MUGHAL ARCHITECTURE &

COLONIAL ARCHITECTURE
( MODULE 4 &5)
 MUGHAL
ARCHITECTURE
 AKBAR’S TOMB

3
 Akbar planned the tomb and selected a suitable site for it. After his death, Akbar's
son Jahangir completed the construction in 1605–1613.
• The south gate is the largest, with four white marble chhatri-topped minarets which are similar
to (and pre-date) those of the Taj Mahal, and is the normal point of entry to the tomb.
• The tomb itself is surrounded by a walled enclosure 105 m square.
• The tomb building is a four-tiered pyramid, surmounted by a marble pavilion containing the false
tomb. The true tomb, as in other mausoleums, is in the basement.
• The buildings are constructed mainly from a deep red sandstone, enriched with features in white
marble. Decorated inlaid panels of these materials and a black slate adorn the tomb and the main
gatehouse.
• Panel designs are geometric, floral and calligraphic, and prefigure the more complex and subtle
designs.
4
5
6
7
 TAJ MAHAL,AGRA

8
• The Taj Mahal 'Crown of the Palace', is an ivory-white marble mausoleum on the right bank of
the river Yamuna in the Indian city of Agra.
• It was commissioned in 1632 by the Mughal emperor Shah Jahan (r. 1628–1658) to house the
tomb of his favorite wife, Mumtaz Mahal; it also houses the tomb of Shah Jahan himself.
• The tomb is the centerpiece of a 17-hectare (42-acre) complex, which includes
a mosque and a guest house, and is set in formal gardens bounded on three sides by
a crenellated wall.
• The construction project employed some 20,000 artisans under the guidance of a board of
architects led by the court architect to the emperor, Ustad Ahmad Lahauri.
• The Taj Mahal was designated as a UNESCO World Heritage Site in 1983 for being "the jewel
of Muslim art in India and one of the universally admired masterpieces of the world's heritage".
9
10
11
12
13
14
15
 • The tomb is the central focus of the entire complex of the Taj Mahal. It is a large, white marble
structure standing on a square plinth and consists of a symmetrical building with an Iwan (an
arch-shaped doorway) topped by a large dome and finial.
• The base structure is a large multi-chambered cube with chamfered corners forming an unequal
eight-sided structure that is approximately 55 metres (180 ft) on each of the four long sides.
• Each side of the Iwan is framed with a huge pishtaq or vaulted archway with two similarly shaped
arched balconies stacked on either side.
• This motif of stacked pishtaqs is replicated on the chamfered corner areas, making the design
completely symmetrical on all sides of the building.
• Four minarets frame the tomb, one at each corner of the plinth facing the chamfered corners.
The main chamber houses the false sarcophagi of Mumtaz Mahal and Shah Jahan; the actual graves
are at a lower level.
16
 ITMAUD DUALA

• Tomb is a Mughal mausoleum in

the city of Agra in the Indian state
of Uttar Pradesh. Often described
as a "jewel box”.

• The mausoleum was commissioned

by Nur Jahan, the wife of Jahangir,
for her father Mirzā Ghiyās Beg.

17
• The tomb, situated on the eastern bank of the river Jamuna, is planned in the center of a Char-
Bagh (four-quartered garden), with the usual enclosing walls and side buildings.
• The main gate is on the eastern side. Ornamental gateways with prominent lawns are built in the
middle of north and south sides.
• A multi-storeyed open pleasure pavilion is there on the western side, overlooking the river
impressively. These buildings are of red sandstone with bold inlaid designs in white marble.
• Shallow water channels, sunk in the middle of the raised stone paved pathways, with intermittent
tanks and cascades, divided the garden into four equal quarters.
• They are only slightly raised from the parterres which could be converted into flower beds. Space
for large plants and trees was reserved just adjoining the enclosing walls, leaving the

18 mausoleum fully open to view.

 • The main tomb of white marble is marvelously set in the center of the garden.
• It stands on a plinth of red stone having in the middle of each side, facing the central arch, a lotus tank
with fountain.
• The tomb is square in plan with octagonal towers, surmounted by chhatris, attached to its corners.
• Each facade has three arches: the central one providing the entrance, and the other two on the sides
being closed by jalis. Each side is protected by a chhajja and a jali balustrade above it.
• There is no dome; instead the building is roofed by a square barahdari having three arched
openings on each side which are closed by jalis except in the middle of the north and south sides.
• It is protected by a chhajja above which is the chaukhandi (pyramidal) roof, crowned by lotus petals
and kalash finials.
• The interior is composed of a central square hall housing the cenotaphs of Asmat Begum, Mirza
Ghiyas, four oblong rooms on the sides and four square rooms on the corners, all interconnected by
common doorways. The cenotaph of Asmat Begum occupies the exact centre of the hall. Corner rooms
have tombstones of Nur Jehan's other relations.
19
20
21
 • The most important aspect of this tomb is
its polychrome ornamentation. Beautiful
floral, stylized, arabesque and
geometrical designs have been depicted
on the whole exterior in inlay and mosaic
techniques, in various pleasing tints and
tones.

22
 MUGHAL GARDENS

Mughal gardens are a type of gardens built by the Mughals. This style was influenced by the Persian

gardens particularly the Charbagh structure, which is intended to create a representation of an earthly
utopia in which humans co-exist in perfect harmony with all elements of nature.

23
 • Mughal gardens design derives primarily from the medieval Islamic garden, although there are
nomadic influences that come from the Mughals’ Turkish-Mongolian ancestry.

• Julie Scott Meisami describes the medieval Islamic garden as "a hortus conclusus, walled off and
protected from the outside world; within, its design was rigidly formal, and its inner space was
filled with those elements that man finds most pleasing in nature.

• Its essential features included running water (perhaps the most important element) and a pool
to reflect the beauties of sky and garden; trees of various sorts, some to provide shade
merely, and others to produce fruits; flowers, colorful and sweet-smelling; grass, usually
growing wild under the trees; birds to fill the garden with song; the whole is cooled by a

24 pleasant breezes.
 • The garden might include a raised hillock at the center, reminiscent of the mountain at the center
of the universe in cosmological descriptions, and often surmounted by a pavilion or palace. The
Turkish-Mongolian elements of the Mughal garden are primarily related to the inclusion of tents, carpets
and canopies reflecting nomadic roots. Tents indicated status in these societies, so wealth and power
were displayed through the richness of the fabrics as well as by size and number.

• Fountainry and running water was a key feature of Mughal garden design.

• Royal canals were built from rivers to channel water to Delhi, Fatehpur Sikhri and Lahore.

• The fountains and water-chutes of Mughal gardens represented the resurrection and regrowth of life, as
well as to represent the cool, mountainous streams of Central Asia and Afghanistan that Babur was

25
famously fond of.
 • Adequate pressure on the fountains was applied through hydraulic pressure created by
the movement of Persian wheels or water-chutes (chaadar) through terra-cotta pipes, or
natural gravitational flow on terraces.

• It was recorded that the Shalimar Bagh in Lahore had 450 fountains, and the pressure
was so high that water could be thrown 12 feet into the air, falling back down to create a
rippling floral effect on the surface of the water.

• The numbers eight and nine were considered auspicious by the Mughals and can be
found in the number of terraces or in garden architecture such as octagonal pools.

26
 RED FORT,DELHI

27
28
29
 • The Red Fort or Lal Qila is a historic fort in Old Delhi, Delhi in India that served as the main
residence of the Mughal Emperors.

• Emperor Shah Jahan commissioned construction of the Red Fort on 12 May 1638, when he
decided to shift his capital from Agra to Delhi.

• Originally red and white, its design is credited to architect Ustad Ahmad Lahori, who also
constructed the Taj Mahal.

• The fort represents the peak in Mughal architecture under Shah Jahan, and
combines Persianate palace architecture with Indian traditions.

• The Red fort has an area of 254.67 acres (103.06 ha) enclosed by 2.41 kilometers (1.50 mi) of
defensive walls, punctuated by turrets and bastions that vary in height from 18 meters (59 ft) on the
river side to 33 metres (108 ft) on the city side.

• The fort is octagonal, with the north–south axis longer than the east–west axis. The marble,
floral decorations and the fort's double domes exemplify later Mughal architecture
30
 Diwan-i-Am (Red Fort)

31
32
33
 • The Diwan-i-Am, or Hall of Audience, is a room in the Red Fort of Delhi where the Mughal
emperor Shah Jahan (1592-1665) and his successors received members of the general public and
heard their grievances.
• The inner main court to which the Nakkarkhana led was 540 feet broad, 420 feet deep, and
surrounded by arcade galleries, where chieftains (umaras) on duty were posted.
• On the further side of it is the Diwan-i-Am.
• The Diwan-i-Am consists of a front hall, open on three sides and backed by a set of rooms faced in
red sandstone.
• The proportions of this hall, of its columns, and of the engraved arches show high aesthetics
and fine craftsmanship. With an impressive façade of nine engraved arch openings, the hall was
ornamented with gilded and white shell lime chunam plaster work. Its ceiling and columns were
painted with gold.
34
 Colonial
Architecture
 Colonialism in India

1. Portugese (1505-1961)

2. Dutch and Danish (1605-1825)

3. British(1612-1947)

4. French (1759-1954)

36
 • British Colonial era lasted in India for over three centuries starting from 1615 to 1947.

• Colonization of India also had a great impact on architecture

• Colonization marked a new chapter in Indian architecture.

• Colonial architecture culminated into what is called the Indo-Saracenic architecture.

• The Indo-Saracenic architecture combined the features of Hindu, Islamic and

western elements

• Colonial architecture exhibited itself through institutional, civic and utilitarian

buildings such as post offices, railway stations, rest houses and government
buildings
37
 • Anglo-Indian church builders to follow the model set by Gothic art in Italy/England

• Indo Saracenic Architecture:

• Indo-Saracen is Revival architecture also referred as Indo-Gothic, Neo-Mughal, Mughal-

Gothic and Hindu-Gothic.

• It was a combination of the Gothic revival style with that of the Neo-Classical, Indo-
Islamic and Indian architectural style that was initiated by the British architects.

38
 During the British colonial period, Europeans style including Neoclassical,
Neogothic, islamic architecture.

Neoclassical Neo gothic

Grandeur of scale Pointed arched

Simplicity of geometric Use of windows and

form doors

Combination of greek Decorative elements like

and roman Porches,dormer and roof
gable

Dramatic use of columns

Prefence of blank wall

39
 Principle characteristics

•Onion (Bulbous )dome

•Overhanging eaves
•Pointed arches,Cusped arches and
scalloped arches
•Vaulted roofs
•Domed kiosks
•Tower or minaretes
•Harem windows
•Open pavillions
•Pierced open arcading
40
 Governor’s house(Raj Bhavan), Calcutta

41
 Arched Gate of the Raj Bhavan

42
 • Raj Bhavan is the official residence of the governor of West Bengal, located in Kolkata, the
capital of the Indian state of West Bengal. Built in 1803, it was known as Government
House before the Indian independence.

• Designed by Capt. Charles Wyatt and on the lines of the Curzon’s family mansion of
the Kedleston Hall of Derbyshire, the Raj Bhavan follows a Neoclassical style with distinct
Baroque overtones.

• Lord Curzon described the Government House as “without doubt the finest Government House
occupied by the representative of any Sovereign or Government in the world.”

43
• Lord Curzon brought electricity and lift (popularly known as the ‘Bird Cage Lift”) to Raj Bhavan.
 • The plan comprises a central core with four radiating wings.
• The state rooms located in the central core are accessed from the outside by a flight
of grand steps on the north.
• On the south is another portico surmounted by a colonnaded verandah with a dome
above.
• The four wings accommodate the various offices and residential quarters along
with four sets of staircases.
• The plan of the wings allows for a great deal of natural ventilation in the spaces
while also permitting views across the gardens.
• The entire compound is surrounded by a balustraded wall with a grand arched
44 gateways.
 • The Raj Bhavan covers an area of 7,800 square metres (84,000 square feet) and is
surrounded by a compound of 11 hectares (27 acres).

• The Raj Bhavan has six gateways, one each on the north and south and two each
on the east and west.

• The four gates on the east and west have grand archways topped with lions, while
the minor archways on the side are topped with sphinxes.

45
 Taj Hotel

46
 Victoria Memorial Hall

47
 Mysore Palace

48
 Victoria Terminus(Chhatrapati Shivaji Station) Mumbai,

49
 SIR EDWIN LUTYENS

•Sir Edwin Lutyens, was a leading 20th century British

architect and garden designer,who is known for
imaginatively adapting traditional architectural syles
to the requirements of his era.

•Lutyen’s designs all followed the Art and crafts style,

but the early 1900s his work became more classical in
style.

50
 LUTYEN’S PRINCIPLES OF DESIGN

•Lutyen’s controlling sense of proportion and organizational principles eventually led

him to explore the harmony,strength and repose of classical design.

•Characterized by a highly controlled use of form and mass,apparent adherence to

rules of classical proportioning and the sparing use of symbolic classical motifs.

•Counter to the romantic,rambling plans of his earlier house,Lutyens increasinlgy

began to incorporate a strong sense of balance,symmmetry, and order in his
design.

•Lutyen’s viewed the manipulation and organization of the classical vocabulary as a

great intellectual game to be played by the architect to create unique,individual
designs.

51
 DESIGNING OF NEW DELHI

•The 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 the end 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 (1,600 ha) of land was acquired to begin the construction of
Viceroy's House, as it was originally 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, 1894.

52
 Sir Edwin Lutyens commisioned as main architect for planning New Delhi
with his friend Herbert baker.

Initial plan Final plan

53
54
55
 VICEROY HOUSE (RASHTRAPATI BHAVAN)

Delhi Order

56
 SECRETARIAT BUILDING

57
 PARLIAMENT HOUSE

58
 INDIA GATE

59
60