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TRANSFORMATION OF GREEN AREAS IN URBAN LANDSCAPE OF LUCKNOW:

Need for Holistic Intervention with respect to River Gomti

Article · May 2015

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TRANSFORMATION OF GREEN AREAS IN URBAN LANDSCAPE OF
LUCKNOW: Need for Holistic Intervention with respect to River Gomti

Dr. Ritu Gulati Dr. Vandana Sehgal

Assistant Professor Associate Professor
Faculty of Architecture, AKTU Faculty of Architecture, AKTU
Lucknow. 226007 Lucknow. 226007
rtu.gulati@gmail.com sehgal_vandana@hotmail.com

Abstract:
The relationship between open and built areas in Lucknow have seen numerous transformations. From the
traditional interwoven open-built spatial network essentially responsive to River Gomti these green areas have
been ruthlessly disfigured by British after the first war of independence. This mutilation combined with a new
“picturesque” sensibility changed the attitude to public urban landscape, their use and response to the riven even
in post-independent India. Those vestiges are visible in contemporary design and positioning of open spaces vis-
à-vis the built even today. There is a need for retrospection and identification of aspirations of a contemporary
Indian society groping for its roots in a post-modern world. This paper shows how the evolution of the city has led
to the transformation of the green areas at the urban level. It also explores the suitable avenues, approaches and
paradigms required to use the open urban green areas strategically for enhancing the imageability, usability and
heritage value of Lucknow which would lead to the strengthening of the identity of the city spatially and globally.

Keywords: Lucknow; Open-Built; River Gomti; Heritage; Landscape; Identity; Historical; Colonial; Post-
Independence; Contemporary.

Introduction: Lucknow is a historical city and has had many layers

of developments in terms of architecture, religion, politics etc. It is
now an amalgamation of a densely built old core and upcoming
“planned” developments. The green areas of the urban landscape of
Lucknow have been transformed, at times mutilated, and mostly
overtaken by the changing political will coupled with insensitive and
short-term urban solutions to the fast-growing population pressure Fig 1: Open built spaces in Lucknow
on the city. The periodic master plans make ample arrangements to before 1858. Source: Alkazi 1988 pg 22
compensate for this loss of open spaces at varied isolated locations,
taking care of statistical norms. However the question remains
whether we are addressing the varied needs of the diverse inhabitants
in reference to these transforming green areas and do these areas
contribute suitably to the cultural identity of the city. To comprehend
the present day scenario it is imperative to trace the changing face
of open spaces in the city chronologically.

Growth & development of the city: Lucknow has developed

spontaneously on the banks of the river Gomti. Its origin has been
traced back to king Lakshman followed by multiple rules and Fig 2: Open built spaces in Lucknow after
subsequent influences. It was however during the reign of the 1858. Source: Alkazi (1988) pg 21
Nawabs that the city prospered in the context of culture, arts and
crafts and architecture. The British influence was more evident after
the first war of Indian independence in 1857, when they mutilated
the city to comply their standards of safety, cleanliness and security
but led to the disturbance of existing coherent urban fabric. Their
purposefully inserted through-fares and buildings resulted in loss of
the well-articulated green spaces and their connections envisaged by
the Nawabs. Subsequent development also saw the decline in the
significance of the river’s connection to the urban fabric.
Consequently, contemporary Lucknow does not reflect the earlier Fig 3: Macchhi Bhawan showing masjid.
sensitivity and response of the city to the Gomti. Through varied Source: Alkazi. (1988) pg 61

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influences, Lucknow stands today as an amalgamation of numerous
layers co-existent in contemporary morphology of the city. The
nodes or focal points that lead to the imageability of the city having
changed drastically.
Open spaces during Nawabi Lucknow: One of the first established
settlements in Lucknow was the Panchmahal by the Sheikhs, which
was bought over by the first Nawab Saadat Khan and renovated.
Logically, the siting of this Mahal was on the edge of the river. The
building was fortified and modified considerably over the years.
Neeta Das (2010), recounts an English traveller, Gladwin’s
description that mentions six principal courts around which the
living areas were organized. The state apartments were around a
garden court and a baoli (stepped well). One of the courts, the Husain
Bagh was an enclosed flower garden on the river’s edge. This
proximity to the river might have started with the practical concerns
Fig 4:
of transportation, portable water and accessibility but were addressed
by the built and the open spaces, which were intertwined with each
other.
It can be seen that the later developments in the city were along the
Gomti River and were based on the concept of Bagh that were walled
enclosures including buildings and utility areas. The Bada
Imambara, which was added by Asaf-ud-daula is a religious
complex that is entered by a huge garden forecourt that is bounded
by monumental gateways that extend into periphery walls. The main
buildings of the Imambara and the mosque are around the interior
court, which is again enclosed and forms part of the open-built
connection. The Chhota Imambara complex was designed
symmetrically along one axis that leads from the entrance and
culminates in the Imambara building. The open space around it
strengthens this concept through a channel of water that bifurcates Fig 4 & 5: Macchhi Bhawan before and
and reflects the built alluding to symmetry on both axis. The concept after demolition. Source: Das (2009)
of the jawab is prominent through the built and the open. The
forecourt flanked by gateways on all the four sides, the one from the
river leads to the prime building.
Daulat Khana was another Palace complex built by Nawab Asaf-ud-
daula further east along the Gomti. This complex had many built
structures like the Gol Kothi, Asafi Kothi, Satkhanda, and Picture
Gallery around a stepped tank. The Kothis were separate walled
enclosures, which is an influence of the British lifestyle whom the
Nawabs imitated. Furthermore the Chattar manzil complex consisted
of several distinct buildings like the Bara Chhatar Manzil and Chhoti Fig 6: Bara Imambara Complex Lucknow.
Chhattar Manzil, Farhad Baksh, Lal Baradari, and few smaller Source: Alkazi (1988). Pg 113
palaces that were connected by gardens and pavilions. Sophie
Gordon (1988) quotes Emily Eden, sister of the governor General,
about this complex, who wrote:

Fig 7: Composite image of the Bara & Chhota Imambara complex with adjoining & enclosed open spaces. Source: Alkazi
(1988) pg 136-137)

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 “Such a place! The only residence I have coveted in India. Don’t you remember reading in the Arabian
Nights, Zobeide bets her Garden of Delight against the Caliph’s Palace of Pictures! I am sure this was the
Garden of Delight.” (Gordon, 1988 p.40)
The river was addressed through a summer pavilion on the banks
adjacent to the Farhad Baksh that was connected to the other end by
a bridge pavilion in the river and Kothi Dilaram on the other side.
Farhad Baksh was connected through courtyard gardens across the
draw bridge to the Lal Baradari. The intermingling of the built and
the open was visible throughout the plan. Bada Chhatar Manzil,
which was built adjacent to Farhad Baksh was again connected
through enclosed garden courts and a water body (tank) with Chhota
Chhatar Manzil, Darshan Bilas, and Gulistan-i-eram parallel to the
Lal Baradari. The gardens were divided spatially through hardscape,
pavilions, water bodies, flower beds, trees and the built spaces. They
were almost inter-woven with each other. No one was complete
without the other.
On the other hand the Qaisarbagh complex was a unique garden Fig8:
palace made by Wajid Ali Shah. It was designed as a paradise on
earth.
“The concept of Paradise in the Holy Koran consists of
several terraces of garden, each more beautiful than the last.
The recreation of Pradise as a garden is a tradition passed
onto the Nawabs by the Mughals… Wajid Ali Shah
visualised a palace complex which amalgamated all the
intricacies of a paradise garden.” (Das, 1999)
The built and the open spaces within the complex were all designed
with an intentional hierarchy of spaces. Movement was from one
courtyard to another that was marked by designed and sculptural
gates. One of them called the mermaid Gate led to the Hazrat Bagh
or Chini Bagh, which supposedly had a large tree, under which
Wajid Ali Shah would sit and enact the Krishna Leela, Inder Sabha Fig 8 & 9: Kaiserbagh Complex. Before
and the Raas Leela as he was a great patron of drama, music and fine and after demolition. Source: Das (1999)
arts. It was achieved through three gates in a row, which had a sense
of anticipation before reaching the open space of the court. The main
courtyard, which was the Jilau Khana was enclosed by built liveable
spaces that were almost like a wall. The court had quirky structures
like the Lanka, which was“an architectural folly” that was a basically
a bridge that passed over a small raised pavilions on either side.
Octagonal piers abutted all the corners of the pavilions. There were
small and big baradaris that were placed in the court.
These structures had no conventional function but were Wazid Ali
Shah’s settings for a theatrical cum musical performance while
giving a respite to the users from the harsh climate. These also helped
in humanising the scale the large court. There were vineyards and Fig 10: View of Kaiserbagh Complex Inside
may have been used in theatrical settings but also blended the inside Source: Alkazi (1998)

Fig 11: View of Kaiserbagh Complex Inside with buildings and adjoining open spaces. Source: Alkazi (1998) pg 68-69

3
outside realms. The canals of water criss-crossed the court that
were spanned by decorative bridges, which, along with the small
scaled baradaris became the accents in the landscape of the large
courtyard. The main built structures in the complex were the Sufaid
Baradari, which was a house of mourning, tombs of Saadat Ali
Khan and his wife, Begum Khurshidzadi, residential structures like
the Roshan-ud-Daula and Chaulakhi Kothi that were all walled
and were connected through gateways, which were ornate and at
times with discreet openings. (Gorden, 1988)
Like its counterparts, Sikandarbagh was a walled garden laid in
the charbagh style, which had a central pavilion in the centre. It
was enclosed by high walls that were strengthened on the corners
with bastions that were capped with chhatris, domes and carved
with typical avadh features. The rear had a summer palace or the
Hawa mahal that acted as a barrier or entrance for another garden
court. In Lucknow, not only were the courtyards within the earlier Fig 12:
palaces designed like gardens with fruit trees, flowing water
fountains, and fragrant flowers, there were many more walled
gardens as independent entities all over the city and countryside.
These included the Charbagh, Lal Bagh, Alam Bagh, Aish Bagh,
Vilayati Bagh, Musa Bagh, among others.
The Palace complexes during this time addressed the river and
were interconnected with each other through courtyard gardens
and maidans, that were used for public recreation like the
patangbazi (kite flying) or the cock-fighting. These open spaces
were used for temporary bazars also. This maze of open and built
spaces had its own logic and hierarchy that was, at times visible
and at times inadvertent and mysterious. River formed an
important reference in all these complexes. In fact, while
traversing on the river downstream, one saw the Hussainabad
Imambara, and the Rumi Darwaza and how it framed the Bada Fig 12 & 13: Schematic Diagram of Sikandar-
Imambara complex. This connection was only visible from the Bagh before and after 1858. Source: Students
river. Then the Auranzgzeb’s mosque on one hill and the Faculty of Architecture UPTU (2010-2011)
Panchmahalla gateway on the other hill was visible. The journey
proceeded under the stone bridge to see the cultivated area and the
bazar leading to the residency. Then came in view, the Farhad
Baksh and the Chhatar Manzil and the Kothi Dilaram, with its
riverbank gardens, on the opposite side and connected through a
pontoon bridge. Then came the Motimahal, which comprised of the
Shah Manzil and Mubarak Manzil, which were like grandstands to
view animal fights on the opposite open space across the river.
Further down, the dome of Shahnajaf Imambara came in view
followed by Qadam Rasool on a mound. After passing through Fig 14 Sikandar- Bagh after the first war of
fields and orchards, one comes across Constantia. The journey independence. Source: Alkazi (1988)
ended on Kothi Dilkusha on the outskirts of the city. (Jones, 1988)
With the British aggression on Lucknow post 1857, the city was
ransacked and mutilated beyond recognition. All these palace
complexes were bisected by thoroughfares and many buildings were
demolished in the process. A new road map of Lucknow was
established. The major consequences of this was the total
annihilation of the riverfront with the built structures and open areas
and imposition of a new order, which was divorced from traditional
spatial schema. Few remnants of the Nawabi era that remained were
isolated and it was difficult to comprehend their juxtaposition and Fig 15: An Artists impression of residency
relevance in the city fabric. complex: Source: Alkazi (1988) pg 195

4
Colonial intervention: Colonial rule in India and Lucknow had
established the significance of the picturesque garden inspired from
the English landscape that formed a setting for the magnificent
statuesque buildings of colonial architecture. Essentially different
from their Nawabi counterparts these green areas or parks were
based on the idea of nature, relaxation and recreation.
Consequentially colonial gardens and similar green areas were
guided by Victorian concepts of memorial places where collection
of varied plants and flowers was planned along with ambience for
private introspection or exquisitely planned picnic lunches of the
British. The underlying objective also was to keep the dirt and
Fig 16: Painting of Constantia with River
squalor of the existing environment away from these havens. Gomti. Source: Web <http://www.columbia.edu/
Moreovr they were also barricaded or screened from the so called itc/mealac/pritchett/00routesdata/1700_1799/ >
crowded areas of the native city including its murkiness and
pollutants. It was also done so probably as by then world over parks
and open areas were thought to be the best solutions for providing
relief in urban dense areas.
An important colonial stronghold in Lucknow, the Residency was
sited on one of the three high grounds in the topographical terrain
of the city. The Aurangzeb’s mosque and the Machhi bhawan on
the other two had been built long back. This was a woodland where Fig 17: Charbagh Station Lucknow.
isolated buildings were added in Palladian style. The open area Source: Web <http://upload.wikimedia.org/
around the built areas was treated as a foreground or the background wikipedia/commons/8/8a/Charbagh_Railway_Station,_
where the built was placed like a picturesque setting. The winding
pathways connected the built structures to each other. Manicured
lawns with planned flower beds around the built gave way to dense
unkempt forest. After the mutiny of 1857, when the residency was
almost destroyed, many sculptural tombstones became part of the
lawns around the church. The earlier connection of the residency
through the Kaptan Bazar to the river was also destroyed when the
road parallel to the Gomti was constructed bifurcating the
Qaisarbagh, Chhatarmanzil, Machhi Bhawan and Daulat Khana.
During the British time, many educational institutions like the King
George Medical College, The Lucknow University, The Fine Arts Fig 18:Present Residency Complex. Source:
College and the Constantia were established. They were also web <http://i1.trekearth.com/photos>
planned as isolated buildings connected through formal lawns as
open spaces. The Constantia was built by Claude Martin on the
banks of the river Gomti and has allusions to a Palladian plan but a
queer façade that defies any architectural style. It sits on a podium
on the river and the open gardens are on the rear side. Symmetrical
garden layout is a setting for the neoclassical rear façade, with a
row of palms framing the entrance. The open space again acted as
a foreground for the built and not interwoven with it.
Fig 19: Dilkusha Kothi & surroundings.
Post independent interventions (1947 to 2007):
Source: Alkazi (1988) pg 177
Even after independence the colonial hangover remained in India
for quite some time. The concept of the public hygiene movement
along with parks being used as a remedial solutions for the fast
growing and dense urban environments continued to prevail in post-
independent designs. The public parks in Indian cities along with
Lucknow became valuable tactics to attract new developments and
also checking the illegal encroachments by squatters and the
homeless. So while the colonial parks were designed to keep out the
native Indians, these post-colonial versions attempted to keep out
the poor, downgraded squatter, hawkers and even the rural Fig 20: Shaheed Smarak along the River
emigrants. The model of the colonial garden provided means for Gomti. Source: authors

5
class segregation rather than contributing to an all- inclusive public
realm that would have been truly representative of a democratic
Indian society. Moreover while exploring their connection to the
river it could be seen that at places there was a response to address
the waterway whereas in some that were located in the pristine
cantonment areas Gomti was just another nallah meant to be avoided
and stay quarantined from.
Most post independent design of gardens and parks in the city can be
divided into four types on basis of activity or purpose. One were the Fig 21: Kudiya Ghat along river Gomti.
gardens as a collection of zoological or botanical specimens that were Source: authors
propagated in form of the botanical gardens or Kukrail forests and
the Lucknow Zoo. The second category is of memorial parks that
have been built to commemorate people or incidences from history.
These include the Jhandewala park, the Shaheed Smarak, Ram
Manohar Lohia park, Janana park, Dayanidhan park, Virvan
Laxman Park, Sarojini Naidu, Globe Park (honouring Dr. Rajendra Fig 22: Section of Kudiya Ghat with Gomti.
Prasad), GPO (remembering Vallabh Bhai Patel and Mahatma
Gandhi) among others. The third category has been of the green
areas that were developed for specific religious or cultural rituals
including the Kudiya Ghat, River Park, and the Karaunda Ghat. The
fourth category has been for amusement related children parks with
recreational activities like the Buddha Park, Haathi Park, Swarna
Jayanti Park, Gulab Vatika, Kasturba Park, and Shanti Upvan
among others. Some like Surajkund Park were based on solar system
that also had a tank. Fig 23: View of Ram Manohar Lohia Park.
Source for Fig 22 & 23: Students Faculty of
In the aforementioned examples, the response to river Gomti Architecture 2010-11)
remained diverse although most amusement parks were consciously
built along the river for an increased connectivity. Nevertheless most
green areas with the cultural or religious category addressed the river
more for ritualistic reasons. After the flood of 1971 and later 1983
the embankments along the river were built cutting off the city areas
from this water way and now instead of facing it we had our backs
towards it. Over time it started becoming the dump yard that not
many could see.
Subsequently, due to new political leanings, the growth of
Fig 24: Haathi Park. Source: authors
the city started happening towards the south easterly direction that
had no cognizance of the river. The later parks that came up were in
the newly developed areas of the city again in form of memorials
commemorating individuals associated with various political parties
for political mileages. The first casualty in this process was the river.
Moreover these designs still harboured the colonial sentiment even
after almost seventy years of independence. The Ambedkar Park,
Lohia Park, Kanshiram Smarak, Janeshwar Mishra park among others
are all made on the picturesque model where gated enclosures Fig 25: Ambedkar Park.
venerated individuals relevant to a select group with exorbitant
imported plants and structures. Despite being close to the river they do
not address it sufficiently while separate efforts are on to beautify the
river corridor totally unlinked to city’s built and unbuilt.
While the Ambedkar Udyan, Kanshiram memorial and
Smarak in particular have been set up as samajik parivartan sthal or
site for social change they have come across as symbolic tools for
moralistic statements and political pomposity. They consists of
innumerable statues, canopies, murals, buildings and gateways with
minimal green areas. So much so that this extensive use of stone has Fig 26: Ambedkar Park. Source for Fig 25 &
26: Design Associates Inc. Delhi

6
modified the microclimatic conditions of that area and is extremely
extravagant to maintain and upkeep. Resultantly it sees very less
footfall during hot days and winter evenings.
Contrastingly the Lohia park situated close by is a collection
of lush vegetation with soothing water bodies. It also however has not
been able to refrain from the monumentalisiation of specific
individuals representing a specific party. Though more usable than its
counterparts it does not have significant activity happening in the
place resulting in lack of it forming the city’s cultural identity.
Adjoining the Lohia Park another upcoming garden named after a
popular Samajwadi leader has ambitious proposal including two Fig 27: Plan of Ambedkar Park. Source:
huge ponds, theme parks besides other sport activities. Yet again the Design Associates Inc. Delhi
connection to river Gomti is ignored and neither does it
commemorate or celebrate the culture or identity of the city. The Fig 23: Haathi park. Source:authors
Kanshiram Smarak on the outer periphery of the city does attempt to
serve as a contemporary interpretation of the maidan for serving
large scale gatherings in Melas and Mahotsavas but beside these
activities they are hardly visited and lie neglected
Conclusions: The traditional Indian architecture of Lucknow was
about the network of open and built spaces, where the hierarchy of
open spaces was visible in the internal private courtyard, to a court Fig 28: Ornate stone Elevation in Ambedkaar
that was more public, which lead to the maidans at the urban level Park. Source: Design Associates Inc. Delhi
mainly transitions between complexes and opened to the river bank.
They were utilised well due to their location and sheer juxtaposition
of open areas abutting the built. Thus, their increased relevance in
everyday life and routine as varied activities required varied spaces
of different character and magnitude. Earlier baghs were enclosed
area of shady trees and maidans were places where children played
and cultural and religious festivities were held. Bigger area were used
for larger ceremonies like the coronations and king’s address.
Colonial intervention totally changed the design of these open spaces
to chaste untouched manicured gardens where the bada sahebs Fig 29: View of Lohia Park from Inside.
would spend their evenings. Mostly, these open spaces became a Source: authors
setting or background/ foreground for buildings and was more
picturesque and lss activity oriented.
Post independent India had the colonial hangover and the town
planning schemes came up with the customary front gardens as a
setback. The large urban open areas were designed to commemorate
the leaders and hold rallies. After independence democratic setup
came up which gave some breathing lungs to the city mostly along
the river. Although their value diminished as their connection to the
river was lost due to the building of the embankment along the river, Fig 30: Lohia Park. Source: Lucknow
which cut their view completely because of its height. Despite this Development Authority
development, the residual spaces that came up near these gardens
encouraged the activities of kite flying, melas etc. They served as
maidans for all practical purposes. If one observes the master plan of
Lucknow over the years, one notices that there is this conscious or
unconscious effort of the municipality or administrative planners to
keep the garden away from the reach of a common man. Most
“parks” would have signage like “Do Not walk on the grass”. The
more contemporary efforts in landscape of open spaces like Lohia
Park, the Ambedkar Memorial have ample spaces for activities but
somehow, the public activity happening inside is limited. It may be Fig.31 Janeshwar Mishra Park.
because of their vast expanse that is not scaled to human comfort or Source: Lucknow Development
the unshaded open areas that are uncomfortable and inhabitable for Authority
most summer months with extreme sun. It is also possible that there is a

7
tendency to shift them and position them away from the more populated built areas of the city, where they are
most required. As a consequence they are not the magnets around which life, culture, religion, daily activities of
the people of Lucknow revolves.

Fig 32. Layer of existing green spaces on Lucknow’s Google image:

Source: Students of Faculty of Architecture UPTU. (2014-15)

The Proposed Approach: In light of the aforementioned discussions, Lucknow needs to rethink its approach in
the design of urban green spaces that are more people centric, respond to the heritage and connect with the river.
The proposal should incorporate the connection of the city to the river by connecting the open spaces of the heritage
buildings visually and physically to the river promenade to come up with a truly holistic lifeline that preserves the
historical and also is embedded in the concept of Indian space making still relevant in the contemporary context.
A place to be used and lived in rather than just be picturesque. The new paradigm should not be of isolated patched
with negligible activity but support multi-functional activities enhancing the cultural ethos of the city. Integrated
with the built heritage, it should have maidans for playing local sports, encourages local activities, have thematic
gardens, trails and yet keep a touch with the past. Climatically, Lucknow needs shaded and semi shaded open
spaces that can be used throughout the day with ample wind movement in the humid months. The micro levels of
designing will have to incorporate the outside with the inside, the enclosure with openness, and the light with
shade. So, instead of designing mammoth green areas on the periphery of the city, could we not integrate the left
over open spaces of the Chhataranzil complex, Imambara complex, Moti Mahal complex and the residency with
the existing ghats to develop all inclusive, active green open spaces on the riverbank. This strategy would bring
river Gomti into the foreground once again making the major connection between the historical and the
contemporary and impart the city its much needed pride and lifeline.

8
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