflections of the imposing building and the proud
flowers. There are wooden trays placed on stands in the centre of the channels where grain is put
for the birds to feed upon.

Mughal Gardens
Terrace garden: There are two longitudinal strips of garden, at a higher level on each side of the
Main Garden, forming the Northern and Southern boundaries. The plants grown are the same as in
the Main Garden. At the centre of both of the strips is a fountain, which falls inwards, forming a well.
On the Western tips are located two gazebos and on the Eastern tips two ornately designed sentry
posts.
Long Garden or the 'Purdha Garden': This is located to the West of the Main Garden, and runs along
on each side of the central pavement which goes to the circular garden. Enclosed in walls about 12
feet high, this is predominantly a rose garden. It has 16 square rose beds encased in low hedges.
There is a red sandstone pergola in the centre over the central pavement which is covered with
Rose creepers, Petrea, Bougainvillea and Grape Vines. The walls are covered with creepers like
Jasmine, Rhyncospermum, Tecoma Grandiflora, Bignonia Vanista, Adenoclyma, Echitice, Parana
Paniculata. Along the walls are planted the China Orange trees.
Around the circular garden there are rooms for the office of the horticulturist, a green house, stores,
nursery etc. Here is housed the collection of Bonsais, one of the best in the country.
All the presidents who have stayed at the Rashtrapati Bhavan have taken a keen interest in the
maintenance and upkeep of the Mughal Gardens. All have contributed in their own way. The
underlying themes, however, have remained unaltered.