INTRODUCTION “ “Indo-Saracenic” was term used in 19Indo-Saracenic” was term used in 19thth century by British professionals century by British professionals

like architects, historians and archaeologist to define the blending of local like architects, historians and archaeologist to define the blending of local Indian or Hindu styles of building with popular, Islamic design in their Indian or Hindu styles of building with popular, Islamic design in their current building practices.current building practices.

As a practicing architect I am amazed at how the dilemma of finding As a practicing architect I am amazed at how the dilemma of finding appropriate style of building, of architecture for the late 19appropriate style of building, of architecture for the late 19 thth Century and Century and early 20early 20thth century was explored. century was explored.

Architecture is a reflection of society and is dependent on many factors Architecture is a reflection of society and is dependent on many factors like patronage, personal taste, prevailing trends, both national and like patronage, personal taste, prevailing trends, both national and international, skills and technology and budget. It is within these international, skills and technology and budget. It is within these parameters that any architecture is to be evaluated and so is the case with parameters that any architecture is to be evaluated and so is the case with the Indo-Saracenic style.the Indo-Saracenic style.

AN OVERVIEW OF THE INDO AN OVERVIEW OF THE INDO SARACENIC ARCHITECTURESARACENIC ARCHITECTURE

PREVALENT ARCHITECTURE IN MID 19TH CENTURY

There were various schools of thought adopted for this period, There were various schools of thought adopted for this period, with one school believing that western architectural styles were with one school believing that western architectural styles were the most fitting, since these were assumed to be far superior the most fitting, since these were assumed to be far superior artistically to the local Indian building tradition. Within this artistically to the local Indian building tradition. Within this group, itself, were two factions, one believing that the Neo-group, itself, were two factions, one believing that the Neo-Classical style, with allusions to the grandeur of the Greek and Classical style, with allusions to the grandeur of the Greek and Roman Empire, and other group actively promoted the Neo-Roman Empire, and other group actively promoted the Neo-Gothic style, which was in keeping with the Gothic Revival that Gothic style, which was in keeping with the Gothic Revival that was sweeping across England concurrently. was sweeping across England concurrently.

For the building of churches, the Gothic style was most For the building of churches, the Gothic style was most appropriate, as it embodied all the appropriate, as it embodied all the values and associations of Christianity.values and associations of Christianity.

In England there was no single national style prevalent, and In England there was no single national style prevalent, and the so-called Battle of the Styles was in progress. Hence within the so-called Battle of the Styles was in progress. Hence within India different cities based on the Governors patronage, chose India different cities based on the Governors patronage, chose an appropriate style such as the formal Gothic Revival style for an appropriate style such as the formal Gothic Revival style for Bombay under Governor Bartle Frere, and the Neo Classical Style Bombay under Governor Bartle Frere, and the Neo Classical Style for Calcutta.for Calcutta.

ORIGINS OF INDO-SARACENIC STYLE As the British Empire in India slowly established itself, several As the British Empire in India slowly established itself, several

scholars initiated studies into Indian art and slowly began to scholars initiated studies into Indian art and slowly began to understand and interpret these better. A growing interest for the understand and interpret these better. A growing interest for the local traditions and culture was created.local traditions and culture was created.

This started with the efforts of William Hodges and the Daniell This started with the efforts of William Hodges and the Daniell brothers. James fergusson underlook a polemic and pioneering brothers. James fergusson underlook a polemic and pioneering study of Indian architecture. His book documenting the same study of Indian architecture. His book documenting the same can be regarded as the first of its kind at the time, and it was can be regarded as the first of its kind at the time, and it was well received.well received.

What the British understood from these studies was that What the British understood from these studies was that there are various regional styles, as well as a few major there are various regional styles, as well as a few major traditions. traditions.

The British divided the style into two categories, namely a The British divided the style into two categories, namely a Hindu and an Islamic style.Hindu and an Islamic style.

The term Saracenic refers to a ‘nomadic Arabic tribe’, The term Saracenic refers to a ‘nomadic Arabic tribe’, Fergusson, in his book, refers to Saracenic architecture in India, Fergusson, in his book, refers to Saracenic architecture in India, referring to the building of the Ghazni, Sayyid, Lodis and Moghul referring to the building of the Ghazni, Sayyid, Lodis and Moghul dynasty.dynasty.

CLIMATIC ORIGINS The ‘style’ could not be applied quite simply in the new environment The ‘style’ could not be applied quite simply in the new environment

there was far too great a difference between the theoretical there was far too great a difference between the theoretical projections of light and shade learnt in the drawing office and the projections of light and shade learnt in the drawing office and the tropical scene where the buildings were erected.tropical scene where the buildings were erected.

Hence the Gothic was modified slowly to a Venetian Gothic style, Hence the Gothic was modified slowly to a Venetian Gothic style, and then further into an “Indo-Gothic” style.and then further into an “Indo-Gothic” style.

CULTURAL ORIGINS The first group of practitioners of the Indo-Saracenic style were The first group of practitioners of the Indo-Saracenic style were

strongly convinced that designing in the local idiom would be the strongly convinced that designing in the local idiom would be the most appropriate for British civic building in India of that period.most appropriate for British civic building in India of that period.

Influenced by the studies of Fergusson more people decided to Influenced by the studies of Fergusson more people decided to adopt the local hybrid of styles.adopt the local hybrid of styles.

There were also several similarities between the prevalent Gothic There were also several similarities between the prevalent Gothic style and the Indo-Saracenic.style and the Indo-Saracenic.

The British architects-engineers were most taken by The British architects-engineers were most taken by certain typical elements of the traditional architecture. These certain typical elements of the traditional architecture. These were the dome, the pointed arch, minarets, jalis, chattris, were the dome, the pointed arch, minarets, jalis, chattris, brackets, balconies, and roof forms and these were all used brackets, balconies, and roof forms and these were all used freely and often indiscriminately without regard to local style, freely and often indiscriminately without regard to local style, origin and context.origin and context.

MAHARAJAS SUPPORT AND PATRONAGE Several of the Maharajas embraced style whole-Several of the Maharajas embraced style whole-

heartedly. For the Maharajas, this hybrid style represented heartedly. For the Maharajas, this hybrid style represented two differing ideologies to them.two differing ideologies to them.

Hence we see that the Indo-Saracenic style was adopted Hence we see that the Indo-Saracenic style was adopted as the official style for building of the Raj of this period. as the official style for building of the Raj of this period. Alongside, several private residences of the Maharajas were Alongside, several private residences of the Maharajas were also built in this style, leading to the further spread and also built in this style, leading to the further spread and popularity of the movement.popularity of the movement.

DECLINE OF THE STYLE The style slowly lost its prominence as after the two The style slowly lost its prominence as after the two

World Wars, the global economy was badly hit and the funds World Wars, the global economy was badly hit and the funds required to patronize such styles were not easily available. The required to patronize such styles were not easily available. The construction methodology soon changed and the building were construction methodology soon changed and the building were being designed with an RCC Framed Structure. By the mid 20being designed with an RCC Framed Structure. By the mid 20 thth century i.e., just around the Independence period, the Indo-century i.e., just around the Independence period, the Indo-Saracenic style was in its last stages and the buildings that Saracenic style was in its last stages and the buildings that were constructed in this period.were constructed in this period.

CONCLUSION It is hoped that the Indo-Saracenic buildings It is hoped that the Indo-Saracenic buildings

documented painstakingly by the students of different documented painstakingly by the students of different architectural colleges will help to see this style with fresh light architectural colleges will help to see this style with fresh light and will lead to some answers about its appropriateness as a and will lead to some answers about its appropriateness as a national style of the British, whether it successfully achieved national style of the British, whether it successfully achieved the aims of its designers.the aims of its designers.

1. THE RAZA LIBRARY1. THE RAZA LIBRARY

RAMPUR, UTTAR PRADESHRAMPUR, UTTAR PRADESH

SITE PLAN

INTRODUCTION The Raza Library is the most exquisite building in the entire complex. The building presents a amalgamation of the vernacular and European styles of building.The complex includes other buildings such as the Montessori School, which used to be the residence of the architect.

GROUND FLOOR PLAN

FRONT ELEVATION

SECTION AA’ The façade showcases a huge mehrab at the entrance and bears tall slender pillars at the entrance. The top dome sits on the octagonal drum base. The kalash on top of the dome and the minarets reflects the influence of vernacular architecture.part of the building. The durbar hall is the most richly decorated part of the building. The ceiling is richly decorated with mouldings in plaster of Paris, which are further plated in gold. The curved wall within the hall, which hosted the Nawab’s throne, is now adorned with paintings and scriptures from the Koran.

INTERNAL VIEW OF DOME

INTERNAL VIEW OF CORRIDOR

SIDE ELEVATION LANDSCAPE

The height of the library building is not equal to that of other building in the complex, but is equal to the length of the garden. Its width is also same as that of the garden.The garden bears a chequered pattern, which has been derived from the Mughal land.

AXONOMETRIC VIEW

ANALYSIS TOPOGRAPHY

The district of Rampur lies in the Indo Gangetic plain of Northern India. Owing to its vicinity to the terai region of Uttar Pradesh

CLIMATE

DETAILS

The building is situated on a flat terrain 300 km northwest of Lucknow at 28 48’ north latitude and 78 9’ east

longitudes.The walls are thick with three meter wide corridors. They insulated the building from direct sunlight , reducing the thermal gain in the building, thus keeping the building cool during peak summer.

CONCLUSION The influence of the European styles of architecture and way of life, coupled with their desire of creating a symbol of their might and prosperity, lead to the commissioning of this building by the Nawab. At the same time the building is also a proof of the receptiveness of the Nawab to different ideas.

2. THE RAJA RAM HIGH SCHOOL2. THE RAJA RAM HIGH SCHOOL

KOLAPUR, MAHARASHTRAKOLAPUR, MAHARASHTRA

SITE PLAN

INTRODUCTION The Raja Ram High School arguably the first Indo-Saracenic building in Kolhapur. It was founded in the late 1800’s for the education of the sons of the Chiefs and Sardars in the Juna-Rajwada complex. It is one of the oldest schools to be affiliated with the Bombay University. The British, upon their arrival in Kolhapur, left a lasting impression on the minds of the local chieftians and the royals. To obtain higher education one had to either travel to Bombay or to Europe, which was not feasible for everybody. Hence with the growing realization for higher education, Raja Ram II himself founded the Raja Ram high school.

GROUND FLOOR PLAN PLANNING : As stated earlier the Raja Ram High Schools was the first Indo-Saracenic building in Kolhapur. The building is planned symmetrically along the north-south axis. The approach to the site is through the gate, which faces north. The vast open space on both sides of the entrance leads to the porch at the northern face of the building. Two, moulded cast iron staircases inter connect the two floors. The ground floor comprises of centrally placed main hall with three class rooms on its either side. The principle office is located above the porch. Typical chattris have been placed on the terrace in front of the towers.

SECTION CC’

MAIN HALL : The main hall, is placed centrally in the building and is flanked by the two imposing towers on the exterior. The hall displays extensive ornamentation in the form of intricately carved timber jalis and brackets, which support ornate balconies. The ceiling of the hall is made of timber. The doors and windows of the hall have been decorated with plaster moldings. CLASSROOMS : There are altogether twelve classrooms in the building with six on each floor. The corridors in front of the classrooms on each floor provide access to them. The classrooms are provided with huge ventilators and windows, which provide adequate light and ventilation. The rooms have also been provided with wooden block boards.

TOWER DETAIL : The most remarkable feature of the building are its twin towers. The towers are octagonal in shape with significant ornamentation and degree of detailing. These towers encase a staircase, which connects the two floors and provides access to the terrace also. Intricately caved jails and chajjas supported on brackets, line the windows on the façade of these towers.

CHATTRI DETAIL : These are small pavilions placed at the corners of the building and on either side of the towers. Some chattris are flanked with a drooping Bengali roof and are placed at the corners of buildings. The more traditional ones are placed above the porch. The chattris are capped with a squinch dome.

FRONT ELEVATION

DOOR & RAILING WITH JALI

JALI : The jali is basically a Mughal element, which helps regulate the flow ofwind and interplay of light with the help of varying

patterns and cross sections. The jalis in the school building are mainly made out of wood and lime mortar. The balcony of the main hall has an ornate timber jali.

CORRIDORS WITH ORNATE RAILING, ARCH AND COLUMN

ARCHES : Multi foiled and tri foiled arches have been used in the building, which lends the building a certain degree of grandeur. An arcade of these arches at both levels of the structure make the elevation of the building a lot more interesting. RAILINGS : The railings add to the horizontality of the building. Metal railing with proportionate decorative elements are used on the ground floor in tandem with the cast iron staircase. On the first and the terrace level railings cast in lime mortar with carvings have been used. RAJPUT BALCONY: Typical Rajput balconies have been embedded on the porch. The balconies are ornate with slender pillars and floral patterns. These balconies are capped with Bengali chattris supported by serpentine brackets.

BRACKET : The brackets are used to support the projecting balconies and roofs. The brackets in this particular building perform the very same role by providing support to the projecting balconies in the main hall, projecting terraces, chajjas, Rajput balconies and Bengali roofs.

COLUMN : Similar to the arches, the columns have also been assembled from black basalt stone with significant ornamentation. The base and the height of the column are in a 1:4 ratio. The shaft of the column is fluted. The various components of the column such as the base, the shaft and the capitol are fixed using a tongue and groove joint.

ISOMETRIC VIEW OF THE STRUCTURE WATER TOWER : The water towers were

constructed using brick as its principle material along with earthen pipes. Earthen pipes consists of three layers. The innermost layer wrapped by a second layer of fine mortar. Third and outermost layer contained high concentration of gravel to avoid contamination.

CHAJJAS : The chajjas are the traditional sun breakers with origins in Hindu architecture. The chajjas are placed along the north and northwest sides of the building and are supported by ornate brackets.

INDO SARACENIC INDO SARACENIC ARCHITECTUREARCHITECTURE

SHUBHAM SISODIYA T.Y.B.ARCH C.A.N.S

1. THE RAZA LIBRARY, RAMPUR1. THE RAZA LIBRARY, RAMPUR 2. THE RAJA RAM HIGH SCHOOL, 2. THE RAJA RAM HIGH SCHOOL, KOLHAPURKOLHAPUR