Examining the Evolution of Jaipur’s Architectural Identity in the 20th Century

Thematic Session 1: Evaluating 20th Century Heritage

Introduction

The city of Jaipur is globally recognised as an exemplar of eighteenth century urban planning
and has been extensively studied for its cohesive urban morphology and architectural identity.
For most, the walled city of Jaipur symbolises the futuristic vision of its founder, Sawai Jai
Singh II, with a carefully laid out grid-iron plan organised into neighbourhoods or chowkdis
by a strict hierarchy of streets and a uniform urban fabric.

However, Jaipur has constantly re-invented itself, assimilating a range of social and cultural
influences, visible in its vast repository of crafts, traditions and architectural expressions. This
is perhaps most clearly reflected in the way its architectural identity has transformed over
three centuries. The eighteenth century vocabulary drew upon prevailing Mughal and Rajput
elements while the nineteenth century buildings show a distinct colonial influence which was
merged with the pre-existing fabric. The twentieth century was a period of extensive
experimentation for Jaipur. Chief amongst these was the introduction of the Art Nouveau and
Art-Deco styles within Jaipur, seen in some of its now iconic urban precincts, including the
Mirza Ismail Road. During this period, a number of new residential colonies came up beyond
the extents of the walled city along with the newer landmarks of Jaipur along its primary axes.
At the same time, the walled city underwent significant changes. This paper examines the
incrementally changing architectural identity of Jaipur through specific interventions that
seemed to act as catalysts in the evolution of its form and style.

The evolution in architectural identity is also closely linked with the way Jaipur’s urban form
has grown, both outward and inward. This paper also traces the evolution of the city’s urban
form during the twentieth century focussing on the pre-independence developments within
Jaipur. This is done through the analyses of the patterns of urban expansion and the
emergence of amalgamated architectural expressions which draw upon multiple influences.
Finally, the juxtaposition of new architectural styles in the twentieth century within the
historic fabric is examined along with evaluating its significance in creating the urban identity
of modern Jaipur.

Nineteenth Century Jaipur and the Evolution of the Indo-Saracenic Style

The latter part of Sawai Ram Singh II’s reign (r. 1835-1880) saw the extensive modernisation
of Jaipur city heavily influenced by the developments in Britain, including a major impact on
the traditional arts and crafts of Jaipur and the expansion of the city beyond its walls. The
railway line was firmly established towards the western edge of the city and new highways
and roads connecting Jaipur to other cities were constructed by the Public Works Department
in the 1860s (Fig.1 and Fig.2). The opening of the railway line had heralded a new phase in
Jaipur’s development and it became a coveted destination, not only for trade and commerce
but also for tourism and leisure.
This campaign for modernisation was not limited to urban expansion and the introduction of
new institutions but soon became apparent in the buildings constructed within the walled city
and elsewhere. The Jaipur School of Art opened in 1866 by Ram Singh was a significant
departure from the prevailing Rajput Mughal style of architecture as was the Public Library
Building which came up near the Jaipur City Palace. Several other iconic structures were also
commissioned by the royal family and this trend continued when Sawai Madho Singh II
succeeded Ram Singh in 1880.

One of the leading architects in Jaipur during the nineteenth century was Sir Samuel Swinton
Jacob. The author of the Jeypore Portfolioi, Jacob built extensively within Jaipur, in a career
that spanned over three decades. By the turn of the century, his reputation as an architect and
his knowledge of Indo-Saracenic details was considered so formidable that he was invited to
act in advisory capacity to Lutyens for the design of the Imperial Capital of New Delhi
(Byron, 1931). The Albert Hall Museum, the Sawai Man Singh Town Hall (Naya Mahal) and
the Edward Memorial are some of the prominent structures executed under Jacob which
characterise the colonial architectural influence in Jaipur (Fig.3 and Fig.4). This
amalgamation of styles extended into the twentieth century and is clearly visible in the newer
built fabric of the walled city. Individual havelis incorporated several smaller details such as
the semi-circular arch, the engaged columns and pediments and the elaborate railing patterns
that were characteristic of the prevailing Victorian style (Arora, 2009).

The work of Samuel Swinton Jacob was rooted in an ideology similar to that of the
proponents of Indic version of the Arts and Crafts Movement. His reputation as ‘the most
accomplished of all exponents of the Indo-Saracenic style’ (Davies, 1985) endured well into
the twentieth century.ii Jaipur was perfectly suited for this style of architecture and numerous
elements introduced by Jacob and his contemporaries in Jaipur were soon seamlessly adopted.
The Indo-Saracenic style continued to adapt and evolve well into the twentieth century and
examples of this style can be found within the walled city bazaars as well as in buildings
commissioned by the royal family through the Imarat Department. In fact, this trend
continued upto the 1940s with institutions such as the Maharani Gayatri Devi School, The
Maharaja College and the Maharani College continuing to use adapted versions of the Indo-
Saracenic Style (Fig.5).
At the turn of the twentieth century, the Imarat Department which was now headed by
Chiman Lal, a draughtsman trained under Jacob was commissioned to design a reception hall
for visitors within the City Palace Complex in Jaipur (Sachdev and Tillotson, 2002). This
structure would come to be known as the Mubarak Mahal and was executed in 1900. The
Mubarak Mahal represents a harmonious mingling of multiple influences and may be
considered as one of the finest examples of the blending of colonial elements into the pre-
existing Mughal-Rajput architectural vocabulary of Jaipur. The details of the Mubarak Mahal
are expertly executed, in keeping with the high standard of craftsmanship established with the
Albert Hall (Sachdev and Tillotson, 2002). In addition, innovations can be observed in several
of the smaller details of the structure. For instance, the delicate columns of the upper floor of
the structure are distinctly Romanesque in appearance, with their twisting shafts and leaf
capitals. The overall execution of the building is also far more precise and structured; a direct
result of being based on detailed working drawings prepared by trained draughtsmen in the
Imarat Department. Thus, even though the volumetric proportions of the building recall that
of several of the pavilions in Jaipur, Mubarak Mahal reflects the change in building practices
that had evolved under Jacob’s tenure (Fig. 6).

The Mubarak Mahal presently houses the City Palace Library and is one of the first structures
viewed by visitors to the city palace museum. Its composition skilfully responds to the large
forecourt and visitors are often unaware of the fact that it is a fairly recent addition to the rest
of the palace complex. Its significance derives not only from its successful adaptation of three
distinct styles of architecture, but from the fact that its execution heralded a paradigm shift in
the way buildings were designed and executed in Jaipur.

The PWD ‘Style’ of Building

It is interesting to note, that while on the one hand, the ‘Indo-Saracenic’ style had become
firmly entrenched within the architectural sensibilities of the Imarat Department in Jaipur, an
altogether different style was being propagated on the outskirts of the city. These were
structures built by the State led Public Works Department and comprised largely of sprawling
bungalows, hotel buildings and guesthouses as well as the ubiquitous barracks. As was the
case in the rest of the country, the PWD structures, for the most part, were utilitarian and
almost spartan in their approach to design, with the barest acknowledgement to the local
architectural contexts (Fig. 7). This approach towards building had rapidly spread within the
entire country during the late nineteenth century and over the next few decades; the PWD
would already become associated with ‘stereotyped conventionalities’ (Jacob, 1890) and an
‘ossification of architectural style’ (Scriver, 2007). Partly, this could be attributed to the fact
that the focus of the Department was primarily on extending communication and transport
networks as a means of bolstering British influence, but another underlying reason was that
these ‘utilitarian structures seemed to speak of a collective ideal of temporary sacrifice for the
sake of some grater future objective’(Scriver, 2007). Therefore, the first two decades of the
twentieth century in Jaipur were beset by diverging schools of thought between the royal
family and the British agents, a fact reinforced by the different kinds of architectural
vocabulary emerging from the previously unified city.

Beyond the Walled City- Building Modern Jaipur

In the 1920’s several significant changes were made following the death of Madho Singh, to
the city’s administration, and consequently, its urban limits. Madho Singh’s successor, Sawai
Man Singh II was only eleven, so the city’s governance was placed under regency of the State
Council for several years. The population of the city was steadily increasing, from 1.2 lakhs in
1921, it rose to 1.44 lakhs in 1931(Roy, 1978), a substantial growth which could be attributed
to the large scale migration that had begun towards the city. The walled city gates, which
earlier effectively shut off the city each night, were no longer viewed as a convenient security
measure and in 1923; the tradition of closing the gates was discontinued, allowing the city to
become more accessible to visitors. The Jaipur Municipality, which had come into existence a
few years earlier was reorganised in 1926 and a new Municipal Act was prepared in 1929.
Each of these administrative changes translated into Jaipur becoming an attractive destination
for new settlers; as a result, the boundary of the municipal limits had to be extended on all
sides (Fig. 8). From an area of seven square miles, the limits increased to eight square miles in
1933-34 (JPWD 1934-35).

In 1941, Sir Mirza Muhammad Ismail (1883-1959) had arrived from Mysore as the first prime
minister of Jaipur. Though his tenure in the state was brief, extending for a mere four years,
he is remembered as one of the ‘architects of modern Jaipur’ (Roy, 1978; Pareek, 2000). He
enjoyed a close relationship with the royal family as well as a personal friendship with
Ghanshyam Das Birla, an influential man of industry and was therefore able to carry out large
scale urban expansions within a short period of time.iii. In Jaipur, his focus was on
constitutional reforms and acting as a link between the royal family and the increasingly
influential Congress Party.

After his investiture with full ruling powers, Sawai Man Singh II had moved out of the City
Palace within the walled city to the recently refurbished Ram Bagh Palace. The administrative
buildings which had been housed within the Jaleb Chowk next to the palace were also shifted
outside the walled city. This shift of political and administrative power continued, as high
ranking officials living began shifting into grand British style bungalows such as the
Chaumoo House and the Nayla House (Jain, 2010)

The geographical location of Jaipur was conducive to expansions beyond its southern edge,
beyond the Ajmer highway. However, since most of this land was still agricultural, these
extensions were generally ad-hoc individual buildings belonging to walled city dwellers who
desired a greater amount of space. It was only by 1941 that a systematic expansion was
undertaken by the Municipal authorities to extend Jaipur beyond its original limits. Under this
extension programme, five schemes were proposed (JPWD, 1942-43):
A. Fateh Tibba
B. The Medical College and the Gangawal Park Area
C. Ashok Nagar
D. New Colony and Jalupura
E. Bani Park

Of these schemes, only Bani Park was located to the western edge of Jaipur, beyond Chand
Pol, the western most gateway of the walled city. All other developments were located across
the Agra Ajmer Highway (which later became the Mirza Ismail Road). These extensions
extended beyond Ram Niwas Bagh and while there were attempts to continue the grid iron
plan of the city, by extending some of the axial roads, this soon dissipated. The first schemes
to be undertaken included the laying of the road networks and services for New Colony and
Jalupura, followed by the laying out of ‘C Scheme’ officially known as Ashok Nagar.
Various incentives were offered to residents within the walled city to acquire land in these
developing areas. In the eighteenth century, Jai Singh had envisioned a prosperous city with a
thriving trade and a diverse culture of arts and crafts and offered lucrative incentives to
prospective settlers. In the same vein, these newly developing areas were sold at deliberately
low prices to attract people from within the city (Roy, 1978). Jaipur thus became home to a
new set of residents, once again attracting migrants from surrounding cities and villages. Post-
independence, this translated into displaced people from Pakistan settling in the newly laid
out colonies of Adarsh Nagar and Raja Park (JPWD, 1948-49).

This level of expansion was unprecedented in Jaipur and in many ways; the twentieth century
redefined not only the administrative significance of the city, but also its architectural
identity. The compact urban fabric of the walled city begun to make way for a much sparser
layout, focused on residential developments. The typology of residences also underwent a
paradigm shift; from the courtyard haveli which had an immediate response to the street to the
recessed private bungalows, distinctly separate from the public realm. The haste of
development had gripped the entire country, and in Jaipur this resulted in a disregard for basic
services such as water supply, sanitation and public open spaces.

Architecturally, the residential developments of the new schemes were an eclectic mixture of
styles. While the planning was fairly consistent, with large setbacks and boundary walls
separating the private realm from the street, the elements used to articulate the elevations
showed a diverse range in style. There were the typical bungalows with the modest facades,
reminiscent of the PWD architecture across the country, but at the same time, there were
excessively opulent buildings imitating Baroque and Rococo styles. Local architectural
vocabulary was referenced selectively; singular elements such as the curved brackets and
chajjas or the stone railings would be used in conjunction with a wholly westernised façade.
This phenomenon was taking over much of India and reflected the struggle for identity, faced
by the entire country.

New and Renewed: Jaipur’s Bazaars in the Twentieth Century

On the one hand, Jaipur’s rapid urban expansion in the early twentieth century could be
viewed as diminishing its rich architectural traditions. However, some of the city’s most
intriguing architectural developments also took place in this period. Chief amongst them is the
development of the Mirza Ismail Road, one of the iconic market streets of modern Jaipur.
Originally, it lay at the southern edge of the walled city connecting Jaipur with Agra and
Ajmer. The Ram Niwas Garden and Albert Hall lay further south of the road and several
smaller structures. With the development of the C Scheme, the highway’s significance as a
local connector grew and it became one of the prime commercial districts outside of the
walled city. The Maharaja was so impressed with the exceptional contributions of Mirza
Ismail that he named the road after him (Fig. 9).

By the 1940s, several new buildings were constructed on either side of the road, each with the
standardised colonnaded veranda module. The continuous colonnade recalled the facades of
the recently built Connaught Place in New Delhi, designed by Robert Tor Russell though the
columns and their proportions were stylistic adaptations of the pre-existing styles in Jaipur.
The shaded verandas, though regularised by the state administration were privately owned
and the upper floors were used for residential purposes. This systematic control of the entire
road ensured that a cohesive proportional system was maintained, much like in the older
bazaar streets within the walled city. Wide pavements were provided on either side of the
road, along with ornamental lighting and other civic services (Fig.10).

Several significant changes were also made within the walled city during Mirza Ismail’s
tenure, even though the emphasis was on development beyond the walled city and the
implementation of the municipal plotted development. Of these, perhaps the most visible
addition was that of the colonnaded verandas added to the primary bazaar streets. These
verandas which comprise of a simple repeating unit helped unify the individual structures
along the bazaars visually. They also regularised the edge of the wide avenues laid out by Jai
Singh and provided a shaded refuge for visitors and traders alike (Fig.11).

The uniform terracotta ‘pink’ wash introduced in the nineteenth century was renewed after
almost three decades and the sandy by lanes were paved with stone. Several of the ‘kutchcha’
structures which still dotted the various chowkdis were replaced with newly built structures.
The urban fabric of the walled city was also changing, with the regularised streets and by
lanes branching off the main bazaar streets while the inner street networks remained informal.

The bazaars of the walled city including traditional bazaars such as the Johri Bazaar, the
Tripoliya Bazaar, the Chaura Rasta and the Sireh Deodhi Bazaar as well as the high-end
Mirza Ismail Road together contribute to a specific image of Jaipur as a commercial haven.
While the bazaars of the walled city are a complex layering of additions and modifications
over three centuries, the everyday visitor gets a sense of a unified urban precinct which goes
beyond the use of a limited colour palate. The verandas offer a continuity of façade, but at no
point do they overpower the individual structures themselves, acting instead, as a foil to the
contrasting shapes and forms of the walled city skyline. The M.I. Road colonnades serve a
similar function for its individual buildings, though there is much less disparity in proportion
and style. The verandas serve as a visual anchor between the old city streets and the rapidly
developing M.I. Road. Despite the fact that the colonnade was proportionately and
stylistically different in both areas, the system unified the two districts.

The Introduction of the Art Nouveau and Art Deco Styles in Jaipur
Internationally, the Arts and Crafts Movement had begun to dissipate and evolve into simpler
and more industrial aesthetics such as the Art Nouveau and later, the Art Deco style. These
would later give way to the wide spread Modernist style which made its way into India by the
latter half of the twentieth century. However, in Jaipur, the exuberance and ornamentation of
Art Nouveau and Art Deco were far easier to adapt to, than the starkly modern buildings
which came up in other cities. The two styles can most clearly be seen in Mirza Ismail Road,
where most structures were built in 1940-1965. As was the case with the Indo-Saracenic style
in Jaipur, both the Art Nouveau and the Art Deco were adapted extensively to respond to the
rich local architectural vocabulary.

This translated into buildings which had the characteristic bold geometric compositions,
strong horizontal lines, large expanses of plain façade offset with sudden bursts of
ornamentation, in the form of a central curvilinear motif or elaborate railings and grilles. The
motifs used in Jaipur would range from adaptations of standardised patterns such as the jaali
to elaborate representations of popular mythology in the Western style. The porthole style
circular voids were seamlessly integrates into the parapets and soon the circular window
would finds its way in buildings not only on the M.I Road, but also in new structures built in
the walled city and elsewhere (Fig.12).

Interestingly, while the Art Nouveau was a distinct departure from the Classical idiom as an
artistic movement, attempting to break away from the strict ordering principles into more
natural forms, in Jaipur this translated into buildings that showed the influence of both styles
together. The continuous colonnades of M.I. Road recalled the simplicity of the Doric order,
while the railings would be eclectic mixtures of motifs including Krishna-Radha
representations, elaborate floral patterns recalling Mughal detailing and several interpretations
of the sun motif which was part of the royal heraldry. The classical pediment gave way to a
crowning central element with sweeping curves heavily adapted to respond to Jaipur’s
traditions.

The Art Deco followed soon after, with further simplified versions of abstract details, blended
with now standardised parapet and window detailing. The Art Deco Movement’s impact
could be seen in several parts of India, but in Jaipur, this was immortalised in the M.I. Road,
simply because of the number of individualistic expressions that appeared along the stretch,
unified by their proportional systems and their colonnaded verandas. A strong statement of
style emerged here, at once distinctly different from the walled city, yet recalling many of the
same principles of urban cohesion making M.I. Road one of the iconic architecture ensembles
of Jaipur.

In later decades, the Art Deco style would further morph into the Art-Moderne with the
delightfully eccentric Raj Mandir cinema complex that draws numerous visitors even today to
view its opulent interiors. The streamlined curves of the Raj Mandir’s exterior façade
recalling nautical architecture stand out dramatically against the older Panchbatti Chowk, with
its symmetrically ordered shops (Fig.13). Jaipur’s Art Deco legacy, much like its eighteenth
and nineteenth century architectural traditions represents an attitude of openness to change
while maintain strong links to the past.

Conclusion

The name Jaipur conjures up images of the eighteenth century walled city, with wide avenues,
bustling bazaars and Mughal-Rajput vocabulary as envisioned by its founder Sawai Jai Singh
II. However, Jaipur’s heritage goes far beyond its eighteenth century beginnings. Intellectual
discourse for Jaipur has focused extensively on its planning and urban form, its rich repertoire
of Mughal Rajput architecture and even on its colonial linkages. However, the dramatic
changes that have shaped modern Jaipur’s architectural identity need detailed exploration. A
wide repository of buildings in Jaipur has come up only within the last century and these
continue to influence the present day architectural expression of new buildings.

The emphasis on Jaipur’s heritage has also been primarily on the walled city, with some
remarkable initiatives undertaken by the local and state government authorities. A Heritage
Management Plan which recognises the historic precincts of the walled city has been included
within the Master Plan for Jaipur. At the same time, there is a gap in addressing the
contributions of the twentieth century to Jaipur’s architectural heritage. There is an immediate
impact of the events surrounding India’s independence, the decision to name Jaipur as the
capital of a unified Rajasthan and the subsequent expansion of the city. These structures
represent an important phase in Jaipur’s history as it struggled between its own glorious past
and an uncertain future and continue to inform Jaipur’s architectural tradition.

Selected Bibliography and References

 BENN, R.A.E. (1916) Notes on Jaipur (Second Edition). Jaipur.
 JACOB, S.S. (1977) Jeypore Portfolio of Architectural Details, Parts I-VI. Varanasi:
Indological Book; republished Delhi: Shri Rameshwar Singh for Bhartiya Publishing.
 JAIN, S. (2004) Havelis: A Living Tradition of Rajasthan. Gurgaon: Shubhi
Publications.
 JAIN, S. (2010) Jaipur as a recurring renaissance. In: INTBAU India (ed.) New
Architecture and Urbanism: Development of Indian Traditions. New Delhi: INTBAU.
 JAIPUR STATE PUBLIC WORKS DEPARTMENT (1920-1949), Annual Report of
Jaipur City. Jaipur.
  METCALF, T.R. (1984) Architecture and representation of India: 1860-1910.
Representations. University of California Press, No. 6 (Spring), pp. 37-65.
 METCALF, T.R. (1989) An Imperial Vision: Indian Architecture and Britain’s Raj.
Boston: Faber and Faber.
 PAREEK, N.K. (2004) Jaipur: Royal Court and the Seraglio. Jaipur: Subodh Sahitya
Sadan.
 ROY, A.K. (1978) History of the Jaipur City. Rajasthan: Manohar Publications.
 SARKAR, J. (1984) A History of Jaipur. New Delhi: Manohar Publications.
 SACHDEV, V. and TILLOTSON, G.H.R. (2002) Building Jaipur-The Making of an
Indian City. London: Reaktion Books.
 SCRIVER, P. (2007) Empire building and thinking: The Public Works Department of
British India in PRAKASH, V. and SCRIVER, P. (eds.) Colonial Modernities:
Building, Dwelling and Architecture in British India and Ceylon. Oxford: Routledge.
 SINGH, H. (1986) Jaipur and its Environs. Jaipur: Dundlod.
 STERN, R.W. (1988) The Cat and the Lion: Jaipur State in the British Raj. Boston:
Brill Academic Publishers.
 TILLOTSON, G.H.R. (1989) The Tradition of Indian Architecture: Continuity,
Controversy and Change since 1850. Delhi: Oxford University Press.
 TILLOTSON, G.H.R. (ed.) (1998) Paradigms of Indian Architecture: Space and Time
in Representation and Design. Surrey: Curzon Press.
 TILLOTSON, G.H.R. (2001) Stones in the Sand: The Architecture of Rajasthan.
Mumbai: Marg Publications.
 UNESCO and JAIN, S. (2010) Walking into the Microcosm of Jaipur (Concept Paper,
Indian Heritage Cities Network Series). New Delhi: UNESCO and IHCN.
Notes

i
The Jeypore Portfolio of Architectural Details is a compendium of carefully selected architectural elements
from historic building in North and West India, compiled by Sir Samuel Swinton Jacob. It has been used as a
reference for architectural design in Jaipur for several iconic buildings.
ii
The definition of the Indo-Saracenic style was at best a loose categorisation of buildings which attempted to
blend western planning principles with ‘Indian’ details. The “Indo-Saracenic” idiom had found favour among
several British architects. In particular, the Mughal architectural vocabulary and the architecture of the Rajputana
embodied the ideal of the Indo-Saracenic.
iii
By the time Mirza Ismail arrived in Jaipur, he was already a seasoned administrator. He had served as the
Diwan of Mysore for over fifteen years during which time he worked tirelessly to modernise the city
administration.

About the Author

Vanicka Arora is a conservation architect and academic based in Gurgaon. She has been
working with Development and Research Organisation for Nature, Arts and Heritage
(DRONAH) for the past six years and is presently involved in several urban scale
regeneration projects in Jaipur. She is assistant editor for DRONAH’s bi-annual journal
‘Context-Built, Living and Natural’. She is also a visiting faculty member at Sushant School
of Art and Architecture, where she explores context driven design approaches with her
students. She recently co-authored a Training Guide on Disaster Risk Management of
Cultural Heritage in Urban Areas with Dr. Rohit Jigyasu which was published by the
Ritsumeikan University, Kyoto.