Dissertation Report ON

DISSERTATION REPORT
ON
ST. JOHN’S CHURCH
Submitted in partial fulfilment of the
Requirement for the award of degree of
Bachelor of Architecture
Submitted by
ABDUL WAJID
Guided by
Ar. Mohd. Saquib
Ar. Sonia Chaudhary
FACULTY OF ARCHITECTURE & EKISTICS

JAMIA MILLIA ISLAMIA
NEW DELHI-110025
2016-17
Faculty of Architecture & Ekistics,
Jamia Millia Islamia, New Delhi
Certificate
In the partial fulfilment of the B.Arch degree program, this is to certify that ABDUL
WAJID has worked on the Dissertation Report entitled ST. JOHN’S CHURCH under
our guidance and supervision.
Ar. Mohd. Saquib Prof.S.M.Akhtar

Dissertation Guide Dean
Ar.Sonia Chaudhary Ar. Mohammad Ziauddin

Dissertation Guide Head
External Examiner(s)
Declaration
I,ABDUL WAJID ,hereby declare that the Dissertation entitled ST. JOHN’S CHURCH
submitted in the partial fulfilment of the requirement for the award of the degree of
Bachelor of Architecture is my original research work and that the information taken from
secondary sources is given due citations and references.
ST. JOHN’S CHURCH
Roll. No:
Date: B.Arch. 2nd year
Place: 2016-17
Acknowledgement
First of all I would like to thank the Almighty for giving me the strength to able to
complete my work in the best possible ways.
Secondly, I would like to thank my teacher and my dissertation guide Ar. Mohd
Saquid without whose help it would have been impossible for me to make this
report on time. I thank him for all his remarks that helped me to improve my work.
I would like to express my gratitude to all those who gave me possibility to complte
this project. I want to thank the department Architecture and Ekistics (JMI) for giving
me permission to commence to this project in this first instant, to do the necessary
work and to use departmental data.
ABDUL WAJID
B.ARCH 2ND YEAR

ST. JOHN’S CHURCH ABDUL WAJID B. ARCH 2YR, 2016-17
LIST OF FIGURES
Figure 1: KEY PLAN ........................................................................................................................................ 4
Figure 2: ST. JOHN'S CHURCH ....................................................................................................................... 5
Figure 3: VATICAN CITY CHURCH THE HEAD OF ALL CHURCHES .................................................................. 8
Figure 4: Victoria Memorial, Example of Indo Saracenic Architecture ......................................................... 9
Figure 5: Anglo Mughal Church................................................................................................................... 10
Figure 6: PAGAN CROSS .............................................................................................................................. 14
Figure 7: THE AMERICAN COLLEGE (AN INDO SARACENIC COLLEGE BUILT IN 19TH CENTURY ................. 15
Figure 8: LOCATION OF THE ST. JOHN'S CHURCH ....................................................................................... 17
Figure 9: SITE PLAN ..................................................................................................................................... 18
Figure 10: CONTEXT PLAN........................................................................................................................... 19
Figure 11: QUTUB MINAR ........................................................................................................................... 20
Figure 12: ADHAM KHAN TOMB ................................................................................................................. 21
Figure 13: YOGMAYA TEMPLE..................................................................................................................... 22
Figure 14: CLIMATIC DATA OF DELHI .......................................................................................................... 23
Figure 15: ORIENTATION OF CHURCH......................................................................................................... 25
Figure 16: ZONING ...................................................................................................................................... 25
Figure 17: RELATION B/W BUILT, SEMIBUILT AND UNBUILT ...................................................................... 26
Figure 18: SITE CIRCULATON ....................................................................................................................... 26
Figure 19: OLD PHOTO OF CHURCH ............................................................................................................ 28
Figure 20: THE SENATE HOUSE (EXAMPLE OF INDO SARACENIC BUILDING) ............................................. 30
Figure 21: ENTRANCE OF CHURCH SHOWING URDU CALLIGRAPHY .......................................................... 31
Figure 22: TURRETS ON EITHER SIDE .......................................................................................................... 32
Figure 23:TURRET IN TUGHLAQABAD FORT ............................................................................................... 32
Figure 24: GATEWAY OF THE CHURCH ....................................................................................................... 33
Figure 25: GATEWAY OF AKBAR TOMB....................................................................................................... 34
Figure 26: JAALI ON ENTRANCE .................................................................................................................. 34
Figure 27: CROSS ON THE ENTRANCE ......................................................................................................... 35
Figure 28: SHIKARA ON THE TOP OF THE CHURCH ..................................................................................... 35
Figure 29: COLUMNS DETAILS..................................................................................................................... 36
Figure 30: PLAN ........................................................................................................................................... 38
Figure 31: FACADE ELEVATION OF THE CHURCH ........................................................................................ 39
Figure 32: OLD PHOTO OF THE CHURCH..................................................................................................... 41
F/O ARCHITECTURE & EKISTICS |JAMIA MILLIA ISLAMIA I

CERTIFICATE
DECLARATION
ACKNOWLEDGEMENT
LIST OF FIGURES AND ILLUSTRATIONS
Contents
SYNOPSIS ....................................................................................................................................................... 1
1. INTRODUCTION ................................................................................................................................. 8
1.1 WHAT IS CHURCH? ........................................................................................................................ 8
1.2 CHURCH ARCHITECTURE.............................................................................................................. 8
1.3 TYPES OF CHURCH IN INDIA................................................................................................. 12
1.4 INTRODUCTION TO ST. JOHN’S CHURCH, MEHRAULI .................................................... 13
1.4.1 PAGAN CROSS ................................................................................................................ 14
1.4.2 WHAT IS INDO-SARACENIC?........................................................................................ 15
1.4.3 DEVELOPMENT OF THE STYLE ....................................................................................... 15
2. SITE ANALYSIS ................................................................................................................................... 17
2.1 LOCATION ..................................................................................................................................... 17
2.2 SITE PLAN ........................................................................................................................................ 18
2.3 CONTEXT PLAN ........................................................................................................................ 19
2.4 CONTEXT ................................................................................................................................... 20
2.4.1 QUTUB MINAR .................................................................................................................. 20
2.4.2 ADHAM KHAN’S TOMB.................................................................................................. 21
2.4.3 YOGMAYA TEMPLE.............................................................................................................. 22
2.5 TOPOGRAPHY ......................................................................................................................... 23
2.6 CLIMATE .................................................................................................................................... 23
2.7 ORIENTATION ........................................................................................................................... 25
2.8 ZONING ..................................................................................................................................... 25
2.9 BUILT-UNBUILT ANALYSIS ........................................................................................................ 26
2.10 SITE CIRCULATION .................................................................................................................. 26
3 HISTORY.................................................................................................................................................. 28
F/O ARCHITECTURE & EKISTICS |JAMIA MILLIA ISLAMIA II

4 ARCHITECTURAL FEATURES ............................................................................................................... 30

4.1 CHARACTERSTIC FEATURES OF INDO SARACENIC ARCHITECTURE ................................ 30
4.2 PRINCIPLE CHARACTERISTICS ................................................................................................... 30
4.3 FEATURES OF THE CHURCH ........................................................................................................ 31
4.3.1 CALLIGRAPHY ON THE ENTRANCE ................................................................................... 31
4.3.2 TURRETS ON EITHER SIDE OF THE GATEWAY ................................................................... 32
4.3.3 NEO-MUGHAL GATEWAY FOR ENTRANCE OF THE CHURCH .................................... 33
4.3.4 JAALI ON THE ENTRANCE ................................................................................................... 34
4.3.5 CROSS ON THE ENTRANCE ................................................................................................. 35
4.3.6 SHIKARA .................................................................................................................................. 35
4.3.7 COLUMNS ............................................................................................................................... 36
5 PLAN AND ELEVATION ....................................................................................................................... 38
5.1 PLAN ................................................................................................................................................ 38
5.2 ELEVATION ..................................................................................................................................... 39
6 CONCLUSION ...................................................................................................................................... 41
6.1 WHAT WAS THE NEED FOR A CHURCH LIKE THIS? ................................................................ 41
7 BIBLIOGRAPHY...................................................................................................................................... 44
7.1 BOOKS REFERED............................................................................................................................ 44
7.2 INTERNET ......................................................................................................................................... 44
F/O ARCHITECTURE & EKISTICS |JAMIA MILLIA ISLAMIA III

SYNOPSIS
F/O ARCHITECTURE & EKISTICS |JAMIA MILLIA ISLAMIA 1

ST. JOHN’S CHURCH
Aim: To study ST. John’s Church, New Delhi for its architectural features.
Objectives:
 To study the architectural features of the church.
 To understand the impact and ambience of building structure on the
society around it.
Rationale:
St. John’s church is remarkable and magnificent in all respect. Most of the
churches are built in gothic and roman architectural style. St. John’s Church is
the first church built with a unique blend of architecture. The church is built in
indo colonial period and greatly influenced by the same, using red sandstone,
stones, etc. There are magnificent interiors and small recessed openings, which
serves various purposes. This is a wonderful piece of indo colonial architecture in
Mehrauli to study.

METHODOLOGY:
METHODOLOGY
SECONDARY
PRIMARY SOURCES SOURCES
VISIT TO THE READING ANNUAL

CHUCH MAGAZINE OF THE
CHURCH.
STUDY THE STYLE OF INTERVIEW THE TAKING HELP

ARCHITECTURE AND STAFF OF CHUCH FROM IMPERIAL
STUDY TERMS RELATED TO KNOW THE DELHI, BOOK
TO THE CHURCH HISTORY OF FROM
CHURCH ARCHITECTURE
LIBRARY, JMI.

ANALYTICAL FRAMEWORK:
OBJECTIVE DATA COLLECTION REFRENCES
Building form Photos, discussion with Self-observation.
architects
Zoning Visiting the site, internet. Self-observation.
Area analysis Visiting the site, internet. Self-observation.
Architectural elements Photos, visiting the site. Self-observation.
LOCATION:
St. John Church is located in Mehrauli near world reknown Qutub complex.
Figure 1: KEY PLAN

Source: www.google.com

ST. John’s church is connected to various important land marks situated nearby
like the Qutub Minar Adham Khan’s tomb and the Yogmaya temple all these
share a long history and play a very important role in the design of the church.
INTRODUCTION:
The Christian church is the symbol of

Christ, the abode in which all believers
and non-believers may find refuge and
solace. As a place for a specific action,
a church must be functional as a
monument ‘god’, it must inspire a sence
of religion, as an expression of ‘man’, it
must achieve artistic beauty, without
any of these it cannot achieve religion
significance.
Figure 2: ST. JOHN'S CHURCH

Source: Author

SCOPE:
 It would be detailed study of the church.

 I would interview the staff member to understand the present scenario of
the church.
 It would include the building construction technique used in church.
LIMITATION:
 It would not include the study of the guest house built in the complex.

INTRODUCTION

1. INTRODUCTION
1.1 WHAT IS CHURCH?
A church building
often simply called a
church is a building
used for religious
activities, particularly
worship services. The
term in its
architectural sense is
most often used by
Christian to refer to
their religious
buildings but can be
used by other
religions. In traditional
Christian Figure 3: VATICAN CITY CHURCH THE HEAD OF ALL CHURCHES
architecture, the Source: www.wrodpress.com
church is often arranged in the shape of a Christian cross. When viewed from
the plan view the longest part of a cross as represented by the aisle and the
junction of the cross is located at the altar at the area. Towers or domes are
oftenadded with the intection of directing the eye of the viewer towards the
heavens and inspiring church visitors, modern church building have a variety of
architectural styles and layouts; msny builfidings that wer designed for other
perposeds have now been converted for the church use; and, similarly, many
original church buildings have been put to other uses.
1.2 CHURCH ARCHITECTURE

Church architecture refers to the architecture of biuldings of Christian churches.
It has evolved over the two thousand years of the Christianreligion, partly by
innovation and partly by iumitating other architectural styles as well as
responding to chanching beliefs, practices and loca;l traditions. From the birth
of Christanity to the present, the most significant objects of transfgormation for
Christion architure and design were the great churches of Byzantium, the
Romanesque abbey churches, Gothic.cathedrals and Renaissance basilica with
its emphasis on harminy. These large, often ornate and architecturally orestigious

buildings were dominant features of the towns and countryside in which they
stood. But far more numerous were the parish churches scatters across the
Christian world, the focus of christioan devotion in every town and village. While
a few are counted as sublie works of arhchitecture to equal the great
cathedrals, the majority developed along simpler lines, showing great regional
diversity and often demonstrating local vernacular technology and decoration.
Buildings were at first adapted from those originally intended for other purposes
but, with the rise of distinctively ecclesiastical architecture, church buildings
came to influence secular ones which have often imitated religious
architecture. In the 20th century, the use of new materials, such as steel and
concrete, has had an effect upon the design of churches. The history of church
architecture divides itself into periods, and into countries or regions and by
religious affiliation. The matter is complicated by the fact that buildings put up
for one purpose may have been re-used for another, that new building
techniques may permit changes in style and size, that changes in liturgical
practice may result in the alteration of existing buildings and that a building built
by one religious group may be used by a successor group with different
purposes.
Figure 4: Victoria Memorial, Example of Indo Saracenic Architecture

Source: Author

In the early I 6th century Martin Luther and the Reformation brought a period of
radical change to church design. Prior to the Reformation, translations of the
Bible into local languages were rare and illicit; in the West the Authorized Version
was in Latin, the language of worship, scholarship and the law courts.
Comparatively few works of literature were written in the vernacular until the
advent of printing in the fifteenth century. Nevertheless, the denial of the right to
produce Bibles in local languages was instrument of control both papal and by
princes so that access to the word became a hallmark of Reformation thinking
and preaching more prominent. According to the ideals of the Protestant
reformation, the spoken word, the sermon, should be central act in the church
service. This implied that the pulpit became the focal point of the church interior
and that churches should be designed to allow all to hear and see the minister.
Pulpits had always been a feature of Western churches (and had been much
prized by the friars) but they now came to replace the altar as the primary
focus. In England stone altars were removed (and trashed) and replaced by a
single wood table. However, while the birth of Protestantism led to massive
changes in the way that Christianity was practiced (and hence the design of
churches), Catholic churches retained an emphasis on the symbolic.
According to Duncan Stroik, late in

the Reformation period, there was a
shift across all denominations to an
emphasis on "full and active
participation". In the Roman
Catholic Church this was achieved
through an emphasis on "emotional
exuberance", which meant that
even those members of the
congregation who were unfamiliar
with the ceremony could still be
deeply moved. With the onset late
16th century, exquisite marble
statues adorned the churches, and
gold fittings combined with superb
glass windows in a celebration of the
faith. In contrast, in Protestant
Figure 5: Anglo Mughal Church churches the altar and tabernacle
Source: www.wordpress.com were often removed, and a

communion table and pulpit replaced the altar. Despite the apparent disparity,
both denominations sought to provide for fundamentally the same purpose to
allow the worshippers to feel close to God.
In the Netherlands the reformed church in Willemstad, North Brabant,

Koepelkerk (Domed Church) (1607), the first Protestant church building in the
Netherlands, was given an octagonal shape according to Calvinism's focus on
the sermon.

1.3 TYPES OF CHURCH IN INDIA
Christian Denominations in India
Church Name Population Orientation

Roman Catholic Church 11,800,000 Latin Rite, Catholic
Syro-Malabar Catholic 4,247,000 East Syrian Rite, Catholic
Church
Syro-Malankara Catholic 1,036,870 West Syrian Rite, Catholic
Church
Malankara Orthodox 4,750,000 West Syrian Rite
Syrian Church and
Jacobite Syrian Christian
Church combined
Malabar Independent 725,000 West Syrian Rite,
Syrian Church Orthodox
Chaldean Syrian Church 1,025,000 East Syrian Rite, Church
of the East
Mar Thomas Syrian 2,025,000 West Syrian Church,
Church Episcopalian Protestant
St. Thomas Syrian Church 35,000 Episcopalian Protestant
Church of South India 5,000,000 Episcopalian Protestant
(United and Uniting)
Church of North India 1,250,000 Episcopalian Protestant
(United and Uniting)
Methodist Church in 648,000 Protestant
India
Baptist Denominations in India

Baptist 2,991,276 Protestant
Lutheran 1,267,786 Protestant
Indian Brethren 1,000,000 Protestant
Presbyterian Church of 1,206,737 Protestant (Reformed)
India
Reformed Presbyterian 15,000 Protestant (Reformed)
Church in North East
India
Reformed Presbyterian 10,000 Protestant (Reformed)
Church of India
Evangelical Church of 30,000 Protestant (Reformed)
Maraland
Congregational Church 5,500 Protestant (Reformed)

in India
Hindustani Covenant 16,600 Protestant
Church
Worldwide Faith Mission 12,000 Protestant
Evangelical Church 250,000 Protestant
New Apostolic Church 1,448,209 Protestant
India Pentecostal Church 600,000 Protestant
of God
New Life Fellowship 480,000 Protestant
Association
Sharon Fellowship Church 50,000 Protestant
Manna Full Gospel 275,000 Protestant
Church
Philadelphia Fellowship 200,000 Protestant
Church of India
Seventh-day Adventist 1,560,000 Protestant/Restorationism
Church
Unitarian Union of 10,000 Unitarian
Northeast
Jehovah’s Witness 7.913 Restorationism
The Church of Jesus 1,289 Latter Day Saints
Christ of Latter-day Saints
Gift of God Ministries 1,000 Born Again Believers
1.4 INTRODUCTION TO ST. JOHN’S CHURCH, MEHRAULI

St John's church located in mehrauli is a kind of an indo saracenic structure
which combines elements from different religions and merge them together so
as to create an unique structure. This is a kind of a structure that merges many
elements of different architectural styles to form an unique structure. This church
has been built on a Greek cross which was derived from pagan cross.

1.4.1 PAGAN CROSS
The cross is a pagan symbol that was adored in

Egypt thousands of years before Jesus was born. The
Roman Catholic Church adopted the cross symbol
at least 600 years after Jesus was supposedly
crucified. Even the early Christians of North Africa
rejected the wooden cross after Tertullian
condemned it. Tertullian confessed that pagans
worshipped crucified saviors hanging on a cross.The
pagan roots of Christianity are clearly indicated by
this confession. Tertullian was a Christian who later
became a Gnostic. He implies that Christians
borrowed the sun-god myth.
Figure 6: PAGAN CROSS
SOURCE:
www.myyearoffaith.com

1.4.2 WHAT IS INDO-SARACENIC?

An architectural style movement by British architects in the late 19th century
British India which drew elements from native Indo-Islamic and Indian
architecture, and combined it with the Gothic revival and Neo-Classical styles
favored in Victorian Britain.
Figure 7: THE AMERICAN COLLEGE (AN INDO SARACENIC COLLEGE BUILT IN 19TH CENTURY
SOURCE: www.panoramio.com
1.4.3 DEVELOPMENT OF THE STYLE

 BEFORE 1857 European classical style (incorporating Greek and Roman
Features such as columns, triangular pediments) employed for the public
buildings: image as the holders of power and status and to distance
themselves from the natives.
 REVOLT OF 1857- India began to be ruled under the British crown: essential
to legitimatize their rule and connect to the natives of the colonized land.

SITE ANALYSIS

2. SITE ANALYSIS
2.1 LOCATION
This church is located in Christian Colony, Mehrauli, New Delhi-110016 near
Qutub Minar and bus terminal Mehrauli.
Figure 8: LOCATION OF THE ST. JOHN'S CHURCH

SOURCE: www.googlemaps.com

2.2 SITE PLAN
Figure 9: SITE PLAN

SOURCE: www.googleearth.com

2.3 CONTEXT PLAN
Figure 10: CONTEXT PLAN

SOURCE: www.architecturericky.com

2.4 CONTEXT
2.4.1 QUTUB MINAR

Qutb Minar also spelled Qutub or Qutab, is the 2nd tallest minar (73 meters) in
India after Minar-E-Fateh at chhapar chili at Anandpur Sahib which stands 100
meters tall. Qutub Minar originally an early Islamic Monument, inscribed with
Arabic inscriptions, and is a UNESCO World Heritage Site. Located in Delhi, the
QutUb Minar is made of red sandstone and marble. The stairs of the tower has
379 steps, is 72.5 metres (237.8 ft) high, and has a base diameter of 143 meters,
which narrows to 2.7 metres at the top. Construction was started in 1192 by
Qutb-ud-din Aibak and was carried on by his successor, Iltutmish. In 1368, Firoz
Shah Tughlak constructed the fifth and the last storey.It is surrounded by several
other ancient and medieval structures and ruins, collectively known as the
QutUb complex.
Figure 11: QUTUB MINAR

SOURCE: AUTHOR

2.4.2 ADHAM KHAN’S TOMB

Adham Khan's Tomb the 16th-century tomb of Adham Khan, a general of
Mughal Emperor, Akbar. He was the younger son of Maham Anga, Akbar's wet
nurse thus also his foster brother. However, when Adham Khan murdered Akbar's
favourite general Ataga Khan in May 1562, Akbar immediately ordered his
execution at Agra Fort.
The tomb was built in 1561, and lies to the north of the Qutub Minar, Mehrauli,
Delhi, immediately before one reaches the town of Mehrauli, it is now a
protected monument by Archeological Survey of India.
Figure 12: ADHAM KHAN TOMB

SOURCE: AUTHOR

2.4.3 YOGMAYA TEMPLE

The temple built in 1827 is a simple
but contemporary structure with an
entrance hall and a sanctum
sanctorum that houses the main Idol
of Yogmaya made of black stone
placed in a marble well of 2 ft (0.6
m) width and 1 ft (0.3 m) depth. The
sanctum is 17 ft (5.2 m) square with a
flat roof over which a truncated
shikara (tower) is built. Apart from
this tower, a dome is the other
feature seen in the temple
(pictured). The idol is covered in
sequins and cloth. Two small
Figure 13: YOGMAYA TEMPLE pankhas (fans) of the same
SOURCE: AUTHOR materials are seen suspended over
the Idol from the roof. The walled enclosure around the temple is 400 ft (121.9 m)
square, with towers at the four corners. Twenty two towers were built within the
precincts of the temple at the orders of the Sood Mal, the builder. The floor of
the temple was originally made of red stone but since then has been replaced
by marble. The main tower above the sanctum is 42 ft (12.8 m) high and has
copper plated shikara or pinnacle.
The flowers and sweet meats offered by the Devotees to the goddess are
placed over a marble table of 18 inches square and 9 inches height set in front
of the idol in the sanctum floor. Bells, otherwise a part of Hindu temples, are not
tolled during the worship of the goddess. An interesting display at the temple
premises in the past (but now in an open wall panel) was an iron cage of 8 ft
(2.4 m) square and10 ft (3.0 m) in height in which two stone tigers are exhibited.
A passage, between the temple and the wall panel has flat roof which is
covered with the planks overlaid by bricks and mortar and fixed with bells.
Adjacent to the temple lies, a water body, johad, known as 'Anangtal', after
King Anangpal, and covered by trees from all sides. The temple is also an
integral part of an important inter-faith festival of Delhi, the annual Phool Walon.
Ki Sair.. First started in 1812, the festival has today, become important inter-faith
festivals of Delhi, and includes offering a floral punkah to the deity at the
Yogmaya temple.

2.5 TOPOGRAPHY
It lies around 200 to 300 meters above the sea level. The topography of Delhi
can be divided into three different parts, the plains, the Yamuna flood plain,
and the ridge. As per the topography, Delhi is located on the western fringes of
the Gangetic Plains. The latitudinal and longitudinal location of Delhi are 23.38
degree north and 77.13degree east. The state stands at the northern part of
India. Haryana and Uttar Pradesh are the other states, which share their borders
with Delhi in the west and east respectively. Delhi geography divides the state
into three parts- the Delhi ridge, the Yamuna flood plain and the plains. The
Yamuna river plains are very fertile as they are flooded by the river and is rich in
alluvial soil. The Delhi ridge is the most important characteristic of the state and is
a part of the Aravali range passes through Delhi.
2.6 CLIMATE
Figure 14: CLIMATIC DATA OF DELHI

SOURCE: www.climatemps.com

Delhi's has an extreme climate. It is very hot in summer (April - July) and cold in
winter (December - January). The average temperature can vary from 25°C to
45°C during the summer and 22°C to 5°C during the winter.

2.7 ORIENTATION
Figure 15: ORIENTATION OF CHURCH

SOURCE: www.googlemaps.com
2.8 ZONING
Figure 16: ZONING

SOURCE: AUTHOR

2.9 BUILT-UNBUILT ANALYSIS
Figure 17: RELATION B/W BUILT, SEMIBUILT AND UNBUILT

SOURCE: AUTHOR
2.10 SITE CIRCULATION
Figure 18: SITE CIRCULATON

SOURCE: AUTHOR

HISTORY

3 HISTORY
The St. John's Church in Mehrauli, built in 1928, was also designed by Alfred
Coore of the Brotherhood of the Ascendant Church and is unique in the sense
that its design combines the features of a church, a temple and a mosque.
Late in the 19th century, Gothic Revival architecture, with its overt message of
English nationalism, seemed increasingly out of Place in India. It was now clear
to the English that India had an in architectural history that was as deep as it
was complicated. With scholars now studying Indian art and architecture, a
new generation of architects began to experiment with a style that came to be
known as Indo-Saracenic, which adapted the architectural vocabulary of
Islamic or "Saracenic" architecture to buildings such as town halls, libraries, and
schools. The Indo-Saracenic paralleled the attempt in Egypt to create a neo-
Mamluk style. Part of the Indo-Saracenic ideal was lodged in the colonial
stereotype of the putative "decline" of Indian civilization. The hybrid combined
diverse architectural elements of Hindu and Mughal with Gothic cusped arches,
domes, spires, tracery, minarets and stained glass, in a wonderful, almost playful
manner. Much of the building is in classical architectural style, yet it
incorporated from Mughal and Rajasthani architecture sun and monsoon rains
of India. style and motifs in its architecture. These are visible in the use of Jali,
perforated screens, to protect from scorching and monsoon rain.
Figure 19: OLD PHOTO OF CHURCH

SOURCE: www.flickr.com

ARCHITECTURAL FEATURES

4 ARCHITECTURAL FEATURES
4.1 CHARACTERSTIC FEATURES OF INDO SARACENIC ARCHITECTURE

Indo-Saracenic architecture is often call a “stylistic hybrid” architecture. It
combines traditional Indian architectural elements, like scalloped arches and
onion domes, with traditional British architecture. The mixture of Indian elements
with neoclassical and gothic styles typifies and indo-saracenic building. These
buildings are also called “consistently picturesque”, which you can see from the
picture of THE VICTORIA CHURCH in madras.
Figure 20: THE SENATE HOUSE (EXAMPLE OF INDO SARACENIC BUILDING)

SOURCE: www.pinterest.com
4.2 PRINCIPLE CHARACTERISTICS

 Onion (bulbous) domes
 Overhanging eaves
 Pointed arches, cusped arches or scalloped arches
 Vaulted roofs
 Domed kiosks
 Many miniature domes or domed chhatris
 Pinnacles
 Towers or minarets
4.3 FEATURES OF THE CHURCH
4.3.1 CALLIGRAPHY ON THE ENTRANCE

Beautiful Urdu calligraphy on the entrance of the church is even though not a part of a
church In anyway but then also merges well with the structure. This calligraphy is
predominant feature of a mosque.
Figure 21: ENTRANCE OF CHURCH SHOWING URDU CALLIGRAPHY

SOURCE: AUTHOR

4.3.2 TURRETS ON EITHER SIDE OF THE GATEWAY
Figure 22: TURRETS ON EITHER SIDE

SOURCE: TURRETS ON EITHER SIDE OF CHURCH
The turrets on the façade are a feature of Mughal fort architecture this can be seen in
the different forts built by Mughal architects.
Figure 23:TURRET IN TUGHLAQABAD FORT

SOURCE: www.justtripping.com

4.3.3 NEO-MUGHAL GATEWAY FOR ENTRANCE OF THE CHURCH

This gateway on the entrance is definitely a neo-mughal piece of architecture
and has been used in many Mughal tombs and forts all over India.
Figure 24: GATEWAY OF THE CHURCH

SOURCE: AUTHOR

Figure 25: GATEWAY OF AKBAR TOMB

SOURCE: www.mygola.com
4.3.4 JAALI ON THE ENTRANCE

This particular style is very indigenous to the Rajasthani architecture providing
jaali for ventilation and for indirect sunlight.
Figure 26: JAALI ON ENTRANCE

SOURCE: AUTHOR

4.3.5 CROSS ON THE ENTRANCE
Figure 27: CROSS ON THE ENTRANCE

SOURCE: AUTHOR
4.3.6 SHIKARA
Shikara, a Sanskrit word translating literally to “mountain peak”, refers to the
rising tower in the Hindu temple architecture of North India. Shikara over the
sanctum sanctorum where the presiding deity is enshrined is the most prominent
and visible part pf a Hindu temple of north Indian temple.
Figure 28: SHIKARA ON THE TOP OF THE CHURCH


4.3.7 COLUMNS
Figure 29: COLUMNS DETAILS

SOURCE: AUTHOR

PLAN AND ELEVATION

5 PLAN AND ELEVATION
5.1 PLAN
Figure 30: PLAN

SOURCE: AUTHOR
 Nave, where the congregation sits
 Aisle round the edges. The aisles may be quite grand, major
features of the cathedral.
 The Transept makes the cross shape.
 The crossing is where the transept crosses the nave.
 The quire (choir) is the area between the nave and the ‘sacred area’ (the
presbytery or sanctuary). The quire is separated from the nave by a ‘rood
screen’. It often has choir stalls where members of the choir sit.
 Liturgical east end:
 The presbytery is where the priest(s) conduct liturgy, such as Mass.
 The sanctuary, not pictured here, is where the altar is.

5.2 ELEVATION
Figure 31: FACADE ELEVATION OF THE CHURCH

SOURCE: AUTHOR

CONCLUSION

6 CONCLUSION
6.1 WHAT WAS THE NEED FOR A CHURCH LIKE THIS?

"In the public buildings put up by the Raj it was essential always to make visible
Britain's imperial position as ruler, for these structures were charged with the
explicit purpose of representing empire itself. Since they wanted to legitimatize
their rule, they decided to justify their presence by relating themselves to the
previous rulers, the Mughals. The British deliberately kept Mughal princes in
power so as to not to provoke Indian contempt and to further establish their
connection to the Mughals. These princes were a vision of the future, but the
British also needed them to be a representation of the past. And it worked."
-Sir Thomas Metcalf
This really defines the urge that was there for the British to create the style for
indo saracenic architecture.
Figure 32: OLD PHOTO OF THE CHURCH


ARCHITECTURAL USED ORIGINALLY USED IN CHURCH AS

FEATURE
Cross on the Used in churches to identify Used to depict it as a
entrance them as church church
Calligraphy on front Used in mosque at the Tells us that the building

entrance is a church in Urdu
Turrets Used in front of Mughal forts Used as an aesthetic

element
Neo-mughal Used as a gateway Used as a gateway

gateway
Shikara Used in hindu temple to Used for aesthetic
demarcate that it is a temple purpose

BIBLIOGRAPHY

7 BIBLIOGRAPHY
7.1 BOOKS REFERED

 History of India – A note of Freedom
 Architecture + Design Magzine
 Frencis D.K. Ching Virtual Architecture
 Church Design – By Darren Hoyt
7.2 INTERNET
 www.intach.org
 www.wikipedia,org
 www.architectureofchennai.com
 www.flickr.com

Dissertation Report ON

Caricato da

Informazioni sul documento

Titolo originale

Copyright

Formati disponibili

Condividi questo documento

Condividi o incorpora il documento

Opzioni di condivisione

Hai trovato utile questo documento?

Questo contenuto è inappropriato?

Copyright:

Formati disponibili

Dissertation Report ON

Caricato da

Copyright:

Formati disponibili

DISSERTATION REPORT

FACULTY OF ARCHITECTURE & EKISTICS

Ar. Mohd. Saquib Prof.S.M.Akhtar

Ar.Sonia Chaudhary Ar. Mohammad Ziauddin

ST. JOHN’S CHURCH

Date: B.Arch. 2nd year

B.ARCH 2ND YEAR

F/O ARCHITECTURE & EKISTICS |JAMIA MILLIA ISLAMIA I

LIST OF FIGURES AND ILLUSTRATIONS

F/O ARCHITECTURE & EKISTICS |JAMIA MILLIA ISLAMIA II

4 ARCHITECTURAL FEATURES ............................................................................................................... 30

F/O ARCHITECTURE & EKISTICS |JAMIA MILLIA ISLAMIA III

F/O ARCHITECTURE & EKISTICS |JAMIA MILLIA ISLAMIA 1

ST. JOHN’S CHURCH

F/O ARCHITECTURE & EKISTICS |JAMIA MILLIA ISLAMIA 2

VISIT TO THE READING ANNUAL

STUDY THE STYLE OF INTERVIEW THE TAKING HELP

F/O ARCHITECTURE & EKISTICS |JAMIA MILLIA ISLAMIA 3

Figure 1: KEY PLAN

F/O ARCHITECTURE & EKISTICS |JAMIA MILLIA ISLAMIA 4

The Christian church is the symbol of

Figure 2: ST. JOHN'S CHURCH

F/O ARCHITECTURE & EKISTICS |JAMIA MILLIA ISLAMIA 5

 It would be detailed study of the church.

F/O ARCHITECTURE & EKISTICS |JAMIA MILLIA ISLAMIA 6

F/O ARCHITECTURE & EKISTICS |JAMIA MILLIA ISLAMIA 7

1.2 CHURCH ARCHITECTURE

F/O ARCHITECTURE & EKISTICS |JAMIA MILLIA ISLAMIA 8

Figure 4: Victoria Memorial, Example of Indo Saracenic Architecture

F/O ARCHITECTURE & EKISTICS |JAMIA MILLIA ISLAMIA 9

According to Duncan Stroik, late in

F/O ARCHITECTURE & EKISTICS |JAMIA MILLIA ISLAMIA 10

In the Netherlands the reformed church in Willemstad, North Brabant,

F/O ARCHITECTURE & EKISTICS |JAMIA MILLIA ISLAMIA 11

1.3 TYPES OF CHURCH IN INDIA

Christian Denominations in India

Church Name Population Orientation

Baptist Denominations in India

F/O ARCHITECTURE & EKISTICS |JAMIA MILLIA ISLAMIA 12

1.4 INTRODUCTION TO ST. JOHN’S CHURCH, MEHRAULI

F/O ARCHITECTURE & EKISTICS |JAMIA MILLIA ISLAMIA 13

1.4.1 PAGAN CROSS

The cross is a pagan symbol that was adored in

F/O ARCHITECTURE & EKISTICS |JAMIA MILLIA ISLAMIA 14

1.4.2 WHAT IS INDO-SARACENIC?

1.4.3 DEVELOPMENT OF THE STYLE

F/O ARCHITECTURE & EKISTICS |JAMIA MILLIA ISLAMIA 15

F/O ARCHITECTURE & EKISTICS |JAMIA MILLIA ISLAMIA 16

Figure 8: LOCATION OF THE ST. JOHN'S CHURCH

F/O ARCHITECTURE & EKISTICS |JAMIA MILLIA ISLAMIA 17

2.2 SITE PLAN

Figure 9: SITE PLAN

F/O ARCHITECTURE & EKISTICS |JAMIA MILLIA ISLAMIA 18

2.3 CONTEXT PLAN

Figure 10: CONTEXT PLAN

F/O ARCHITECTURE & EKISTICS |JAMIA MILLIA ISLAMIA 19

2.4.1 QUTUB MINAR

Figure 11: QUTUB MINAR

F/O ARCHITECTURE & EKISTICS |JAMIA MILLIA ISLAMIA 20

2.4.2 ADHAM KHAN’S TOMB

Figure 12: ADHAM KHAN TOMB

F/O ARCHITECTURE & EKISTICS |JAMIA MILLIA ISLAMIA 21

2.4.3 YOGMAYA TEMPLE