The document discusses the design principles and architectural outcome of the Taj Mahal. It describes how the complex is divided into five sections and follows principles of Shahjahani architecture like rational geometry, symmetry, hierarchical use of materials and forms, and emphasis on proportions. Key design elements include grids formed by pointed arches, domes, minarets, and careful balancing of solids and voids. Symmetry, symbolism, scale, perspective, and play of light and shadow were all carefully incorporated into the architectural design of the iconic Taj Mahal.

1. TAJ MAHAL
DESIGN PRINCIPLES AND ARCHITECTURAL
OUTCOME
..ANUSHRI KUMAR.. I ..BHAVANA B
HANSJI..
B ARCH III
HISTORY OF

2. TAJ MAHAL DESIGN PRINCIPLES
AND ARCHITECTURAL OUTCOME
..ANUSHRI KUMAR.. I ..BHAVANA B
HANSJI..
B ARCH III
INTRODUCTION
The Taj Mahal is the finest
example of Mughal Architecture, a
style that combines elements from
Persian, Turkish and Indian
Architectural styles.
“The Taj is a jewel – the ideal itself”
The Taj Mahal complex can be conveniently
divided into 5 sections:
1. The 'moonlight garden' to the north of
the river Yamuna.
2. The riverfront terrace, containing the
Mausoleum, Mosque and Jawab.
3. The Charbagh garden containing
pavilions.
4. The jilaukhana containing
accommodation for the tomb attendants
and two subsidiary tombs.
5. The Taj Ganji, originally a bazaar and
caravanserai only traces of which are still
preserved. The great gate lies between
the jilaukhana and the garden.
Levels gradually descend in steps from
the Taj Ganji towards the river.
Contemporary descriptions of the complex

3. TAJ MAHAL DESIGN PRINCIPLES
AND ARCHITECTURAL OUTCOME
..ANUSHRI KUMAR.. I ..BHAVANA B
HANSJI..
B ARCH III
INTRODUCTION

4. TAJ MAHAL DESIGN PRINCIPLES
AND ARCHITECTURAL OUTCOME
..ANUSHRI KUMAR.. I ..BHAVANA B
HANSJI..
B ARCH III
CONCEPT & PRINCIPLES
Principles of Shahjahani Architecture and as they are
expressed in the Taj Mahal:
•The complex of the Taj Mahal explores the potential of the
riverfront garden as both an ideal funerary and a utilitarian
worldly construct; it also expresses in canonical form the
architectural principles of the period.
•Rational and strict geometry.
•Perfect symmetrical planning with an emphasis on bilateral
symmetry (qarina) along a central axis of the main features.
In a typical Shahjahani qarina scheme two symmetrical
features flank a dominant central feature.
•A hierarchical grading of materials, forms and colours.
•Triadic divisions bound together in proportional formulas.
These determine the shape of plans, elevations and
architectural Ornament.
•Uniformity of shapes, ordered by hierarchical accents.
•Sensuous attention to detail.
•A selective use of naturalism.
•Symbolism.
These principles govern the entire architecture of Shah
Jahan. They are expressed most grandly and most
consistently in the Taj Mahal.

5. TAJ MAHAL DESIGN PRINCIPLES
AND ARCHITECTURAL OUTCOME
..ANUSHRI KUMAR.. I ..BHAVANA B
HANSJI..
B ARCH III
DESIGN PRINCIPLE- GRIDS
The design of the Taj
Mahal is
dominated by a
series of grids.
Where the primary shape
is a pointed arch within a
rectangle. This motif is
employed on all scales at
the complex, providing a
sense of architectural unity
throughout.
Pointed arches within a
rectangular frame also
form the iwans, or large
recessed portals, that
dominate the exterior
facades of the main
buildings. Notably, the
windows of all the
buildings imitate this
design. However, the use
of an arch is not strictly a
Mughal venture.
The spandrels of the arches are
adorned with delicate floral
arabesques.
Taking a view of the western facade of the
mausoleum from the arched doorway of the
mosque, a symphony of arches greets the
viewer. The central iwan, which is beneath and
partners the main onion dome, is derived from
Persian designs, popular in architecture of the
earlier Timurid dynasty. The archways to the Taj
Mahal are also instrumental to the aesthetic
value of the tomb and are often framed with
Qur'anic inscriptions.

6. TAJ MAHAL DESIGN PRINCIPLES
AND ARCHITECTURAL OUTCOME
..ANUSHRI KUMAR.. I ..BHAVANA B
HANSJI..
B ARCH III
COMPONANTS
1.Finial:
decorative crowning element of the TAJ MAHAL domes
2.Lotus decoration:
depiction of lotus flower sculpted on tops of domes
3.Onion Dome:
massive outer dome of the tomb (also called an ’amrud’ or apple
dome)
4.Drum:
cylindrical base of the onion dome, raising it from the main
building
5.Guldasta:
decorative spire attached to the edge of supporting walls
6.Chattri:
a domed and columned kiosk
7.Spandrel
upper panels of an archway
8.Calligrpahy
stylised writing of verses from the Qu'ran framing main arches
9.Arch
also called pishtaq (Persian word for portal projecting from the
facade of a building) and
10.Dado
decorative sculpted panels lining lower walls

7. TAJ MAHAL DESIGN PRINCIPLES
AND ARCHITECTURAL OUTCOME
..ANUSHRI KUMAR.. I ..BHAVANA B
HANSJI..
B ARCH III
DESIGN PRICIPLES – SYMMETRY
Symmetry and Geometric planning played an
important role in ordering the complex and reflected a
trend towards formal systematisation that was
apparent in all of the arts emanating from Jahan's
imperial patronage.
Bilateral symmetry expressed simultaneous ideas of
pairing, counterparts and integration, reflecting
intellectual and spiritual notions of universal harmony.
A complex set of implied grids based on the
Mughul Gaz unit of measurement provided a flexible
means of bringing proportional order to all the
Symmetry along two sides of a
central axis, new columnar styles,
curvilinear forms, and symbolic
decorations based on naturalistic
plant motifs are all characteristics of
the Shahjahan style that can be
found in the Taj Mahal Complex.
The Mughals utilized symmetry in both garden
and building plans, creating a comprehensive
unified building complex that provided linear
direction and visual clarity to the observer
Each of these gardens is distinguished by a
perimeter wall that is marked by gateways that
are placed at the primary cross axes of the
garden

8. TAJ MAHAL DESIGN PRINCIPLES
AND ARCHITECTURAL OUTCOME
..ANUSHRI KUMAR.. I ..BHAVANA B
HANSJI..
B ARCH III
DESIGN PRICIPLES -
SYMBOLISM
In the Taj Mahal, the hierarchical use of red
sandstone and white marble contributes manifold
symbollic significance. The Mughals were
elaborating on a concept which traced its roots to
earlier Hindu practices, set out in the
Vishnudharmottara Purana, which recommended
white stone for buildings for the Brahmins (priestly
caste) and red stone for members of the Kshatriyas
(warrior caste). By building structures that employed
such colour coding, the Mughals identified
themselves with the two leading classes of Indian
social structure and thus defined themselves as
rulers in Indian terms. Red sandstone also had
significance in the Persian origins of the Mughal
Empire, where red was the exclusive colour of
imperial tents.
Its symbolism is multifaceted, on the one hand
evoking a more perfect, stylised and permanent
garden of paradise than could be found growing in
the earthly garden; on the other, an instrument of
propaganda for Jahan's chroniclers who portrayed
him as an 'erect cypress of the garden of the
caliphate' and frequently used plant metaphors to
praise his good governance, person, family and
court. Plant metaphors also find a commonality
with Hindu traditions where such symbols as the
'vase of plenty' (purna-ghata) can be found and
were borrowed by the Mughal architects.
Sound was also used to express ideas of
paradise. The interior of the mausoleum has a
reverberation time (the time taken from when a
noise is made until all of its echoes have died
away) of 28 seconds providing an atmosphere

9. TAJ MAHAL DESIGN PRINCIPLES
AND ARCHITECTURAL OUTCOME
..ANUSHRI KUMAR.. I ..BHAVANA B
HANSJI..
B ARCH III
DESIGN PRICIPLES -
ELEMENTS
Uniformity of shapes has been set in a particular hierarchical
accent. One type of column, called the Shahjahani column is
used in the entire complex. It has a multi-faceted shaft, a
capital builtup from miniature arches, concave elements and
a base with four multi-cusped arched panels.Proportions and
details of the columns vary according to their position in the
complex; simplest in the bazaar streets, larger and richer in
the funerary area.
The chief building of the entire complex is the mausoleum
and the most naturalistic decoration appears here. The
flanking buildings; the mosque and mihman khana [Guest
House meant only for assembling for prayers] share mirror
symmetry and display less naturalistic and less refined
ornament; in the garden buildings, it is used only sparingly;
and none appears in the Jilaukhana or the bazaar and
caravanserai complex. The elements of the subsidiary units
are arranged with the same mirror symmetry. Integrated into
the overall qarina symmetry is centrally planned elements;
the four-part garden, the four-part bazaar and caravanserai
complex, and the miniature chahar baghs of the inner
subsidiary tombs. The mausoleum and the great gate have
centralized plans. Each element plays an indispensable part

10. TAJ MAHAL DESIGN PRINCIPLES
AND ARCHITECTURAL OUTCOME
..ANUSHRI KUMAR.. I ..BHAVANA B
HANSJI..
B ARCH III
DESIGN PRICIPLES –
GOLDEN SECTION

11. TAJ MAHAL DESIGN PRINCIPLES
AND ARCHITECTURAL OUTCOME
..ANUSHRI KUMAR.. I ..BHAVANA B
HANSJI..
B ARCH III
THE GEOMETRICAL SCHEME OF FACADE. PLAN

12. TAJ MAHAL DESIGN PRINCIPLES
AND ARCHITECTURAL OUTCOME
..ANUSHRI KUMAR.. I ..BHAVANA B
HANSJI..
B ARCH III
DESIGN PRICIPLES – SCALE AND
PROPORTION
SCALE AND PROPORTION
CREATE HARMONY IN THE
ENTIRE COMPOSITION OF
THE PLACE
Taj Mahal sits on a raised
platform surrounded by four
minarets. Since the dome of
the Mahal was large, the
pillars balance/complete its
composition.
There is a
clever
distribution in
the void and
filled spaces
(balanced)
Solids and Voids
The great depth has also
been further suggested by the
double arches, one over the
other, on each side of the
central portal. The solids and
voids have very judiciously
been distributed to provide a
variety, yet an undiminished
uniformity.
These alcoves, the balconies
in each minaret, the chhatris
near the dome, and certain
pronounced projections in
each facade allow a beautiful
play of light and shadow.

13. TAJ MAHAL DESIGN PRINCIPLES
AND ARCHITECTURAL OUTCOME
..ANUSHRI KUMAR.. I ..BHAVANA B
HANSJI..
B ARCH III
DESIGN PRICIPLES -
PERSPECTIVE
The Taj Mahal was constructed to
serve the function of preventing the
people from getting any glimpse of
the tomb until they are right in the
doorway itself.
Because of the enormous scale, the pillars were
designed slightly tilted so when seen from below,
and far, the perspective of the Taj Mahal appear to
be straight.
Actual
Construction
The Optical
Illution when
seen from
perspective
Gives a different experience in different
perpectives
Forms and Lines
The composition of the forms and
lines of the Taj Mahal is perfectly
symmetrical. Here we meet with a
beautiful admixture of lines,
horizontal with vertical, and straight
with curved - all harmoniously set
together in the total unity. They adopt
each other with amazing uniformity.
The combination is entirely rhythmic
and melodic. Especially the semi-
octagonal alcoves at the chamfered
angles which are perceptible from
every perspective view and give a 3-
dimensional appearance from the
outset. They emphasize the diagonal
lines and suggest depth.

14. TAJ MAHAL DESIGN PRINCIPLES
AND ARCHITECTURAL OUTCOME
..ANUSHRI KUMAR.. I ..BHAVANA B
HANSJI..
B ARCH III
DESIGN PRICIPLES -
PERSPECTIVE
The Taj Mahal was constructed to
serve the function of preventing the
people from getting any glimpse of
the tomb until they are right in the
doorway itself.
Because of the enormous
scale, the pillars were
designed slightly tilted so
when seen from below, and
far, the perspective of the
Taj Mahal appear to be
straight.
Actual
Construction
The Optical
Illution when
seen from
perspective
Gives a different experience in different
perpectives

15. TAJ MAHAL DESIGN PRINCIPLES
AND ARCHITECTURAL OUTCOME
..ANUSHRI KUMAR.. I ..BHAVANA B
HANSJI..
B ARCH III
PLAY OF LIGHT AND
SHADOW
The Taj Mahal is widely known
for its play with light and
shade.
At moonlight, the marble
reflects a beautiful bluish
colour
Because of its scale, during
the movement of sunlight, the
areas around it get a lot of
shade.

16. TAJ MAHAL DESIGN PRINCIPLES
AND ARCHITECTURAL OUTCOME
..ANUSHRI KUMAR.. I ..BHAVANA B
HANSJI..
B ARCH III
DESIGN PRICIPLES

17. TAJ MAHAL DESIGN PRINCIPLES
AND ARCHITECTURAL OUTCOME
..ANUSHRI KUMAR.. I ..BHAVANA B
HANSJI..
B ARCH III
DESIGN PRICIPLES -
PERSPECTIVE