History of Architecture (AP313) | Term Paper | 2013

Steps taken by British to establish their footprint

Term Paper for History of Architecture (AP131) Prannay Dhingra
Roll Number: 15 Sushant School of Art and Architecture

ABSTRACT
Delhi had been, for centuries, a major centre of power. Ever since Shah Jahan had shifted the Mughal
capital from Agra to Delhi, Delhi had remained, uninterrupted, the seat of the Mughals. The British response to the uprising of 1857 was to destroy much of the city Shah Jahan had built and to rename the Mughal monuments that remained after British monarchs. The British realized the need to build their own city, New Delhi. King George laid the foundation stone of the new city at the grounds where the Durbar had been held (present day Coronation Park). (1) The British in 1911 shifted the capital of India to Delhi. The eighth city of New Delhi took shape in the imperial style of architecture. From then to now Delhi continues to throb with vitality and hope. From 1912 to 1931 British architects Sir Edwin Landseer Lutyens and Sir Herbert Baker were responsible for the construction of New Delhi as Britain's new imperial capital of India. But Lutyens design for the Viceroy's House (1912-1931), though inspired by neoclassicism, also paid homage to Delhi's Mughal architecture in its use of red and yellow sandstone, its dome, and in other details. The British colonial were constantly thinking that their architectural styles are not generating the expression of grandeur. So, to overcome this expression they started building using Mughals details in order to express their power over Mughals. According to me, king did so, ironically, at a durbar modelled on that of the Mughals, under a purposely built Shah Jahani dome. The message was clear: the British were the legitimate successors of the Mughals and their new capital was intended to express the power of the Raj, just as Shah Jahans capital had expressed the authority of the Mughals. The challenge they faced was to produce an architecture that successfully combined local traditions with a statement of colonial power. Now, the question arises that how Britishers used their details and generated different buildings which are today being used as the government buildings. For eg: Rashtrapati Bhavan, one of the finest example of British colonial building and is evolved using many features from different periods as well.

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History of Architecture (AP313) | Term Paper | 2013

PAPER Introduction
The British Raj was established in India in 1857 and it lasted up till 1947. Initially there was no specific style of construction used by the British Empire in India. The buildings were essentially functional. As the empire continued to grow and develop, several experimental styles developed. Soon the British ruling authority realized that across all rulers and times one thing had been common and that was the way of expression of power of a dynasty. The power or strength of a dynasty was judged based on its outward show of wealth, grandeur and splendour. The British kept changing their capitals in the Indian Subcontinent. They had Shimla and Northern India as their summer capital, Calcutta as their winter capital. In the coronation durbar held in Delhi in 1911, New Delhi was proclaimed as the new capital of the British Raj in India. Although, mughals at that period of time were already in power in delhi and were spreading their style all over the place and imposing their rules on to the people. So as the impact of mughals were keep on increasing, the British colonial were constantly thinking of them and even thought that their architectural styles are not generating the expression of grandeur. So, they thought to have started building their units in delhi so as to overcome the rule of mughals and as they were facing less time so, they started using the existed mughals details as it is into their structures.

Major features of Mughal style of architecture

Almost perfect or bilateral symmetry Red sandstone with white marble inlays Later pure white marble surfaces Geometric ornament Domes slightly pointed instead of hemispherical ones Garden surroundings Fine cut stone masonry were used for facades coursed rubble stone construction for the majority of the walls Carved stone work shallow relief depiction of flowers to intricate pierced-marble screens known as jaalis (2)

Hindu influence on Mughals

The trabeate stone construction Shallow arches made out of corbels rather than voussoirs Richly ornamented carved piers and columns Hindu architecture was modified and elements of spaciousness, immensity and extent were incorporated Hindu style of decoration were used by mughals for decoration of arches
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History of Architecture (AP313) | Term Paper | 2013

Persian influence on Mughals

chattris a dome kiosk resting on pillars chajjas and jarokhas a projecting balcony resting on corbels with a hood rexting on columns

Now further, showing the comparison between Mughal style and British Colonial style architectural examples.

Alai Darwaza
The gate is square in plan. Its wide, shallow dome rests on an octagonal base, and the transition from the octagonal base to a circular dome is achieved with squinches (muqarnas). On the exterior, the dome is plastered.

Figure 1: South Gate

Figure 2: Ornamented with slender pillars

Figure 3: Geometric patterns

Ref:http://archnet.org/library/images/one-image-large.jsp?location_id=14962&image_id=186815

The gate stands on a plinth clad with red sandstone with carved friezes (Figure 1). On the south (main) elevation of the gate, steps beginning at the plinth lead into the gate itself. Its exterior is clad with intricately carved red sandstone and white marble bands carved with calligraphic inscriptions in Naksh script or geometric patterns (Figure 3). In the centre, springs the gate itself, a true arch (as opposed to the older, local trabeated construction visible in other parts of the Qutb complex), ornamented with slender pillars (Figure 2). The gate is bilaterally symmetrical on its south elevation: flanking the gateway on either side are two small arched windows with delicate latticework (jalis) just above the plinth level. Above these lower-level windows are shallow rectangular niches (again, two on either side of the gate) created with concentric bands of red sandstone and white marble carvings.

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History of Architecture (AP313) | Term Paper | 2013

Figure 2: Western facade

Ref; http://archnet.org/library/images/one-image-large.jsp?location_id=14962&image_id=186824

On the eastern and western sides, the arrangement of central archway flanked by a jaliwork window on the lower level and rectangular niches on the upper level is repeated. However, on the western elevation, this sandstone and marble niche revetment has fallen off. Where the volume of the gate joins the complex wall, the blind window on the north-western corner has been half-covered by the complex wall.

Figure 4: North gate

Figure 5: Horseshoe arch

Ref; http://archnet.org/library/images/one-image-large.jsp?location_id=14962&image_id=186823

The gate of the north elevation, facing into the complex, is a semicircular arch (Figure 4). The south, east, and west elevations each feature horseshoe arches with spearheaded decorations in the intrados and a decorative parapet above (Figure 5).

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History of Architecture (AP313) | Term Paper | 2013

Rashtrapati Bhavan (British Colonial Period)

Figure 6: South block of Secretariat buliding

Ref; http://www.indianholiday.com/pictures/travelguide/attractions/3418_4527.jpg

Traditional Indian chhajja all around the structure. There were grilles made from red sandstone, called jalis or jaalis The exterior fronts of all sides gave a very strong impression of classical order. There are horizontal lines all around the structure almost uninterruptedly having a strong base with a wall on it and a deep chajja over it with an attic above. Now if we look at the ALAI DARWAZA, Lutyen used the same concept of having plinth and then the structure above inorder to emphasise the solidity of the base.

Figure 7: North block of Secretariat building

Ref; http://static6.depositphotos.com/1005637/559/i/950/depositphotos_5594654-New-Delhi-President-House.jpg

Now over here we see that rashtrapati bhavan is very perfect and bilaterally symmetrical. The crown of the dome is also taken itself from the Sanchi Stupa and the railing below the crown too.

In both the cases, in the centre of the building, they are having the central dome which represents
the power or having the major control with them. This feature reflects more in the case of rashtrapati bhavan as it is the house of the president of the country.

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History of Architecture (AP313) | Term Paper | 2013

Other feature like, jaalis or thin stone slabs perforated in floral or geometrical patterns. Chattris or domed pavilions are influenced form the work at fatehpur sikri, in the viceroys palace, chajjas are made up of red sand-stone.

Use of materials
Lutyens used a combination of red sand-stone and beige agra stone to highlight the basic divisions in the elevations. Again the darker tone of the base emphasizes the solidity of the base. On comparing with ALAI DARWAZA, there is also the same type of patterns are used in order to make the elevations more classical. There also used the two type of stone i.e. the white marble and the red sand-stone. Also, in rashtrapati bhavan there are jharokas instead of the normal windows which is also an important mughal element which mughals were influenced from the Persians. The most important part of the mughal style were the MUGHAL GARDENS in the front (entrance). This style was influenced by Persian gardens.

Figure 7: Layout of Mughal garden; Viceroys house

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Bibliography
1. INTACH. World Monuments Fund. World Monuments Fund's website. [Online] [Cited: wednesday september 0Central%20Vista.pdf. 2. India Net Zone. [Online] Jupiter Infomedia Ltd., 2008. [Cited: thursday september 2013.] http://www.indianetzone.com/41/features_mughal_architecture.htm. 3. Features of Mughal Architecture. s.l. : Jupiter Infomedia Ltd., wednesday july 2013. 4. Chand, Shyam. Book Review: Religious Dimensions of Indian Nationalism: A study of the RSS by Samsul Islam. s.l. : Tribune India. 5. Savarkarji, Veer. The Indian War of Independence: National Uprising of 1857, Chandigarh. s.l. : Abhishek Publications, 2008. 6. About Us: Jagran Prakashan Ltd. Jagran Prakashan Ltd web site. [Online] MMI Online Limited. [Cited: wednesday september 2013.] http://www.jagranjosh.com/general-knowledge/the-design-ofrashtrapati-bhavan-the-official-home-of-the-president-of-india-1343024420-1. 2013.] http://www.wmf.org/sites/default/files/wmf_publication/Rashtrapati%20Bhavan%20and%20the%2

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