it is an overview on The Indo Saracenic Architecture and its influences in the world with an example

1.  INTRODUCTION
““Indo-Saracenic” was term used in 19Indo-Saracenic” was term used in 19thth
century by Britishcentury by British
professionals like architects, historians and archaeologist to defineprofessionals like architects, historians and archaeologist to define
the blending of local Indian or Hindu styles of building with popular,the blending of local Indian or Hindu styles of building with popular,
Islamic design in their current building practices.Islamic design in their current building practices.
As a practicing architect I am amazed at how the dilemma ofAs a practicing architect I am amazed at how the dilemma of
finding appropriate style of building, of architecture for the late 19finding appropriate style of building, of architecture for the late 19thth
Century and early 20Century and early 20thth
century was explored.century was explored.
Architecture is a reflection of society and is dependent on manyArchitecture is a reflection of society and is dependent on many
factors like patronage, personal taste, prevailing trends, bothfactors like patronage, personal taste, prevailing trends, both
national and international, skills and technology and budget. It isnational and international, skills and technology and budget. It is
within these parameters that any architecture is to be evaluated andwithin these parameters that any architecture is to be evaluated and
so is the case with the Indo-Saracenic style.so is the case with the Indo-Saracenic style.
AN OVERVIEW OF THE INDOAN OVERVIEW OF THE INDO
SARACENIC ARCHITECTURESARACENIC ARCHITECTURE

2.  PREVALENT ARCHITECTURE IN MID 19TH
CENTURY
There were various schools of thought adopted for this period, withThere were various schools of thought adopted for this period, with
one school believing that western architectural styles were the mostone school believing that western architectural styles were the most
fitting, since these were assumed to be far superior artistically to thefitting, since these were assumed to be far superior artistically to the
local Indian building tradition. Within this group, itself, were twolocal Indian building tradition. Within this group, itself, were two
factions, one believing that the Neo-Classical style, with allusions tofactions, one believing that the Neo-Classical style, with allusions to
the grandeur of the Greek and Roman Empire, and other groupthe grandeur of the Greek and Roman Empire, and other group
actively promoted the Neo-Gothic style, which was in keeping withactively promoted the Neo-Gothic style, which was in keeping with
the Gothic Revival that was sweeping across England concurrently.the Gothic Revival that was sweeping across England concurrently.
For the building of churches, the Gothic style was most appropriate,For the building of churches, the Gothic style was most appropriate,
as it embodied all the values andas it embodied all the values and
associations of Christianity.associations of Christianity.
In England there was no single national style prevalent, and theIn England there was no single national style prevalent, and the
so-called Battle of the Styles was in progress. Hence within Indiaso-called Battle of the Styles was in progress. Hence within India
different cities based on the Governors patronage, chose andifferent cities based on the Governors patronage, chose an
appropriate style such as the formal Gothic Revival style forappropriate style such as the formal Gothic Revival style for
Bombay under Governor Bartle Frere, and the Neo Classical StyleBombay under Governor Bartle Frere, and the Neo Classical Style
for Calcutta.for Calcutta.

3.  ORIGINS OF INDO-SARACENIC STYLE
As the British Empire in India slowly established itself, severalAs the British Empire in India slowly established itself, several
scholars initiated studies into Indian art and slowly began toscholars initiated studies into Indian art and slowly began to
understand and interpret these better. A growing interest for theunderstand 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 DaniellThis started with the efforts of William Hodges and the Daniell
brothers. James fergusson underlook a polemic and pioneeringbrothers. James fergusson underlook a polemic and pioneering
study of Indian architecture. His book documenting the same can bestudy of Indian architecture. His book documenting the same can be
regarded as the first of its kind at the time, and it was well received.regarded as the first of its kind at the time, and it was well received.
What the British understood from these studies was that there areWhat the British understood from these studies was that there are
various regional styles, as well as a few major traditions.various regional styles, as well as a few major traditions.
The British divided the style into two categories, namely a HinduThe British divided the style into two categories, namely a Hindu
and an Islamic style.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 Moghulreferring to the building of the Ghazni, Sayyid, Lodis and Moghul
dynasty.dynasty.

4.  CLIMATIC ORIGINS
The ‘style’ could not be applied quite simply in the new environmentThe ‘style’ could not be applied quite simply in the new environment
there was far too great a difference between the theoreticalthere was far too great a difference between the theoretical
projections of light and shade learnt in the drawing office and theprojections 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 wereThe first group of practitioners of the Indo-Saracenic style were
strongly convinced that designing in the local idiom would be thestrongly 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 toInfluenced 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 GothicThere were also several similarities between the prevalent Gothic
style and the Indo-Saracenic.style and the Indo-Saracenic.

5. The British architects-engineers were most taken by certain typicalThe British architects-engineers were most taken by certain typical
elements of the traditional architecture. These were the dome, theelements of the traditional architecture. These were the dome, the
pointed arch, minarets, jalis, chattris, brackets, balconies, and roofpointed arch, minarets, jalis, chattris, brackets, balconies, and roof
forms and these were all used freely and often indiscriminately withoutforms and these were all used freely and often indiscriminately without
regard to local style, origin and context.regard to local style, origin and context.
 MAHARAJAS SUPPORT AND PATRONAGE
Several of the Maharajas embraced style whole-heartedly. ForSeveral of the Maharajas embraced style whole-heartedly. For
the Maharajas, this hybrid style represented two differing ideologies tothe Maharajas, this hybrid style represented two differing ideologies to
them.them.
Hence we see that the Indo-Saracenic style was adopted as theHence we see that the Indo-Saracenic style was adopted as the
official style for building of the Raj of this period. Alongside, severalofficial style for building of the Raj of this period. Alongside, several
private residences of the Maharajas were also built in this style,private residences of the Maharajas were also built in this style,
leading to the further spread and popularity of the movement.leading to the further spread and popularity of the movement.

6.  DECLINE OF THE STYLE
The style slowly lost its prominence as after the two WorldThe style slowly lost its prominence as after the two World
Wars, the global economy was badly hit and the funds required toWars, the global economy was badly hit and the funds required to
patronize such styles were not easily available. The constructionpatronize such styles were not easily available. The construction
methodology soon changed and the building were being designedmethodology soon changed and the building were being designed
with an RCC Framed Structure. By the mid 20with an RCC Framed Structure. By the mid 20thth
century i.e., justcentury i.e., just
around the Independence period, the Indo-Saracenic style was in itsaround the Independence period, the Indo-Saracenic style was in its
last stages and the buildings that were constructed in this period.last stages and the buildings that were constructed in this period.
 CONCLUSION
It is hoped that the Indo-Saracenic buildings documentedIt is hoped that the Indo-Saracenic buildings documented
painstakingly by the students of different architectural colleges willpainstakingly by the students of different architectural colleges will
help to see this style with fresh light and will lead to some answershelp to see this style with fresh light and will lead to some answers
about its appropriateness as a national style of the British, whether itabout its appropriateness as a national style of the British, whether it
successfully achieved the aims of its designers.successfully achieved the aims of its designers.

7. 1. THE RAZA LIBRARY1. THE RAZA LIBRARY
RAMPUR, UTTAR PRADESHRAMPUR, UTTAR PRADESH

8. 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.

9. GROUND FLOOR PLAN

10. 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.

11. 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.

12. 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

13.  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.

14. 2. THE RAJA RAM HIGH SCHOOL2. THE RAJA RAM HIGH SCHOOL
KOLAPUR, MAHARASHTRAKOLAPUR, MAHARASHTRA

15. 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.

16. 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.

17. 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.

18.  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.

19. FRONT ELEVATION
DOOR & RAILING WITH JALI
 JALI : The jali is
basically a Mughal
element, which helps
regulate the flow of
wind 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.

20. CORRIDORS WITH
ORNATE RAILING,
ARCH AND
 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.

21.  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.

22. 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.

23. INDO SARACENICINDO 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