Colonial Architecture Full

History Of Architecture 18ARC54
Ar.Prashansha A Mathur.
© 2020, Nitte School of Architecture, Planning & Design, Bengaluru. All rights reserved to NITTE SAPD.
COLONIAL ARCHITECTURE IN INDIA
Colonialism is the establishment of a colony in one territory by a
political power from another territory, and the subsequent
maintenance, expansion, and exploitation of that colony. The
term is also used to describe a set of unequal relationships
between the colonial power and the colony and often between the
colonists and the indigenous peoples.
The European colonial period was the era from the 16th century
to the mid-20th century
when several European powers established colonies in Asia,
Africa, and the Americas and India.
At first the countries followed a system designed to strengthen the
home economy at
the expense of rivals, so the colonies were usually allowed to
trade only with the mother country. By the mid-19th century,
however, the powerful British Empire gave up the system and
trade restrictions and introduced the principle of free trade, with
few restrictions or tariffs.
Ar.Prashansha A Mathur
EARLY COLONIAL ERA

• India was the source of many valuable riches. Merchants
from all over the world travelled vast distances to
purchase these goods for their local trade.
• This meant that explorers and businessmen from all over
the globe, and particularly Europe, were coming in and out
of India on a regular basis.
• Because of rivalry amongst the various European
countries, the Dutch, French and English soon began to
arrive in India in search of power and domination. This
began in the early 1600’s.
• Colonial India is a part of the Indian subcontinent which
was under the control of European colonial powers,
through trade and conquest. The first European power to
arrive in India was the army of Alexander the Great in
327–326 BC.
• The spice trade between India and Europe was one of the main types of trade in the world economy and was the main
catalyst for the period of European exploration.
• Later, trade was carried between Indian states and the Roman Empire by Roman sailors who reached India via the Red
Sea and Arabian Sea.
• Only a few years later, near the end of the 15th century, Portuguese sailor Vasco da Gama became the first European to
re-establish direct trade links with India since Roman times.
• In 1498, Vasco da Gama successfully discovered a new sea route from Europe to India, which paved the way for direct
Indo-European commerce.
• The Portuguese soon set up trading posts in Goa, Daman, Diu and Bombay.
• The next to arrive were the Dutch, the British (who set up a trading post in the west coast port of Surat in 1619) and the
French.
• The colonial era in India began in 1502, when the Portuguese Empire established the first European trading centre at
Kollam, Kerala.
EAST INDIA COMPANY
• British policy in Asia during the 19th century was chiefly concerned with expanding and protecting its hold on India,
viewed as its most important colony and the key to the rest of Asia. The East India Company drove the expansion of the
British Empire in Asia.
• The East India Company (EIC), more properly called the Honourable East India Company, was an English, and later (from
1707) a British joint-stock company, formed to pursue trade with the East Indies but that ended up trading mainly with the
Indian subcontinent.
• The company rose to account for half of the world's trade, particularly trade in basic commodities that included cotton,
silk, indigo dye, salt, saltpetre, tea and opium. The company also ruled the beginnings of the British Empire in India.
The following are the principal Characteristics of Indo-Saracenic Buildings
• Onion (Bulbous) Domes • Many Miniature Domes, or Domed Chatris
• Overhanging Eaves • Towers or Minarets
• Pointed Arches, Cusped Arches, or Scalloped Arches • Harem Windows
• Vaulted Roofs • Open Pavillions
• Domed Kiosks • Pierced Open Arcading
The leading Architects of 1ndo-Saracenic Buildings in India were

• Robert Fellowes Chisholm
• Charles Mant
• Henry Irwin
• William Emerson
• George Wittet
• Frederick W. Stevens
The prominent Buildings in the lndo-Saracenic Style types include
• Courts and other Civic Buildings
• Clock Towers
• Government Colleges and High School Buildings
• Railway Stations
• Art Galleries
• Palaces of the INDIAN Maharajas (palace of maharaja of Mysore)
COLONIAL ARCHITECTURAL INFLUENCE IN INDIA

European colonist brought with them to India the concept of ‘world
view’ and a whole baggage of history of European architecture. Neo –
classical, gothic, Romanesque Renaissance. The initial structures were
utilitarian warehouses and walled trading posts, giving way to fortified
towns along the coast lines.
The Portuguese adapted to India climatically the Iberian galleried patio Se Cathedral Goa
house and baroque churches of Goa. Se cathedral of Goa and arch
of conception of Goa were built in typical Portuguese gothic style. The
Saint Francis church in Cochin built by Portuguese in 1510 is
believed to be the first church built by the Europeans INDIA
The Portuguese also built the fort of Castella near Mumbai and added
fortifiactions to the B built by Bahadur Shah, The sultan of Gujarat in
Bassien fort is famous for Matriz(Cathedral of s The corinthian pillared
hall and the port de miDe Aguardaassien fort 1532. Thet. joseph).r( sea
gate)
The Danish influence is evident in Nagapattanam , which was laid out in sqaures and canals and also in Tranquabar and
Serampore. The French gave a distinct uraban design to its settlements in Pondicherry by appyling the cartesian grid plans
and classical architectural patterns. The church of secred heart of Jesus, The eglise de notre damede anges and the eglis de
notre dame de lourdes at Pondicherry have a distinct French influence.
However it was the British who left a lasting impact on the Indian Architecture. They saw themselves the successors to the
Mughals and used architecture as a symbol of power. The British used various architectural styles – Gothic, Imperial,
Christian, English Renaissance and Victorian being the essential.
The first buildings were factories but later courts, schools,municipal halls and dak Bungalows came up, which were
ordinary structures built by garrison engineers.
Deeper concern with architecture was exhibited in churches and other public buildings . Most of the buildings were
adaptations of the buildings designed by leading British Architects of that time like Wren , Adam, Nash and others in
London and other places. For instance the government house of Kolkatta was built by Charles Wyatt modelled on
the kedleston hall of Derbyshire. And the pachchiappa ‘s hall in Chennai is modelled on the athenium temple of
Theseus.
• Unlike Europe the buildings in India were built mostly with brick and stuccoed with
lime or chunam sometimes the facades were incised to look like stones, however
some buildings in later period were also built in stones. Churches which were symbol
of colonialism were often built in great style, based on London Prototypes, several
churches evolved with variations as highly original works.
• Neo-Gothic style flourished in different parts of India under the British, inspired by the house of Parliament in
London.
• Colonel Thomas Cowper built the town hall in Mumbai during 1820 to 1853. Governor Sir Bartle Frere tried to
give a truly imperial ambience to the city of Bombay.
• During his reign the old town walls were broken down and the gateway of India was built in Gothic style of
architecture, the secretariat university library, Rajabai tower, telegraph office, and Victoria terminus all
followed the Victorian Gothic style similar to buildings in London.
• Undoubtedly the Victoria terminus, designed by the architect Fredrick William Stevens modelled on St. Pancras Station,
is the finest example of Gothic Architecture with a subtle hint of Indo-sarsenic motifs, an extravaganza of
polychromatic stone, decorated tile marble and stained glass. Stevens also designed other buildings like the Church gate
Terminus and Municipal building opposite the Victoria Terminus.
• The passing of power from the East India Company to the British Crown, the rise of Indian nationalism and the
introduction of railways were the watersheds in the British Colonial Indian architectural history. New materials like
concrete, glass, wrought and cast iron opened up new architectural possibilities. The British also started
assimilating and adopting the native Indian styles in the architecture. All these factors led to the development of Indo-
sarsenic architecture towards the end of the 19th century. Victorian in essence it borrowed heavily from the
Islamic style of Mughal and Afghan rules. In fact it was a pot pouri of architectural styles, a hybrid style that
combined in a wonderful manner diverse architectural elements of Hindu and Mughal with Gothic cusped arches,
domes, spires, tracery, minarets, and stained glass.Indo-sarsenic style was Indian on the outside and British inside
since the façade was built with Indian touch while the interior was solely victorian.
• F.S. Growse, Sir Swinton Jacob, R F Chishlom and H. Irwin were the pioneers of this style of Architecture.
Outstanding examples of this style of architecture include the Law Courts, Victoria memorial hall, presidency
college and senate house of Chennai, the Maharaja’s Palace at Mysore and M.S. University.
• The Architecture of New Delhi was the crowning glory of the British Raj. The British Viceroy made Sir Edwin Lyutens
responsible for the over all plan of Delhi. He was specifically directed to “harmonize externally with the traditions of
Indian art”. Thus the Western architecture with oriental motifs was realised with chajjas jalis and chatris as stylistic
device in the Viceroy’s house(Rashtrapati Bhavan). Herbert Baker added the imposing buildings of the south block
and north block, which flank the Rashtrapati Bhavan.
P B No. 6404, Govindapura, Gollahalli
Off International Airport Road NH-7, Yelahanka
Bengaluru - 560 064, Karnataka, India.
T : +91 80 2216 7900 / 903 / 904

F : +91 80 2216 7902
M : +91 99722 41144
E : nittesoa@nitte.edu.in
director_nittesoa@nitte.edu.in
W : www.nittesoa.ac.in
MODULE 05
CALCUTTA
ST. WILLIAM FORT, CALCUTTA

• Fort William is a fort in Calcutta, built during the early years of British India. It is located on the eastern
banks of the River Hooghly, the major distributary of the River Ganges. It extends over an area of 70.9
hectares.
• The fort was named after King William III. In front of the Fort is the Maidan, the largest park in the city.
• There are two Fort Williams. The original fort was constructed by the British East India Company from 1701-
1706. The original building had two stories and projecting wings.
• In 1756, the Nawab of Bengal, attacked the Fort, temporarily conquered the city, and changed its name
to Alinagar. This led the British to build a new fort in the Maidan.
• Repair and reconstruction was started post the battle of Plassey.
• The area around the Fort was cleared, and the Maidan became "the Lungs of Kolkata".
• It stretches for around 3 km in the north-south direction and is around 1 km wide.
• The Old Fort was repaired and used as a customs house from 1766 onwards.
• Today Fort William is the property of Indian Army. Much of Fort William is unchanged, but St Peter's
Church, which used to serve as a chaplaincy centre for the British citizens of Kolkata, is now a library for
the troops of HQ Eastern Command.
• The Fort is built of brick and mortar in the shape of an irregular octagon with an area 5 km².
• Five of its sides face landward, and three towards the Hooghly River.
• The design is that of a star fort, suited to defence against cannon firing solid shot and dates from before
the advent of explosive shells.
• A dry moat 9 m deep and 15 m broad surrounds the fort. The moat can be flooded by opening a sluice
from the river but is designed as an area in which to use enfilade (or "flanking") fire against any attackers
reaching the walls.
• It was never besieged after 1756. It consisted of Huge granary, Stores etc.
• There are six gates: Chowringhee, Plassey, Calcutta, Water Gate, St Georges and the Treasury Gate.
ST. PAUL’S CATHEDRAL, CALCUTTA

 The Cathedral was built to the Gothic Revival style by British Military Engineer Major William Nairn Forbes
and another architect named CK Robinson.
 St. Paul's Cathedral was the first 'Episcopal Cathedral Church' in an oriental country.
 The foundation stone was laid in 1839 and was completed in 1847.
 A massive earthquake led to the collapse of this tower. It was renovated but, in another earthquake of
1934, it was adversely affected again.
 The main cathedral hall is large, with beautifully carved wooden pews and chairs along with the
stained-glass window to the west, the intricate coloured artwork covering the eastern walls, the two
marvellous Florentine frescoes.
 The church is 247 ft. in length and 81 ft. in width and the tower is 201 ft. high.
 The Cathedral is set within huge grounds with several ancient trees.
 The interiors of the church is a feast for the eyes, with excellent floral designs on the walls. The life and
work of St. Paul is vividly described in pictures.
18ARC 5.4 HISTORY OF ARCHITECTURE-V NOTES (SHRUTHI A MURTHY) DSCA 72

VICTORIA MEMORIAL , KOLKATTA
 Victoria Memorial, Kolkata was built between 1906 and 1921 to commemorate Queen Victoria's 25-year
reign in India.
 After the Sepoy Mutiny of 1857, the British government gathered the reins of control of the country
directly, and in 1876 the British parliament made Victoria the Empress of India. Her reign ended with her
death in 1901.
 The design is in the Indo-Saracenic revivalist style. This style uses a mixture of British and Mughal elements
as well as Venetian, Egyptian, Deccani and Islamic architectural influences.
 The forms in the museum like the great dome, clustered with four subsidiary, octagonal domed chattris,
the high portals, the terrace and the domed corner towers speak of a splendid richness in architecture.
 The Memorial is situated on 64 acres of land.
 The massive hall is 338 feet (103 m) by 228 feet (69 m) and rises to a height of 184 feet (56 m).
 Architect Sir William Emerson laid down the actual plan of the memorial. The design of the structure
represents a fusion of British and Mughal architecture.
 White Makrana marbles were used in the construction of Victoria Memorial Hall and the building was
inaugurated in the year 1921.
 It houses a museum containing a large collection of memorabilia relating to Queen Victoria and the
British presence in India as well as other exhibits. The Memorial also contains a Royal Gallery housing a
number of portraits of Queen Victoria and Prince Albert and paintings illustrating their lives.
 The design corresponds in the forms: the great dome, clustered with four subsidiary, octagonal domed
chattris, the high portals, the terrace, and the domed corner towers.
 The external sculptures, one of which on the north side depicts a lion’s head with water flowing out of it
and passing into four troughs representing the four great Indian rivers – the Ganges, the Krishna, the
Indus and the Jumuna – thus symbolising the life-giving work of Britain in India.

 The Victoria Memorial's architect was William Emerson (1843–1924), president of the Royal Institute of
British Architects.
 The gardens of the Victoria Memorial were designed by Lord Redesdale and David Prain. Emerson's
assistant, Vincent J. Esch designed the bridge of the north aspect and the garden gates.
GOVERNER’S HOUSE, CALCUTTA

 Government house was built in 1803, now Raj Bhavan (Governer’s house) in Kolkatta
 After the transfer of power from the East India Company to the British Crown in 1858, it became the
official residence of the Viceroy of India
 After the shifting of capital to Delhi this was used as official residence of Lieutenant Governor of Bengal.
 In 1892, the Otis Elevator Company installed the first elevator in India here
 It was designed by Capt. Charles Wyatt and on the lines of the Curzon’s family mansion of the Kedleston
Hall of Derbyshire and follows a Neoclassical style with distinct Baroque overtones.
 The structure is 3-storied and 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 natural ventilation in the spaces while permitting views across the
gardens. The entire compound is surrounded by a balustraded wall with grand arched gateways.
 It covers an area of 1.93 acres and is surrounded by a compound covering an area of 27 acres. The Raj
Bhavan has 6 gate ways one each on North & South and 2 each on East & West. The 4 gates on the East
& West have a grand arch ways topped with a lion. The minor archways on the side are topped with
Sphinx.
 It consists of huge central area and large halls with curved corridors on all four sides radiating to
detached wings, each constituting a house in itself. There are about 60 rooms beside Drawing and dining
rooms, public halls, verandahs, porticos, banquets & halls and the Throne room.
 Council Chamber: The Governor General used the Council Chamber to preside over the executive and
later the Legislative Council.
 The Marble Hall: Located on the ground floor is used for state and private meetings.
 The Banquet Hall consists of rows of Doric pillars on each side, flowering chandeliers and black
Mahogany tables

BOMBAY
TOWN HALL, BOMBAY

 In 1811, James McKintosh, then Recorder of Bombay and resident of the Literary Society of Bombay,
revived an earlier suggestion of a Town Hall for the city.
 The society intended that this building should house not only the civic offices, but also a library and a
museum along with civic offices. The Literary Society raised a fund of Rs. 10,000 through a lottery.
 When this turned out to be insufficient, the government had to be persuaded to bear the costs of
construction; a process that took ten years.
 The Town hall was colloquially called as 'Tondal' during the 19th century.
 Its entrance stands adorned with Ionic columns. The material for its construction was brought from
England and the total cost of building came to somewhere about 500,000 pounds.
 Designed as per the neo-classical style, the building of Town Hall is articulated with impressive columns
and Grecian porticos.
 The Town Hall was designed by Colonel Thomas Cowper.
 With a span of 200 feet and height of 100 feet, the structure was inspired by Greek and Roman styles of
architecture. The entrance of the building is adorned with a Grecian portico and 8 impressive Doric
styled pillars.
 There is a flight of 30 steps leading to the entrance of the Town Hall. The entire construction was made of
stones brought from England and was beautifully designed in a neo-classical fashion.
 Within the building, the floors are covered in wood, the staircases are spiral and the terraces are
adorned with beautiful wrought iron.
 The hall boasts of a collection of remarkable marble statues of Indian patrons of the 19th century.
CHATRAPATHI SHIVAJI TERMINUS: CST (VICTORIA TERMINUS), MUMBAI

 The Chhatrapati Shivaji Terminus, formerly known as Victoria Terminus Station, in Mumbai, is an example
of Victorian Gothic Revival architecture in India, blended with themes deriving from Indian traditional
architecture.
 The building, designed by the British architect F. W. Stevens, became the symbol of Bombay as the
‘Gothic City’.
 The terminal was built over 10 years, starting in 1878, according to a High Victorian Gothic design based
on late medieval Italian models.
 Its stone dome, turrets, pointed arches and eccentric ground plan are close to traditional Indian palace
architecture.
 It is an example of the meeting of two cultures, as British architects worked with Indian craftsmen to
include Indian architectural tradition and idioms thus forging a new style unique to Bombay.
 Beneath the principal dome are pointed arches, turrets, rose windows and columns with lavish displays of
Neo-Gothic ornamentation and surfaces decorated with sculptures, coloured glass, glazed tiles and
ironwork.
 Under British supervision, carvings were crafted by Indian craftsmen and plants and animal models were
made from flowers. Peacocks, cobras, lions and tigers are among the many creatures decorating the
building and its grounds.
 The plan of Stevens’s station is C-shaped with the dome at the centre and two wings around a garden. Its
north wing is attached to the 365.7m long train shed.

 Originally the north wing held all the waiting rooms (divided by gender and class), toilet facilities and
spaces for refreshments, while the south wing held rooms for station administration, police, a post office
and a library.
 The C-shaped plan of the building is symmetrical and offers a courtyard space in the front.
 Two of its interior spaces are the waiting hall in the North Wing called the Star Chamber (now a space for
booking tickets) and the principal stairwell with its royal staircase topped by the octagonal ribbed dome.
 The Star Chamber is embellished with Italian marble and the vaulted ceiling is decorated with colours like
cyan, yellow and pure gold.
 The principal stairwell is of enormous height, intricately carved pendentives, light entering from the multi-
coloured stained glass windows, and the wide staircase with an wrought iron railing.
 The entrance gates to Chhatrapati Shivaji Terminus carry two columns, which are crowned – one with a
lion (representing Great Britain) and the other with a tiger (representing India).
 The materials used are also a blend of yellow sandstone, limestone, red sandstone and high quality
Italian marble
 The building is a fusion of a variety of architectural features and references: Italian architecture (the
arches from the Doge’s Palace), high Victorian gothic like long spires and strong vertical lines, medieval
touches like turret towers, and traditional Indian architecture seen in its deep corridors
 Whimsical motifs of local flora and fauna have been added, some by local craftsmen.
 It has carvings made in local yellow malad stones blended with Italian marble and polished granite in a
few places.
 The architectural detailing is achieved through white limestone.
 The doors and windows are made of Burma teak wood with some steel windows mounted in the drum of
the octagonal ribbed masonry dome with the coats of arms and corresponding paintings in stained
glass panels.
 There are large numbers of other embellishments which the architect has introduced in decorating the
grand frontage.
 These further include gargoyles, allegorical grotesques carrying standards and battle-axes, and figures of
relief busts representing the different castes and communities of India.

MYSORE
The buildings of Mysore city have been influenced by various styles of architecture and some of the
important styles are;
 Indo – Sarcenic style
 Traditional Hindu style
 Greco – Roman style
 Gothic style
 European Classical style
 Traditional Bungalows
AMBA VILAS MAHARAJA PALACE, MYSORE

• The architectural style of domes of the palace is commonly described as Indo-Saracenic Revival and
blends Hindu, Islamic, Rajput, and Gothic styles.
• It is a three-story stone structure of fine gray granite with deep pink marble domes has a facade with
several arches: two smaller ones flanking the central arch, which is supported by tall pillars and a 145 ft
(45m) five-story tower .
• The palace is surrounded by a large garden. The entrance gate and arch hold the emblem and coat of
arms of the kingdom of Mysore.
• The palace has three entrances: the East Gate (the front gate, opened only during the Dasara and for
VVIPs), the South Entrance (for public), and the North Entrance (usually opened only during the Dasara).
• There are three major exclusive temple buildings within the Old Fort, and about 18 inside the palace
heart building.
 The tower projects up from the rest of the roof-line of the palace like a tower of a Gothic cathedral.
However, on top of it is a large dome, a very typical feature of Islamic/Persian style structures and is
metal gilded.
 Further on top of this dome is a domed Chhatri. That is, a smaller dome supported by slender pillars
projecting up from the large dome.
 Domed Chhatri is a typical Rajput (Rajasthani) architectural feature.
 On the southern and northern ends of the palace are protruding balconies. These resembles that of the
'jharokha' one finds in the Rajasthani architecture. The balconies appear three-storied from outside. One
can see three rows of tall windows one over the other on the balconies. Top of the balcony is with deep
pink stone, that forms a semi dome, while the bottom is supported by a structural feature in the form a
lotus.
 The arches are cusped and Persian in origin. These are supported by massive pillars.
 The main archway opens to a wide passage (elephant gate) that finally leads to the expansive central
court.
 The court mentioned above is open to the sky and an enclosed verandah runs around this court. At
regular intervals are giant window opening to the court. Also at the three sides of the open court are
porches to enter the verandah.

• Just south of this court is the massive marriage hall (Kalyana Mantapa). This octagonal open hall is
brightly decorated. Especially noteworthy are the floor tiles, the balconies , the slender cast iron pillars
and the tinted glass ceiling.
• The whole superstructure of this octagonal shaped ceiling and the pillars were specially made by the
legendary Scottish foundry Walter MacFarlane & Co. Ltd. The tinted glasses making a peacock theme
over the ceiling were brought from Belgium.
• Domes are supported using squinches
• One of the important architectural features under consideration was to make the palace fireproof. So
unlike the old palace lost in fire, stone and metal was used for the superstructures instead of the
traditional woodwork.
• The stress on use of locally available materials is seen. The bulk of the palace is made of hard granite
brought from quarries around the present day Mysore district.
• On the first floor there are two major halls. One is for the public hall and the other is a private audience
hall
• Durbar Hall ( Diwan-e-Am ) is a huge open hall along the width of the palace on the first floor. The
eastern side is open and gives a panoramic view of the garden in front of the palace. The rows of
massive pillars are the special attraction of this hall. On the south and north of the eastern portion are the
galleries for the courtiers.
• The private audience hall called Ambavilasa (Diwan-e-Khas ) is the most decorative of all the areas in
the palace. This is where the golden Throne of Mysore is positioned.
• On the floor , between the pillars are the embedded inlay work - Pietra dura. Various bright semiprecious
stones are embedded on the marble flooring to create interesting motifs.

RAILWAY STATION, MYSORE
• The station was designed by architect D V Narasimha Rao (1889-1975), the founder member of NIE
Mysore. It was opened in 1840
• The facade consists of a colonnade with circular columns and Corinthian capitals
• The entrance consists of a tower with a stunted dome and a finial
• It is G+1 structure with the first floor being covered by sloping roof
• The terminal end of the station is semi-circular
DEPUTY COMMISSIONER’S OFFICE, MYSORE

• The Deputy Commissioner’s Office is set within a vast open area.
• It is dedicated to Sir James Gordon
• On the exterior there is a wide set of steps leading up to the entrance of the building
• It is a G+1 structure with verandahs all around, with arches and Corinthian pilasters
• The structure has very high ceiling in the interiors
• The building is topped by a central dome which is octagonal in shape and placed on an elaborately
designed square drum
• It consists of two halls, 27 rooms that served as offices/chambers.
• Built in 1895, with an unusual double-bulb final resting on an elaborately composed square drum, arches
of different shapes, represents a typically European style.

CITY CORPORATION, MYSORE
 It is Indo-Sarcenic in style
 The central entrance is flanked by two octagonal turrets with a domed chatri and a finial on top
 The central vestibule of the entrance projects from the rest of the façade and the corners are marked by
mini turrets with domes
 It is a 2 storied structure with a balcony and a veranda in the façade which consists of series pointed
arches
 It also consists of cusped arches in the central façade.
 It now houses the corporation office of Mysore
MADRAS
The buildings of Madras city have been influenced by various styles of architecture and some of the
1) Indo – Saracenic style
2) Greco – Roman style
3) Gothic style
4) Classical style
5) Romanesque
6) Art Deco
ST. GEORGE FORT, MADRAS
 It was originally a white town founded in 1644

 The British settlement in Madras was bifurcated into White Town, comprising the fort and the English
buildings within it
 Black Town to the north, the native quarters also housed merchants including Jews, Armenians etc The
city's total population was already around 300,000.
 The fort currently houses the Tamil Nadu legislative assembly and other official buildings

 It helped to establish English influence over the Carnatic and to keep the kings of Arcot and
Srirangapatna, as well as the French forces based at Pondichéry, at bay
 The Fort has 6 m high walls
 The fort houses St. Mary’s church which was completed in 1680
 The church is known as the 'Westminster Abbey of the East'.
MADRAS CLUB, MADRAS
 It was initially founded in 1832 during the British era (for European men only)
 In 1890, Adyar club was formed which was open to women as well
 In 1960, Indians were allowed and by 1963 both Madras and Adyar club were merged as Madras club
 It was constructed in European style which was a combination of renaissance and Greco-Roman style,
located along the Adyar River
 Consists of a semi-circular facade with double columns and an octagonal tower with Moubray’s cupola
raised on a drum
 The façade includes circular columns, ornate brackets and terraces with ornamental balustrades
 It consists of parking area for 150 cars, 14 residential rooms, private library, restaurants, bakery, tennis
courts, swimming pool, gym, a jogging track
PACHAIYAPPA COLLEGE, MADRAS
 Pachaiyappa's College Higher Secondary School is located in Chennai and was completed in around
1839-42
 This was the first school established by the British to teach English to the “natives”
 The architect chose to design it on the lines of the Temple of Theseus
 The structure can be accessed by a narrow entrance way
 The building has a central courtyard
 The ceiling is done using Burma teak wood with Mangalore tiles covering
 Each classroom has two doors providing natural light and ventilation
 It consists of wooden stairs, ornamented ionic columns, Madras terrace, Burmese-teak reapers
BANGALORE
The buildings of Bangalore city have been influenced by various styles of architecture and some of the
1) Indo – Saracenic style
2) Greco – Roman style
3) Gothic style
4) Classical style
5) Temple style
6) Renaissance
DEVELOPMENT OF BANGALORE CANTONMENT:

• British found Bangalore to be pleasant and appropriate place and thus stationed the garrison and
transferred them from Seringapatam
• Hence administration staff arrived with their families and westernization of Bangalore began
• A canton means corner or district in French
• They developed roads, parks, promenades, churches, schools, hospitals, shopping centres, dance halls,
pubs, golf range etc which was present in Britain during that era
• House with fountains, tennis courts, gardens etc came up in areas like richmnd town, south parade, St.
John's church road etc
• Parade ground was centre of Bangalore cant around which were civil and military stations
• Petes’ had native kannadigas and Cant had Britishers and other people from rest of India
• South parade (Now called MG road) was the main spine which housed a lot of Bars and restaurants
• Cubbon park was planned in 1864 on 120 acre land
• St.Mark’s cathedral was planned around the same time
MAYO HALL, BANGALORE
• It was built around 1875-83 in memory of lord Mayo who was assassinated in Port Blair
• The structure is built of Brick and mortar using the Greeco-Roman style with classical entablature, portico
and end bays
• This building was handed over to the municipal commission in 1883 and the upper floor was used for
public meetings free of charge while the Ground floor housed municipal offices
• An additional adjoining block was constructed in 1904 to house offices and courts
• It’s a 2-storied structure with Pedimented windows, Greek cornices, Tuscan columns, keystone arches,
balustraded ledges for windows, wooden floors and ornate furniture
• Main western façade consists of 3 bays and is similar to the eastern façade while the North, South
facades have only one window on each level
• Currently it houses BBMP offices, upper floor houses the Kempegowda museum

CENTRAL COLLEGE, BANGALORE
• It was started in 1886 by British government to award university degrees

• It is a 2-storied brick structure built in European classical style
• It consists of pointed arches, entrance porch with arches between piers on the ground floor and an open
loggia (Balcony with open colonnade arcade) on the first floor
• The entrance porch consists of a clock tower
• There is use of cast iron balustrades
• The pilasters appear as buttresses all along the fasacde
GOVERNMENT MUSEUM, BANGALORE
• It was established in 1865 by Mysore state in the Bangalore cantonment area, which currently houses an
archaeological museum
• It was considered as the second oldest museum in southern India
• A new building was constructed in 1877 and planned by Col. Richard H Sankey who was the chief
engineer of Mysore
• It is constructed in Neo-Classical style
• It consists of 2 porticos on either side used as entrances to the museum, Corinthian columns, circular
arches, sloping eaves and prominent sloping parapet walls
• It has a temple fronted façade
COLONIAL INFLUENCE
Each European power bought in its own architecture within india, however the most influencing in terms of
architecture were the Portuguese and British as its influence is seen even till today
For example: Works of architect Charles correa in Goa, British influence in basic patterns of infrastructure of
Indian Major cities

COLONIAL ARCHITECTURE –PORTUGUESE: 1498 TO 1961
 The first Portuguese encounter with India was on 20 May 1498 when Vasco da
Gama reached Calicut on Malabar Coast.
 The Portuguese arrived as merchants in the 1498 and were more driven by a Catholic missionary zeal
than gaining powers in India.
 The Portuguese gained a foothold in Goa and ruled for 400 years.
Portuguese influence
 Portuguese adapted to India the climatically appropriate Iberian galleried patio house and Baroque
churches of Goa. They were mainly missionary in spirit and built numerous cathedrals, churches, basilicas
and seminaries
 Se Cathedral and Arch of Conception at Goa were built in the typical Portuguese-Gothic style
 Other examples included:
 St.Francis Church at Cochin
 Castella de Aguada, Mumbai
 Vasco da gama landed in Kochi and by 16th cent star-shaped fort was constructed in Daman (1531), Diu
(1534) which has elements of a Vitruvian ideal city
 Idea of principles of defence was he most important aspect
 Regular polygonal geometry and salient triangular bastions maximised the all round cover and minimised
vulnerability
 Moats and ditches along with earthworks between the main ring of bastions and lower level being a
gently sloping open fields
Diu fort plan
Portuguese Baroque architecture

 The buildings are single-room basilicas, deep main chapel, lateral chapels (with small doors for
communication), without interior and exterior decoration, very simple portal and windows. It is a very
practical building, allowing it to be built throughout the empire with minor adjustments, and prepared to
be decorated later or when economic resources are available.
 The high bell towers and detailed portal and windows are typical of Portuguese churches
 Structures built: Mainly churches in Goa
Portuguese Houses
• The walls were traditionally made out of mud or laterite stone and coloured with vegetable and natural
dyes
• Gateposts and compound walls were carved with great detail
• Portuguese – Catholic houses faced the street with large ornamental windows opening onto verandas
plus Konkani influnces
• Bold colours were painted on houses thus giving them a distinct identity mainly for sailors to recognize
their houses form the sea
• Covered porches and verandas were designed for socializing
• Front doors were lined with columns and railings were ornamental
• The interior of Goan-Portuguese houses consisted of elaborate patterns created with tiles imported from
Europe and a false ceiling of wood
• The walls were pained with bright colours contrasting them with the earthy coloured furniture
• In plan it had straight corridors, 2-3 reception, dining rooms, high ceiling bedrooms, deep verandas
BASILICA OF BOM JESUS
• Bom Jesus : “Good Jesus” or “Infant Jesus” built in Old goa which was a former capital during the
Portuguese rule
• It was designed by a Florentine Sculptor and was completed in 1605
• It is a 3-storied renaissance style church built of plaster and laterite, façade is of granite and represents
features of five styles: Roman, Ionic, Doric, Corinthian and Composite
• It measures 55.78m x 16.76mx 18.6m
• It contains the mortal remains of St. Francis Xavier in a silver casket
• The interior is built in a Mosiac-Corinthian style and decorated with wood and gold leaf
• The roof was originally tiled while the church is cruciform in plan
• There are flying buttresses on the northern side and has a structure adjoining it on the south
• It is a 3-storied façade showing ionic, doric and Corinthian orders
• The main entrance with a semi-circular arch is flanked by two smaller rectangular entrances
• The internal walls consists of old painting of saints
• The flooring was done in white marble
SE CATHEDRAL, VELHA, GOA

• It was built to commemorate victory over Muslim army. It was constructed between 1562-1619
• The church is constructed in Portuguese-Manueline style with exterior Tuscan columns and interior
Corinthian columns. It’s a composite style combining elements Late gothic style with Spanish Plateresque
style
• The church is 76m in length x 55m in breadth x 35m in height.
• The plan consists of a nave, 2 side transepts, side chapels, transept and choir
• The façade shows three bays with portals at ground and rectangular windows on the first floor.
• The additional central bay linked to its sides through curved walls resolves the height difference between
nave and aisles thus hiding the roof behind it
• It is built on a raised plinth of laterite covered with lime plaster
• The nave is barrel vaulted while the crossing is rib vaulted
• Massive columns supports the nave and the choir
• The structure is oblong on plan but has a cruciform layout in the interior
• It had two towers, of which one collapsed in 1776. This church houses a bell tower on the southern side
containing a large bell known as the ‘Golden bell’
• The main entrance façade has Corinthian columns on plinths supporting a pediment
• There are four chapels on either side of the nave which have perforated wooden screens
• The main altar is dedicated to Catherine of Alexandria, with a chapel of cross of miracles on the right
• There are 6 main panels with carved scenes from life of Saint Catherine

COLONIAL ARCHITECTURE –FRENCH: 1673 TO 1954
• French expanded their empire by colonizing coastal towns.
• Yanam in Andhra Pradesh, Pondicherry, Karaikal in Tamil Nadu and Mahe in Kerala with a French
atmosphere of quiet towns around beaches.
• French spelling on signage and traffic signs remains
• The French gave a distinct urban design to its settlement in Pondicherry by applying the Cartesian grid
plans and classical architectural patterns
PONDICHERRY
FRENCH INFLUENCES
• The town was built using Grid Iron Pattern, Cartesian planning and classical architecture, consisted of
parks, classical public buildings, tree-lined avenues, garden houses adapted to local climate
• In the French quarter (Ville Blanche), the building are typically colonial style with long compounds and
stately walls
• The Indian quarter (Tamil quarter or Ville Nogar)consists of houses lined with verandas and with large
doors and grills
• The Tamil Quarter (or erstwhile “Black Town”) of Pondicherry is to the West of the French Quarter. It was
separated from the latter by a Grand Canal that bisected downtown Pondicherry
FRENCH QUARTERS, PONDICHERRY

• The French part of the town was built along the sea on sand dunes.
• It is characterised by long wide streets with stately colonial styled buildings.
• The residential buildings are comparatively simple, solid yet varied.
• They have flat roofs, an inner courtyard with garden and colonnaded porticos serve a double function of
protecting from sun and rain, and serving as a transition space to the rest of the house.
• The public buildings usually are surrounded by a large fenced-in compound.
• These buildings often have an impressive stair to an elevated ground floor and a colonnaded facade.
FRENCH HOUSES:
• The French styled houses are much more imposing and the high compound walls make sure that
personal and social lives of the inhabitants inside remain private.
• The interiors of French houses are more embellished than the exteriors which are plain yet colourful
• The French architectural features are tall arched windows and door along with high ceilings
• They were generally built with street frontage
• The window shades were of wood or light metal

INDIAN QUARTERS, PONDICHERRY
• Tamil town developed around the nucleus of a group of temples in the northern section and the streets
were laid in an east-west direction.
• The row of houses along these streets stood back-to-back.
• These streetscapes with continuous wall-to-wall construction vary much in character with that of the
French.
• These "talking-streets", so-called because of their intimate scale and interactive nature, are typical of the
vernacular Tamil architecture, and the entire street stretch is homogeneous because of connecting
elements like lean-to-roofs, cornices (horizontals), pilasters and engaged columns (verticals) and
ornamental parapets defining the skyline.
• A clear amalgamation of two styles is evident in the facades of 2-storied buildings
• Ground floor usually of Tamil style with Talvaram, Tinnai and carved doors
• First floor had French influence with arched windows, plaster decoration, fluted pilasters, Columns with
capitals, Balconies supported on cantilevered wooden joists, architectural motifs like mouldings on doors,
floral designs like acantha leaves etc
• However the French influences were limited to the exterior while the interiors remained traditional
FRANCO-TAMIL HOUSES:
• It was built on rubble foundations with walls of flat bricks and madras terrace roofing system
• It is characterised by a street veranda called Talvaram with Mangalore tiles over wooden posts ad a
raised platform with wooden columns and masonry benches for visitors called Tinnai mainly served as
public verandas for guests and visitors

• A corridor lead to the interior or a central courtyard which was open to sky called Mutram lined up by an
inner veranda with baked earth tiles over wooden columns
• There were private spaces like Pooja room, store room, bedroom and kitchen beyond this courtyard and
opened on a rear courtyard which also encloses a well, toilet and a bathroom
ANANDA RANGA PILLAI MANSION
• It is a Tamil style building built in 1735

• It was owned by a Tamil trader, This house was saved from British destruction
• It is considered as a classic example of traditional Tamil house with European influence in Pondicherry
• Ground floor: It is Indian in style with a courtyard surrounded by profusely carved wooden columns
• First floor: The terrace supported by Masonry columns of European design
• It a clear expression of two different cultures
• The ceilings are marked by heavy wooden beams and wooden joists supporting the roof made of brick
on edge masonry in lime mortar (Argamasse: French, Madras roof: English)
• The main building material was burnt bricks in lime mortar obtained from burning of sea shells or
limestone from nearby quarry
COLONIAL ARCHITECTURE – DUTCH: 1605 TO 1825

• The Dutch entered India with the only interests of Trade in the early 17th Century.
• During their 200 years in India, they colonized Surat, Bharuch, Venrula, Ahmedabad, Malabar Coast,
Kochi and Tranquebar.
• Apart from textiles, the items traded in Dutch India include precious stones, indigo, and silk across
India, salt and opium in Dutch Bengal, and pepper in Dutch Malabar.
• Dutch influence is evident in Kochi and Quilin
DUTCH INFLUENCES
• Fort Kochi is has been ruled by three colonial powers—the Portuguese, the Dutch and the British, in that
order. Initially Fort Cochin was established by Portuguese and Dutch occupied it in 1663
• They established factories, warehouses, schools etc
• In 1795 British took over Cochin from the Dutch
• Most structures here were built in the Dutch and the Portuguese styles, there are Chinese fishing nets,
cathedrals, cemeteries and probable Arab settlements.
• Dutch buildings usually had a structure with massive teak beams.

• The upper floor is located on the front wing and can be reached with a wooden staircase. the upper
storey had wooden floors with long open verandas running all along the length of each wings which
helped keep harsh sunlight at bay
COCHIN (KOCHI)
BASTION BUNGALOW, KOCHI

• Originally one of the seven bastions of the 17th-century Fort Immanuel built by the Portuguese, this
bungalow was built by the Dutch using one wall of the original fort.
• In keeping with the architecture of the region, it has a tiled roof, and long wooden verandas, and today,
functions as a heritage museum and Sub-Collector's Office
• Built in the Indo-European style of architecture, it was named Bastion Bungalow by the British and served
as a residence-cum-office for government officials.
• It is a circular structure with long, open verandas and a tiled roof in geometric patterns made entirely of
brick, laterite and wood
• It is also said to consist of secret network of tunnels below the ground floor
MATTANCHERRY PALACE, KOCHI

• Built by the Portuguese as a present to the king of Cochin around 1555, the Palace features traditional
murals and ornate, hand-carved wooden ceilings.
• Some parts of it were renovated and extended by the Dutch in 1663, after which it came to be known as
the Dutch Palace.
• It is a quadrangular structure built in traditional Kerala style with a central courtyard, Sloping roof,
Colonnaded verandas and ornamental balustrades

COLONIAL ARCHITECTURE – DANISH: 1620 TO 1845
• Danish India comprised of colonies of Denmark-Norway
• The towns of Tranquebar (Tharangambadi), Serampore and Nicobar islands were a part of this
colonization
• In 1620, the Nayak of Tanjore allowed Danish crew to construct a fort on Tranquebar shore for trade
purpose
• They built roads, houses, administrative buildings, markets etc
• They slowly lost their possessions to Dutch, French and finally to British
TRANQUEBAR
• Tranquebar (Tharangambadi : Place of singing waves) is located in Tamil Nadu at the mouth of a
distributary of River Kaveri
• It was the first Danish trading post in India established in 1620 and was sold to British in 1845
• Danish built a fort Dansborg along the shore long with a Danish settlement which was a port township
• The long period under Danish rule transformed Tharangambadi from an Indian village into a hybrid
Danish town encircled by a wall, grid pattern street layout and a strong fortress on the coast.”
• The main entry into town is through the Landporten (Town Gate), part of the original fortification wall
around Danish Tranquebar, which is painted white and sports the Danish royal seal.
• The streets still sport their old names –King’s Street, Queen’s Street , Admiral’s Street and the Goldsmith’s
street

FORT DANSBORG, TRANQUEBAR
• It was started in 1620 and many parts have been reconstructed several times
• The rampart wall is fairly large, 4-sided structure with bastions at each cardinal points
• A single storied structure was built along the 3 sides with barracks, kitchen, warehouses and jail
• On the eastern side there was a 2-storied building which housed the magazine, warehouse on the lower
floor and a church, lodging house on the upper floor
• The fort was surrounded by a moat with an access using a draw bridge
COLONIAL BUNGALOWS
• The roots of the bungalow in India lie in the early attempts of British military engineers in the 18 th century
to design a standardised and permanent dwelling based on indigenous domestic structures for the East
India Company when the British were still traders in the subcontinent.
• In its later version, the archetypal bungalow in the 19th century consisted of a low, one-storey, spacious
building, internally divided, having a symmetrical layout with a veranda all around, situated in a large
compound.
• This basic model was also adopted with modifications almost everywhere British imperial rule existed at
that time.
• The word ’Bungalow’ was derived from the Bengali word ‘Bangla’ or ‘Bangala’ which was a 17th century
Bengali form of a hut. The initial bungalows were similar to the kutcha local ones but became more
convoluted in design with time.
• A typical residential bungalow for the wealthy was set back from the road by a walled compound. The
area of land enclosed was a symbol of status
• From a minimalistic plan of the central main room covered with a curvilinear thatched roof, the plan
developed into one with sloping tiled roofs with side rooms and verandahs adjoining the central room.
• The fundamental plan of a bungalow consisted of a porch, verandah, drawing and dining rooms with
service areas in the rear portion
• The building was centrally located in the plot surrounded by a high compound wall and landscaped
with garden areas as in any British home.
• For example, a senior officer had a ratio of 15:1 – garden : built form, while a beginning rank officer had
1:1 ratio
• The gothic revival in England changed the bungalow designs in India as well with buildings having
pitched roofs, richly carpentered details like monkey tops of Bangalore
BANGALORE: COLONIAL BUNGALOWS

BANGALORE: MONKEY-TOPS
• Bengaluru was the largest military cantonment town of the British Raj, was founded in the early 19 th
century; later the town flourished as a military station as well as an administrative and residential centre
• Around 1883, the cantonment was enlarged by the addition of Richmond Town, Benson Town and
Cleveland Town where several bungalows were built for military officers or for retired Britons
• Many bungalow designs in Bengaluru were inspired by what was going on in Europe and the Americas,
as the Carpenter Gothic style began to influence public buildings and institutions there
• From the 1880s to the 1930s these bungalows became taller and assumed a Romantic expression, with
steeply pitched roofs whether or not they were required for climatic reasons
• Most examples possessed symmetrical plans, having a central hall. The facades received maximum
attention. Cast iron were used for railings, brackets and pillars. The porches of the bungalows were
prominent with sloping roofs and fretwork infill.
• The Bengaluru Monkey-Tops, as the bungalows are popularly known, are a record of not just socio-
cultural but also craft history which is unique to the region.
• The main features were the pathway leading to the front porch, the intricate trellis work, the stunning
Tuscan pillars, the decorative parapets, balustered railings, a detailed floral pattern for the flooring,
Mangalore tiled sloping roof, ornamental grill works, and stained glass windows.
• Eg: NGMA building, Balboorie guest house, Raj Bhavan Building, Taj West end hotel
MONKEY-TOPS
• It was a pointed hood or canopy of tiles over a window or a part of the sloping roof
• It was ideal for the climate Bangalore as it kept away the sun during the summer and prevented the rain
water from entering the house in winter.
BALBOORIE HOUSE, BANGALORE
• Balabrooie is a spacious bungalow spread across an area of 14 acres built in colonial style of
architecture
• The building has large rooms with doors and windows that reflect European classical lines of architecture.
• The rooms have large covered verandahs lined with several columns. The bungalow also has a large
impressive portico.
• The building is surrounded by sprawling gardens that contains a large number of trees of diverse species,
some of which are more than a century old.
• Built around 1850, Balabrooie was the residence of Sir Mark Cubbon, the then chief commissioner of
Bangalore.
• It remained as the official residence of the Commissioners of Bangalore till the country gained
independence in 1947. Today the bungalow serves as a guest house for visiting VIPs.
MADRAS: COLONIAL BUNGALOWS

CHENNAI: GARDEN HOUSES
• Madras was one of the three provinces originally established by the British East India Company.
• In 1684, it was elevated to a Presidency which included much of southern India.
• Chennai was its port city and trading centre. A period of rapid expansion for Chennai gave rise to an
indigenous colonial model of a palatial mansion called the “garden house”.
• An exclusive residence that stood in the centre of a large landscaped plot in the picturesque tradition.
• While the first houses were rather plain, simple and massive, the garden house grew to be more ornate as
time went by, with stylistic variations. It was an amalgam of the cantonment bungalow and the
European villa.

• To its rear were servants’ quarters, stables and often cowsheds, while in front was a lawn with flowering
shrubs and trees where garden parties were held and tennis or croquet was played.
• The houses were spacious and symmetrical with colonnaded verandas in the front and at the back. The
porch was a commodious, major feature.
• Designed in Neo-Classical style, the garden house was built as a solid masonry structure in lime plaster
with the use of European elements such as pediments and balustrades.
• Eg: Col. Mackenzie house, Clive house etc
CALCUTTA: COLONIAL BUNGALOWS

CALCUTTA: RAJBARIS
• Kolkata served as the capital of the East India Company from 1772 to 1911 during the British Raj era.
• The local elites/petty aristocrats from among the region’s native Bengalis were serving as zamindars
(landlords) and they owned large properties and came to be known as the Great Families of Kolkata.
• This association generated a unique urban typology in the nineteenth century in the form of opulent
residences called Rajbaris in Kolkata.
• Located on large grounds, the Rajbari expressed British colonial ideas of siting and spatiality while
simultaneously responding to the traditional life style of the zamindars.
• The building had a courtyard with the thakur dalan, the temple of God. It was in the colonnaded portico,
the facades and the furnishings that the building showed the adaptation of British forms to Indian norms.
• Displaying neo-classical facades and strong European influences in their visual character, the Rajbaris
were planned as twin- or multiple-courtyard houses which addressed the need for gender segregation
and strict social hierarchy in a Bengali joint family.
• Eg: Lahabari, Marble palace, Naya Bazaar Mullick Bari etc
MARBLE PALACE, CALCUTTA

• The house is Neoclassical in style, while the plan with its open courtyards is largely traditional Bengali.
• Adjacent to the courtyard, there is a thakur-dalan, or place of worship for members of the family.
• The three-story building has tall fluted Corinthian pillars and ornamented verandas with fretwork and
sloping roofs, built in the style of a Chinese pavilion.
• The premises also include a garden with lawns, a rock garden, a lake and a small zoo.
• The house was built in 1835 by Raja Rajendra Mullick, a wealthy Bengali merchant with a passion for
collecting works of art.

MYSORE: COLONIAL BUNGALOWS
COLONIAL BUNGALOWS:
This style of architecture is seen in big bungalows extensively seen in the south east part of the Mysore city.
The buildings of the Administrative Training Institute (ATI) campus, Mounted Police building, DGP office are
some of the interesting examples of this style of architecture. All these buildings are wooden sloped roof
structures and are interesting in terms of their simple planning. The simple variation of roof heights, the use of
dormer windows, interesting floral patterns of eve-board and gable end detailing have made the
elevations of these buildings look interesting.
MONKEY TOPPED BUNGALOWS:

Monkey topped bungalows are again a precious part of the Mysore’s architectural heritage. Although,
these types of buildings contributed greatly to the architectural image, the most of the privately owned
bungalows
BAND HOUSE:
Band house was built as a practice hall for the palace band. Situated in a garden setting overlooking the a
garden, the structures a composition of gables and dormers over the tiled roof and monkey topped lean to
verandas. It has a very symmetrical planning which is reflected in the elevation as well.
AGRAHARAS:
Agraharas which were traditional residential buildings of Mysore, where Brahmins were accommodated.
These are traditional row houses and are predominantly built in Hindu architecture with common walls for a
stretch which is then broken at regular intervals.
Ramanuja and Srinivasa Agrahara: The plan is in U- shape with landscaped park and around this row
houses were built. It also provides facilities for community socializing and play area for children. Every two
room house has a small compound, or veranda and backyard with a common wall construction system.

LATE COLONIAL ARCHITECTURE
NEW DELHI
WHY DELHI AS CAPITAL? Centralized location:

For ease in Administration- Proximity to all places-
WEST TO EAST from Punjab (which extended to the Now Pakistan) to Bengal (which extended to the now
Bangladesh)
NORTH TO SOUTH- from Kashmir (including PoK) to Kanyakumari.
Not an Easy Target:

Difficult to Attack- Calcutta was a Port city- an easy target for Attacks.
Vast History:
Already it contained more than 7 Individual Cities within itself and Each of them had a distinct Site, and a
distinct Name- Indraprastha, Lal Kot/Qila Rai Pithora, Kilugarhi, Siri, Tughlaqabad, Jahanpanah, Firozabad,
Mubarakabad, Dinpanah and Shahajahanabad.
Geographical position:
Foothills of the Himalayas- Boundary to the Vast Desert- Had pleasant winters as in England and Bearable
Summers. Had a lot of Greenery (the Ridge) and a Perennial source of Water (the Yamuna).
Political Reasons:
Decline of the Mughals.
CIRCUMSTANCES FOR DELHI AS CAPITAL

King George V announced on 12th December 1911 that the capital be shifted from Calcutta to Delhi when
he was visiting to preside over the Coronation Durbar- which was a public spectacle designed to emphasize
the position of the British Crown as a ‘Sovereign of the People of India’
The most Important Gesture was to Build an Impressive Capital City. The foundation stone, in fact, was laid
on the site of the Coronation Durbar which was right next to the Ridge and had sentimental value for the
British for the armed forces had sheltered there for months during the outbreak of the ‘Uprising of 1857’ and
they had launched a counter attack from here.
NEW DELHI
 The New Delhi Town Planning Committee decided that the site was not suitable and the present site, on
Raisana Hill, was chosen instead (South to the existing city of Shahajahanabad).
 Plans to build Imperial city on a grand scale with Edwin Lutyens as the Head of Town Planning and
Herbert Baker as his associate started.
 Two defining features of the project can be classiﬁed into two categories:
o The location of the site
o The architectural style of the complex
DESIGN INFLUENCES FOR NEW DELHI

The two major influences in the design of the Imperial City were Paris- Capital City of France and
Washington DC- Capital City of the United States of America.
- There was Paris, with the Arc De Triomphe at one end of a broad tree-lined Avenue de Champs
Elysees and the Palace of the Louvre, at the other.
- Washington DC had the Capitol Building at one end of a broad ceremonial avenue, the Mall with
the Washington Monument on the other.
But when New Delhi was conceptualized, it had a vast array of buildings which had religious, cultural and
historical significance. New Delhi was laid as a garden city on 3,200 acres to house a population of 65,000.
NEW DELHI: CITY PLANNING CONSIDERATIONS

 The previous cities of Delhi were independent of each other and did not inculcate or incorporate any
other city in part or whole during its making.
 But when New Delhi was conceptualized, it had a vast array of buildings which had religious, cultural
and historical significance.
 A list of the buildings was made and they were further classified into A,B or C Categories. The buildings
which were in the A and B list were retained and the C listed buildings were razed to the ground.
 The only way to integrate the historical layer with the newer inception was to have a radial pattern of
roads and The genius of New Delhi lies in its integration of ‘Vista and Verdure’, as the design is the fusion
of two dominant themes of the early twentieth century city planning – the City Beautiful Movement
(vistas) and the Garden City Concept (verdure). This led to the conception of New Delhi, essentially, as
a ‘Garden City’.
 New Delhi was laid , majorly, on a triangular base of the India Gate, Connaught Place and the
Parliament House with its broad avenues, water-channels, double rows of trees and vistas of interest.
 The fashionable shopping centre of Connaught Place and the New Delhi Railway Station was laid north
of the Central Vista.
 The Residential areas of middle and low income employees was laid to the north of the Central Vista
and the senior British officials were located towards the South, in hierarchical pattern.
IMPERIAL CAPITAL CITY COMPRISES:

1. Central Vista: The formal centrepiece of the Rajpath (originally Kingsway) anchored by iconic buildings
like the Rashtrapathi Bhawan, India Gate and Princely residences, which remains the most characteristic
image of the city.
2. Urban Morphology of tree-lined avenues and Bungalows on large plots of land depicting the Garden City
ethos.
3. Built Fabric which has compelling examples that embody a range of creative and political impulses in the
architectural form and design
• Administrative buildings and ancillary structures
• Commercial Buildings
• Institutional Buildings
• Religious Buildings
4. Linkages, Views and Vistas- that connect the imperial city to its older archeological history.

5. Buildings that predate the Imperial Capital City- Tombs and Mosques belonging to the Lodi and Sayyid
period; Jantar Mantar constructed by the Maharaja of Jaipur and temples and mosques.
 Herbert Baker and Edwin Lutyens were of the opinion that ‘European Classicism’ could best represent the
British Empire but on the other hand Lord Hardinge, who was the Viceroy of India at the time and also
King George V himself, were more in favour of giving the buildings a distinctly Indian stamp
 Classical Columns and Domes co-exist with Chhatris, Jalis, Jharohkas, Carved Elephant heads on pillars,
but the only major difference is in the shape of the Arch- it is Circular and not pointed as Indian Arches
usually are. The principal materials – Red and Off white Sandstone.
 The Central Vista with the Chhatri (pavilion which housed King George V statue- designed by Edwin
Lutyens in honour of the King when he died in 1936- the statue has now been shifted to Coronation Park.
 The Rajpath (Kingsway) starts from India Gate and ends at Rashtrapati Bhavan. It is lined on both sides by
2 rows of Jamoon trees and water channels with vast stretches of Lawn. On either side of the Rashtrapati
Bhavan are the North and South block which have been designed by Herbert Baker.
 A site atop the Raisina Hill, formerly Raisina village, was chosen for the Rashtrapati Bhawan, then known
as the Viceroy's House.
 The historic reason for this choice was that the hill lay directly opposite the Dinapanah citadel, which was
also considered the site of Indraprastha, the ancient region of Delhi.
 In a letter to the Committee, Lutyens confirmed the site's favorable "aspect, altitude, water, health, virgin
soil, [and] views across old Delhi to the wilderness of ruined tombs that form the remains of the seven
older Delhis." After some initial disagreement, he was successful in convincing the others.
 New Delhi was planned as a Beaux Arts-style Garden City, replete with extremely large building plots
and wide boulevards arranged in monumental symmetry.
 An equilateral triangle is defined by the ceremonial, administrative and commercial centres of the new
metropolis.
 The commercial centre in the north forms the apex. The north-east diagonal serves the Law; the north-
west diagonal bypasses the cathedral and the originally unforeseen Parliament.
 Rajpath, the east-west axis of power, provides their base. Rajpath is aligned with the entrance to the
Purana Qila. Also known as King's Way, it stretched from the India Gate to the Rashtrapati Bhawan,
through the portal buildings of Baker’s Secretariat
 The Viceroy, Lord Hardinge, asserted that the new capital was to be built for a joint British-Indian
administration and must symbolize reciprocity between the British and the Indians of all creeds.
 Lutyens was both inspired by and incorporated various features from the local and traditional Indian
architecture and invented his own new order, which has become known as the "Delhi Order".
 The "Delhi Order" columns at the front entrance of the palace have bells carved into them.
 The new city was built distinctively in cream and red Dholpur sandstone for the base from Rajasthan.
 Much of the buildings is in Classical architectural style and incorporate Indo-Saracenic Revival style by
adopting Mughal and Rajasthani motifs.
 These include the chhajja, a roof overhang; jaalis, latticed screen or stone; and chhatris, which are open
air domed pavilions.
 The shape of the central domes in the buildings, too, combine western and Indian architectural styles.
INDIA GATE, NEW DELHI
 The monumental Roman Arch, completed in 1921 is Edwin Lutyens adaptation of the Arc De Triomphe in
Paris and stands in a hexagonal large space with roads radiating from it.
 It is known as the War Memorial Arch and commemorates Indian soldiers killed in World War I and other
wars like the Afghan war.
 It is 138 feet high but this increased optically by the system of steps on the roof and the utter flatness of
the surrounding plain.
 Its chief character includes the fact that the arch of the main opening although 75 feet high springs from
a point less than half way of the whole building.
 The cornice is thin and prominent- unusually so for a monument of this kind.
 The mass takes the form of three irregular steps, the topmost and deepest of which has its narrow ends
interrupted by concave recesses.
 On top of this rests a small dome, finished with a convex eye, slightly moulded. This is a miniature
adaptation of that at the Rashtrapati Bhavan.

 The whole arch stands on a low red base. The sides are pierced by two lesser openings, each 54 feet
high and decorated with stone pineapples above the doorways at the bottom.
 The stone yard for the construction sat over twenty-two acres and was reputed to be the largest in the
world. The stone-cutters often came from Agra, Bharatpur and Mirzapur. The prepared material was
conveyed to the site by railway carriages specifically deployed for the purpose.
SECRETARIAT BUILDING, NEW DELHI

 The twin blocks of the Secretariat are popularly known as North Block and South Block.
 These buildings are designed by Herbert Baker, and constructed between 1914-1927.
 Presently, the North Block houses the key Government Offices and the South Block houses the PMO -
Prime Minister’s Office.
 An amalgamation of European Classicism and Indian Architecture (from the Mughal Chhatri and
Jharoka to the Temple Elephants) in the Building Typology. This came to be known as the ‘Indo-
Saracenic Revivalist’ style in architecture.
 The East foundations of the of the Secretariat, which support the end facades and dominate the Central
approach, and by their absence of irritating ornament, display the ripe and massive beauty of the Red
dressed Sandstone.
 The Towers, in the original design, were twice the present height but their height has been lower to such
an extent their tops have been brought into relation with the domes, so that the skyline of the group first
describes a concave arch and then afterwards at a closer look a convex arch.
 The Dome, here, resembles the St. Paul’s, London. Extensive use of Jalis in the drum of the dome is
evident. The finial of the Dome is an inverted whorl of flowers and not the typical Mughal finial.
 Chhatris of varied proportions, from the Mughal style, have been added at the base of the drum.
 Mughal Gateway has been added as Entrance, but the arch is circular and not a pointed arch.
 Four slender pillars, the Columns of the Dominions of Empire, stand in the lawns in front of the two
buildings. These were gifts from Canada, South Africa, New Zealand and Australia; territories of the
Empire with Dominion status. They are all alike, with a bronze sailing ship on top, signifying the maritime
history of the Empire.
 Immediately beneath the ship is a replica of the pillar capitals of Ashoka, the famous Buddhist emperor
of India.
 The Secretariat Building designed by Herbert Baker. Both the identical buildings have four levels, each
with about 1,000 rooms, in the inner courtyards to make space for future expansions. Together the
buildings were designed to form two squares.
 They have broad corridors between different wings and wide stairways to the four floors and each
building is topped by a giant dome, while each wings ends in colonnaded balcony.
 Lutyen's grandiose Government House (Rashtrapati Bhawan) located on Raisina Hill, and one of New
Delhi's major thoroughfares, Rajpath, connects it to the Purana Qil'a (1533). Another sightline originates at
Connaught Place, passes through the War Memorial Arch (or India Gate; 1921) and terminates at
Humayun's tomb (1572), at the south-eastern edge of the new city.

RASHTRAPATI BHAVAN, NEW DELHI
Rashtrapati Bhavan is the official home of the President of 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. It was built between 1914-1927 and is the same size as the Buckingham
Palace. Earlier, it also included the Hunting grounds , baggage room, linen room, store room, a wooden
floor Ball room, a printing press, tent room, etc
 The Iron screen (gate) looks magnificient with its horse-guard boxes with elephants carved over them on
either side. The features of the Courtyard include the Jaipur column, sunk drives and basket lanterns are
enumerated.
 The land of Raisana Hill on which the Secretariat and the Rashtrapati Bhavan stand, belonged to the
Maharaja of Jaipur, as a reminder for the association of the site.
 The column has been designed by Lutyens on the lines of the Pillar of Trajan in Rome but has some
distinctive features like the lotus on top with a crowned star.
 In the original plan, only the Rashtrapati Bhavan was to be placed on top of the hill but later the
Secretariats were also elevated, leading to- only the dome being seen until such time that you reach the
Secretariat- the building is revealed in totality.
 Lutyens objected to this, but later realized that it creates an element of surprise in the vista.
 The language of material is the same as in the precedent buildings. Red and off white sandstone is
profusely used. On the East wing of the South front of the Rashtrapati Bhavan, the dome rests on a
portico of 12 columns each 30 feet in height lead by a series of steps
 A building, so squat in proportion to its area needs to satisfy the eye of its massive solidity, as if it were an
outcrop of the rock beneath but the colonnade makes it look more horizontal- precisely producing the
opposite effect.
 The dome is a copper dome which rests on a drum of red and white sandstone
 Lutyens wanted Viceroy House to stand on top of Raisina Hill so that it would dominate an otherwise flat
landscape. But Baker’s Secretariats, originally meant to stand at the hill’s bottom, got in the way. To
make space for them, Viceroy House had to be pushed further back from the edge of the hill.
 Only later did he realize that the plan he agreed to would make it impossible for anything but the dome
of Viceroy House to be visible from below. He blamed Baker, who designed the road linking the

Secretariats, for miscalculating the gradient. Baker’s defence centred on technicalities, on the fact the
Lutyens himself had also approved of the plan. Lutyens called this his “Bakerloo.”
 This palatial building, of four floors and containing 340 rooms, is built on an area of 330 acres and
incorporates a private garden also designed by Lutyens.
 Centred on the great circular durbar hall, the Viceroy’s House has a ceremonial core and four satellite
blocks of living and office quarters, linked by major suite of reception rooms.
 The main structure is roughly 195m by 165m.
 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.
 Chhajjas prevent the sunrays from falling on the windows and protect the walls from the rains in the
monsoon. Chhatris adorn the rooftops of the building and make an exception to the horizontal line
through their elevated positions. Jaalis help in cutting glare and provide for varying degrees of privacy.
 The main areas of the Rashtrapati Bhavan are:
o The State Library
o The State Drawing Room
o The Private Apartments
o The State Dining Room
o The State Ballroom
 The elevation has 12 unevenly spaced pillars of the Delhi Order, which combines vertical lines with the
motif of a bell.
 There is a vast court in front, at the center of this court stands the Jaipur Column, 44.2m tall, topped by a
bronze lotus from which rises a six-pointed glass star.
 The name of the column comes from the fact that its cost was borne by the Maharaja of Jaipur.
 The dome of the Durbar Hall inside the Rashtrapati Bhawan measures 22.8 meters in diameter. The centre
of the main wing of the building, underneath the main dome, is the Durbar Hall, which was known as
the Throne Room during British rule.
 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.
 In the centre was a tall copper dome surmounted on top of a drum, which stands out from the rest of the
building, due to its height. The dome is more than twice the height of the rest of the building.
 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 Mughal Gardens is located in Rashtrapati Bhawan, India Gate, Delhi. Designed by Sir Edwin Lutyens
for Lady Hardinge, the garden occupies an area of 13 acres and is divided into three sections
(rectangular, long and circular gardens).
 The garden has four waterways with uniquely crafted fountains at their intersections that consist of 3
tiered huge red sandstone discs that resemble lotus leaves.
PARLIAMENT HOUSE, NEW DELHI

Originally called the House of Parliament, it was designed by the British architect Edwin Lutyens and Herbert
Baker in 1912-1913. Construction began in 1921, and in 1927 the building was opened. Parliament House is a
massive circular edifice 170.69m in diameter, which is based on the Ashoka Chakra. Its circumference is
536.33m and it covers an area of nearly six acres.

On the three axes, radiating from this centre are placed the 3 semicircular chambers, namely:
• The Chamber of Princes (Library Hall)
• The Council of State (Rajya Sabha)
• The Legislative Assembly (Lok Sabha )
• Surrounding these three chambers is a four storeyed circular structure providing accommodation for
Ministers, Chairmen, Parliamentary Committees, Party Offices, important offices of Lok Sabha and Rajya
Sabha Secretariats and also the Offices of the Ministry of Parliamentary Affairs.
• The building is surrounded by large gardens and the perimeter is fenced off by sandstone railings (jali)
modelled after the Great Stupa of Sanchi.
• The Central Hall of the Parliament has been designed to be circular in shape. The dome is 29.87m in
diameter. At present, the Central Hall is used for holding Joint Sittings of the two Houses.
• The open verandah on the first floor is fringed with a colonnade of 144 creamy sandstone columns—
each 8.23m high. The building has twelve gates among which Gate No. 1 on the Sansad Marg is the
main gate.
• The outer wall of the corridor on the ground floor of the building is decorated with a series of panels
depicting the history of India from the ancient times and India’s cultural contacts with her neighbours.
• The architecture of the building bears a close imprint of the Indian tradition. The layout of fountains and
gardens both inside and outside the building, the use of Indian symbols the "Chhajjas" which shade the
walls and windows and the varied forms of "Jaali" in marble are reminders of the story of the
craftsmanship displayed in ancient monuments and memorials.

RAJPATH, NEW DELHI
• Rajpath: "King's Way" is a ceremonial boulevard
• It starts from National stadium runs through India Gate, Vijay Chowk and ends at Rashtrapati Bhavan
• The avenue is lined on both sides by huge lawns, canals and rows of trees
• Rajpath runs in east-west direction. Roads from Connaught Place, join Rajpath from north
• It is where the annual Republic Day parade
• Janpath: "People's Way“ crosses the road to connect Connaught place.
• At Raisina Hill, Rajpath is flanked by the North and South Blocks of the Secretariat Building and ends at the
gates of Rashtrapati Bhavan. At Vijay Chowk it crosses Sansad Marg, and the Parliament House of India
can be seen
• It is also used for the funeral processions of key political leaders of India.
• Rajpath was of central importance to the plan. Lutyens wanted a panoramic view of the city of Delhi
from the Viceroy’s palace. The view from Raisina Hill runs unhindered across Rajpath and India Gate until
the National Stadium.
• Most of the buildings surrounding Rajpath, were designed by Lutyens and Herbert Baker.

JANPATH, NEW DELHI
• Janpath: "People's Way“ earlier known as “Queen’s way”, crosses the road to connect Connaught
place.
• It starts out as Radial Road 1 in Connaught Place, adjacent to Palika Bazaar, and runs North-South
perpendicular to, and past Rajpath (the "Rulers' path").
• It was an important part of Lutyens' design of the Lutyens' Delhi, upon the inauguration of new capital of
India in 1931.
• Janpath Market is located along this road.
• In the north this road stretches from the Connaught Place. In the south it ends up at the intersection of Dr
APJ Abdul Kalam Road
• Commercial offices can be found along Janpath, as its central location
• To the south of Rajpath, the road is large residential, with the exception of the National Museum, and
large Lutyen's bungalow of Ministers.

Colonial Architecture Full

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Colonial Architecture Full

Uploaded by

Copyright:

Available Formats

History Of Architecture 18ARC54

EARLY COLONIAL ERA

The leading Architects of 1ndo-Saracenic Buildings in India were

COLONIAL ARCHITECTURAL INFLUENCE IN INDIA

T : +91 80 2216 7900 / 903 / 904

ST. WILLIAM FORT, CALCUTTA

ST. PAUL’S CATHEDRAL, CALCUTTA

18ARC 5.4 HISTORY OF ARCHITECTURE-V NOTES (SHRUTHI A MURTHY) DSCA 72

18ARC 5.4 HISTORY OF ARCHITECTURE-V NOTES (SHRUTHI A MURTHY) DSCA 73

GOVERNER’S HOUSE, CALCUTTA

18ARC 5.4 HISTORY OF ARCHITECTURE-V NOTES (SHRUTHI A MURTHY) DSCA 74

TOWN HALL, BOMBAY

CHATRAPATHI SHIVAJI TERMINUS: CST (VICTORIA TERMINUS), MUMBAI

18ARC 5.4 HISTORY OF ARCHITECTURE-V NOTES (SHRUTHI A MURTHY) DSCA 75

18ARC 5.4 HISTORY OF ARCHITECTURE-V NOTES (SHRUTHI A MURTHY) DSCA 76

AMBA VILAS MAHARAJA PALACE, MYSORE

18ARC 5.4 HISTORY OF ARCHITECTURE-V NOTES (SHRUTHI A MURTHY) DSCA 77

18ARC 5.4 HISTORY OF ARCHITECTURE-V NOTES (SHRUTHI A MURTHY) DSCA 78

DEPUTY COMMISSIONER’S OFFICE, MYSORE

18ARC 5.4 HISTORY OF ARCHITECTURE-V NOTES (SHRUTHI A MURTHY) DSCA 79

ST. GEORGE FORT, MADRAS

 It was originally a white town founded in 1644

18ARC 5.4 HISTORY OF ARCHITECTURE-V NOTES (SHRUTHI A MURTHY) DSCA 80

MADRAS CLUB, MADRAS

PACHAIYAPPA COLLEGE, MADRAS

DEVELOPMENT OF BANGALORE CANTONMENT:

MAYO HALL, BANGALORE

18ARC 5.4 HISTORY OF ARCHITECTURE-V NOTES (SHRUTHI A MURTHY) DSCA 82

• It was started in 1886 by British government to award university degrees

GOVERNMENT MUSEUM, BANGALORE

18ARC 5.4 HISTORY OF ARCHITECTURE-V NOTES (SHRUTHI A MURTHY) DSCA 83

Diu fort plan

Portuguese Baroque architecture

SE CATHEDRAL, VELHA, GOA

18ARC 5.4 HISTORY OF ARCHITECTURE-V NOTES (SHRUTHI A MURTHY) DSCA 86

FRENCH QUARTERS, PONDICHERRY

18ARC 5.4 HISTORY OF ARCHITECTURE-V NOTES (SHRUTHI A MURTHY) DSCA 87

18ARC 5.4 HISTORY OF ARCHITECTURE-V NOTES (SHRUTHI A MURTHY) DSCA 88

ANANDA RANGA PILLAI MANSION

• It is a Tamil style building built in 1735

COLONIAL ARCHITECTURE – DUTCH: 1605 TO 1825

18ARC 5.4 HISTORY OF ARCHITECTURE-V NOTES (SHRUTHI A MURTHY) DSCA 89

BASTION BUNGALOW, KOCHI

MATTANCHERRY PALACE, KOCHI

18ARC 5.4 HISTORY OF ARCHITECTURE-V NOTES (SHRUTHI A MURTHY) DSCA 90

18ARC 5.4 HISTORY OF ARCHITECTURE-V NOTES (SHRUTHI A MURTHY) DSCA 91

BANGALORE: COLONIAL BUNGALOWS

MADRAS: COLONIAL BUNGALOWS

18ARC 5.4 HISTORY OF ARCHITECTURE-V NOTES (SHRUTHI A MURTHY) DSCA 93

CALCUTTA: COLONIAL BUNGALOWS

MARBLE PALACE, CALCUTTA

18ARC 5.4 HISTORY OF ARCHITECTURE-V NOTES (SHRUTHI A MURTHY) DSCA 94

MONKEY TOPPED BUNGALOWS:

18ARC 5.4 HISTORY OF ARCHITECTURE-V NOTES (SHRUTHI A MURTHY) DSCA 95

WHY DELHI AS CAPITAL? Centralized location:

Not an Easy Target:

CIRCUMSTANCES FOR DELHI AS CAPITAL

DESIGN INFLUENCES FOR NEW DELHI

NEW DELHI: CITY PLANNING CONSIDERATIONS

IMPERIAL CAPITAL CITY COMPRISES:

18ARC 5.4 HISTORY OF ARCHITECTURE-V NOTES (SHRUTHI A MURTHY) DSCA 97

INDIA GATE, NEW DELHI

18ARC 5.4 HISTORY OF ARCHITECTURE-V NOTES (SHRUTHI A MURTHY) DSCA 99