Contribution Of Firoz Shah Kotla

And Its Prototypes

history of architecture
b.arch III yr
school of planning and architecture
The architecture of Firoz Shah is stern, utilitarian, almost tragic - at times hauntingly
lovely (Hauz Khas Madrasa by night), at times warningly forbidding. This is due in no small measure to
its rough exposed finish (the glazed tiles having come off a long time ago) as well as the lack of skilled
masons and sufficient capital.
Firoz Shah, to whom was
bequeathed a depleted empire, must
have had to make heroic efforts indeed
to fulfill his divine duties. His humble
desire was to erect public buildings.
One may well take with a
massive pinch of salt the claim of
contemporary historians that he made
1200 garden around Delhi and is
credited with the erection of 200
towns,40 mosque,30 villages,30
reserviors,50 dams,100 hospitals,100
public baths and 150 bridges,
nevertheless judging from the extant
remain there is little doubt the Firos
Shah building were indeed extensive
even though spartan in appearance.
Firoz Shah Tughlaq.The Prince Of Builders
The fort itself was
fairly straightforward, using
common-sense building principles
used the world over for buildings of
a similar type.
Firozabad.The Fortress City
Erected in 1354 by Emperor Firuz Shah Tughluq on the western banks of the Yamuna River in
the fifth city of Delhi, Ferozabad, the Kotla of Firoz Shah became a sixteenth-century prototype of Mughal
city palace architecture. Conforming to an irregular rectangle plan of 2,624'-6" (800m) x 1,312'(400 m) its
longer side follows the north-south axis. The entire formation is encased in high solidly fortified walls
composed of stones. Most of the complex's structures are in a state of ruin offering fragmented evidence of
the original design.
The citadel of Kotal had three splendid palaces, a large and grand mosque, reception halls, galleries,
gardens, a baoli and a unique pyramidal structure to uphold the Ashokan pillar he had brought from
Ambala. Most of these buildings are rubble work covered with heavy plaster without any surface decoration.
The masonry lacked the strength and finish of the architecture of the preceding period.., known structures.

The broad planning principles of a
Muslim city centre enunciated for the first time
by Firoz Shah consisted in locating the Diwan-i-
Khas at the heart of the complex, backed up by a
series of private palaces along the riverfront,
well-protected on the other side by army barracks
and other sundry structures, with limited access
for the common public to the Diwan-i-Am.
..Planning Of The Citadel
The Tughlaqabad area was woefully short of water and this made the
Tomars move westward to Mehrauli. Firoz Shah, Muhammad Tughlaq successor solved this problem by
building his new city on the banks of Yamuna. Kotla was the inner citadel of Firozabad, built like Windsor,
with great palaces and a magnificent mosque inspiring Timur envy. Destroyed by the Mughals, Kotla
palaces were reduced to mere ruins, exposing to view the subterranean passages and covered cloisters. One
can still see the pyramidal structure topped by the Ashokan Pillar brought from Topra, and a three tiered
baoli. Timur invasion of Delhi reduced the city to a city of ruins as he took away with him elephants loaded
with treasures and costly building material. The Saiyyads and Lodis used Kotla as their citadel.
Baoli
Royal palace
Kushk-i-Shikar
Jaami masjid
Main
entrance
Diwan-i-khaas
Diwan-i -aam
Present View of the citadel of Kotla
Baoli
Royal Palace
Kushk-i-Shikar and
Hawa Mahal
Jaami
masjid
Main entrance
Diwan-i-khaas
Diwan-i-aam
Main
entrance
..The tale of the ruined citadel
The central entrance on the west side is a fortified gate with
barbican towers on the approach and is protected by a curtain wall with the
guard's quarters and soldier's barracks in the inner courtyard. I nside the gate a
huge rectangular courtyard surrounded by a pillared verandah, that was the
Mahall-i Bari Amm or Palace of the Public Court, was used for public
receptions and was also called the Central Quadrangle. Immediately behind this
space is a square pillared hall similar to the Diwan-i-Khass, a private hall for
the king to receive his counselors and chief administrators.
The northern part of the
Kotla still has a baoli (a deep well
surrounded by underground rooms)
where the atmosphere is fresh even on
the hottest day of summer. The three-
tiered structure of a small and
functional baoli is near intact. The
water supply runs through transverse
pipelines And cistern provisions,
harnessing to advantage its prorjmitv to
the river which then flowed below the
ramparts. During the summer months
the baoli functioned as a cool retreat
for the royal inmates of the palace.

Remains of Kushk-i-Shikar, which contains one
of the pillars of Ashoka.
The Hawa Mahall still stands in the form of a stepped pyramid
with diminishing floors, which are linked with private rooms via
a secret corridor in the western wall of the J ami masjid, now for
the most part in ruins. The triple-storeyed construction to
vaulted cell around r solid core with stairs at the comers leading
to the uppermost terrace where the Ashokan pillar is planted.
The Hawa Mahall served as a prototype for sixteenth century
Mughal city palaces and the narrow connecting corridor behind
the qibla wall became a common feature of mosques built later
on in the sultanate. The Hawa Mahall is also known as the Lat
(pillar) Pyramid because Firuz Shah mounted one of the pillars
(lat) of Ashoka atop the palace.
The inspiration for the building could have been the numerous
Buddhist viharas that abound in the I ndian countryside
The kings quarters as well as those of his wives, harems and
mosques along the riverbank to the north and south are divided into
various rectangular and square courts. I n each there were different
activities: 'such as pavilions of differing uses, tree-lined gardens with
water, baths, fountains, barracks, armories and the servants' quarters, all
arranged so as to be connecting.' Descriptive accounts mention mirrored
halls, as well as sandalwood sculptures and figural and landscape murals.
The Jami Masjid at Kotla has survived in its open
spectacular courtyard and a portion of the western wall. Raised on a
terrace of vaulted chambers, the mosque could accommodate nearly
tenthous and men at prayer. According to Franklin who visited the
mosque m 1793, it had four cloisters, the domed roofs of which were
supported by 260 stone columns, each about 5m high. The centre of the
courtyard lay under an 8m high brick and stone octagonal dome. On the
central column Firoz Shah is believed to have inscribed his great
achievements, the place now indicated only by the pit at the centre.

.Firuz shah and Hauz khas
Madarsa the institution
Education was closely connected with worship and from the beginning mosques could be used for
both prayer and instruction. The two functions eventually diverged, however, and the result was the collegiate
mosque or madarsa.
Differing from the mosque in nature, object and history, the madarsa is also distinct from it in its architectural
features. This college or madarsa was built by Firuz Shah in the year 1352-53 AD on the south and east banks of
Hauz- Khas
The madarsa and associated buildings are on an L shaped plan. It extended over a
large area consisting of a two storeyed series of interconnecting blocks of long narrow pillared
halls and domed chambers.
Firuz Shah tomb
At the intersection of the southern and eastern blocks was the
square domed tomb of Firuz Shah, in the garden to the east are, several
domed pavilions and domed pavilion tombs some polygonal and some square
in form.
To the north of these chhatris is situated a grand complex of pillared pavilions
.The whole has been so planned with the help of three square and domed
pavilions, all connected with a set of colonnades, as to serve the purpose of a
great assembly hall. Except for the external plaster surface of the three domes
which were, as it seems, originally glazed tiled, the entire construction (steps,
plinth square pillars, capitals and corbelled courses of ceilings) is in local
stone. Massive high domes have been used to give this complex an effect of
grandeur crowned by Kalasa finials
The whole is open on all sides giving a pleasing prospect of the vast lake of
Hauz Khas from below the adjoining terrace. The construction is with local
grey stone or quartzose forming pillars and lintels on the one hand and rubble
and plaster work on the other. Both trabeate and arcuate methods have been
used together for spanning the space.

The lower storey has cells which were used most probably
for residential purpose, the upper storey, more open to breezes from the
water, seems to have served instructional purposes. I t is also level with
the spacious and carefully planted gardens located to the south and east
between the madarsa and the outer walls of the complex. With their
lattice windows medallions in stucco, lotus motif, paintings on ceilings,
balconied windows and deep niches.
I t is located at the northern, end of the complex and consists of a prayer hall 81'-3"x12'-7",
nine bays wide and a single bay deep; arcades on the north and south sides, each two bays deep and
four bays long, partially-frame the broad, T -shaped court on the east. The five arched facade of the
was protected above by a chhajja .
Square stone pillars have been used to
support the arches and the inner , bays which had
domes supported on vaults at the corners. Double pillars
used at all vulnerable points (corners), but they had a
monolithic base and also a single capital. This is typical
of the art of India. The most interesting is the fact that
these simpler pillars are supporting the arches as
efficiently as they would have supported the lintels,
architraves or corbelled ceilings. Some 19' (5.79 m) to
the east of the south wing is a domed structure which
was apparently the gateway.
.Jami Masjid, Hauz Khas
The familiar rubble masonry walls
are finished with a thick layer of lime plaster
punctured with arch and lintel openings, the
whole crowned with a parapet of merlons. The
walls with slight batter ornamented by
battlements of the drum from which the dome
springs. Contiguous with the tomb at its north
and west wings are the buildings of madarsa,
while its east and south facades are open to
view.
..Firuz Shah Tomb
Firuz Shah chose the
square plan, for his own tomb in the
Hauz Khas Madarsa. The tomb is a
beautifully proportioned 45' (13.7 m.)
square structure, built in the
characteristic ascetic style of the
tughluqs. In general plan, it is
strongly reminiscent of the lal
Gumbad and the tomb of
Ghiyathud-Din.
Tomb of Ghiyathud-Din
I t is entered from the garden to the
south means of a paved verandah enclosed by
stone railings plainly derived from Buddhist
prototype. Above the parapet incised with
ornamental merlons rises an octagonal drum
supporting a shallow and slightly pointed dome.
I nternally the tomb measures 28'-7" (8.74 m.)
and is paved with grey stone slabs. At the drum
level the square merges into an octagon by
deeply recessed arched pendentive and hence
into the circular outline of the dome. The
intrados and ceiling of the dome is embellished
with coloured bands intersecting each other and
squinch-pendentives are decorated with plaster-
work, including incised calligraphy. Squinches
have been used in the phase of transition.
I n the north-western of the Nizamuddin village area stands the tomb
of khan -i-J ahan Tilangani, the prime minister of Firuz Shah Tuhluq. This
tomb marks an entirely new departure. Instead of being square, like all other
earlier tombs at Delhi, the octagonal tomb was built for the first time at delhi in
1368 AD. The builders may have been inspired by the octagonal plan of the
sacred mosque of Oman in J erusalem with a verandah on all its eight sides
Slightly less than six meters on a side and about fifteen meters in diameter, the
mausoleum consists of an eight-sided domed chamber of crude masonry and a
blocky mihrab, it has three pointed arches on each of its octagonal sides
protected above by chajja supported on bracket-stones. The use of the typical
Hindu chhaijas added new dimension to the otherwise plain surfaces of I slamic
(Turkish) architecture in India. I ts stuccoed exterior has the pronounced
Tughluq slope and was once enriched by an elaborate decorative and epigraphic
programme.
Tomb Of Khan-i-jahan Tilangani
Another innovation was the imposition of a range of eight cupolas or Kiosks roof rising above
the embrasures of the parapet, one over each side. From this comparatively small beginning were,
developed those large and stately mausoleums of octagonal conformation which imparted such distinctive
character to the subsequent architecture of northern I ndia.
Finally a number of Tughluq tombs belong to a type that can be categorized ;as chatri, or
pavilion tombs. I n most instances, the spaces between the piers were originally cleared by elaborately
carved stone screens. This type also represents Tughluq innouation that was widely used in the gardens of
the Hauz Khas madarsa of Firuz Shah.
Tughluq tombs, like Tughluq mosques show great variety in plan, and during this period of
innovation and experimentation models were established that came basic for most subsequent Muslim
architecture in I ndia.
..Khirki Masjid
This double storeyed mosque lies on the southern
periphery of the village Khirki. I ts plan is exactly against the plan
of the Kalan Masjid which is rectangular. This has facilitated a
geometrical division of the whole layout into four equal square
quarters, having four square courts. Resting on a three metre high
plinth the mosque is measuring fifty-two metres on side.

Battered bastions occupy its four
corners some 45' (13.71 M) in height imparting it
the look of a fortified building. On the north, south
and east are projecting domed gateways flanked by
tapering minarets, while on the west is the central
mihrab. The east gateway is the chief entrance to
the building. It projects 23' (7 M) and contains in
the side wall two staircases giving access to the
roof. The north and south gates as also the central
mihrab chamber project 18' (5.48 M).
The whole interior has been
divided into four square bays, supported
on double stone pillars, and each one
having an open court 30' (9.14 M) in its
centre: Cloisters run through all along the
sides and also bifurcate in the middle of
the mosque. I t would be seen that out of
25 divisions of the terrace, four in the
middle are open through courts, 12 have
flat roofs and 9 have cupolas roofs nine in
one set there being 81 copulas in nine sets
on the superstructure .

The lower storey or `Tahkhana' or
substructure of arches which contains over 100
vaulted cells. The upper storey contains pointed
arched windows (khirkis) with perforated
screens
The north, south and east walls are pierced by windows
closed by red sandstone grills which are repeated in the side walls of the
gales and the mihrab chamber. The west wall contains 15 plain mihrabs
or prayer niches 7 on each side of the central mihrab
I n planning, a part of the sahan was covered by a
combination of a domed and flat roof and leaving four symmetrically
arranged open courtyards for light and ventilation.. And so this
experiment was repeated only once again at Gulbarga in the south
OPEN-TO-SKY
COURTYARDS
Khirki Masjid a closer look
This masjid is very similar to the
Khirki mosque, having a similar cruciform plan
but it loses out upon the elegance which the
former owing to its 25 equal harmonious units.

.Kalan Masjid, Nizamuddin
On the eastern periphery of the village of
Nizamu'd-Din, lies Kali or Kalan masjid.
I t is built of rubble stone covered with plaster.
Measuring 27 metres on a side its gateways are
square, domed flanked
The corridors and the side cloisters are one aisle deep
formed to pointed arches, which are supported on double stone being
four at the corners, the whole being divided into square bays each one
independently by a cupola on the chahartaq system. I t is rectangular in
plan and has four rectangular inner courts . The arcade around the
interior is eleven bays on a side and only one bay deep, the prayer hall is
three bays deep, and has an identical arrangement of square bays
covered by cupolas.
The series of sober pointed arches springing from
faithful pillars no doubt give in the interior a quiet and
somewhat mysterious atmosphere. The absence of a
monumental dome has marked its whole design. The
difference between the effect of a dome or a set of three,
five or seven domes over a skilfully manipulated facade
and a cluster of such cupolas can be understood here as
nowhere else.
Conical bastions at the corners, tapering at the
quoins of the gateways and batter on external walls,
which are customary features of this age, appear here
emphatically. The construction is in rubble and plaster
which seems; to have been orginally painted or glared-
tiled on such prominent surfaces as frieze, cupolas and
pinnacles.
PLAN OF MASJ I D
A characteristic and favourable specimen of the
architecture of this age is the kalan Masjid or Black Mosque
which is situated inside the present city, at a short distance from
the Turkman Gate
I t is built over a platform or basement extra-
ordinarily high, so much so, that the stairway leading to the
mosque contains 32 stairs. The entrance is on the east side and it
`is flanked by tapering turrets and the corners of the mosque
have ,conical bastions which are characteristic features of the
architecture of this age. The whole is enclosed by an outer wall
5' (1.52 m,) thick which forms an oblong block of building 140'
(42.66 M.) in length by 120' (36.57 M.) in breadth. I t consists of
two storeys is 28' (8.53 M) in height consisting of a number of
small double apartments. The upper storey to the level of- the
battlements is 38' (11.58 M) high making a total height of 66'
(20.11 M). The whole composition gives the appearance of a
fortress, imposing and gigantic lowering over its surroundings
Kalan Masjid ,Shahjahanabad
The entrance half of the mosque consists of a
rectangular open court around a central pool, with
arcades of domed bays resting on huge square stone
piers on three sides. The sancluary too has a five
arched face.,It is three airles deep, compared of
square bays, each bay formed of four arches on the
four sides, vaults in the phase of transition and each
one individually covered by a cupola, being no other
dome on the superstructure which thus wholly
consists of cluster pf these cupolas. The arches are
protected by a rotating chhajja towards the court. The
western wall is of rubble and mortar, plastered over.
Mimbar has six steps instead of the usual three. The
prayer chamber is divided into fifteen domed bays and
has five mihrabs. The lower storey became deep
arched niches, generous enough in size to be put to
use either as living rooms on shops or even
dormitories for pilgrims or festive occasions.
The mosque was
comparatively constructed on a
large scale with 'three-aisle deep
prayer chamber, pierced by five
openings' and thus was named
Kalan, which means big in the
Arabic language.
Few characteristics like low domes, sloping minarets and
chhajjas of the mosque reflect the typical Tughlaq style of architecture.
The courtyard of the mosque is too surrounded by domed cloisters. The
entrance of the mosque is from the eastern side and has a high flight of
steps that takes directly into the courtyard. Every fourth step is a bit wider
than the other steps so that devotees especially women can rest and then
move forward. The mosque soon got a new name, Kali meaning black
colored by the local population, as initially the outer walls of the mosque
were black in color.
PLAN OF MASJ I D
I t measures 307'x295' (93.57xS9:92 m.) with a quadruple
measuring 247' x 223'(75.29. x 67.97 m.). The north and south walls
are broken by domed gateways on either side of which is a row of
seven windows the south gateway projecting outside and like the
northern one has no steps leading upto it. Externally, the last three
windows together with a few others in the south wall have the top of
the arches in which they are set ornamented with diamond shaped
patterns of blue glazed tiles. The west wall is plain but for five mihrab
projections outside. The main entrance is through the eastern gateway,
which is domed and is reached by a flight of 15 steps. I t projects 31'
(9.44 m) outwards from the face of the main wall and has entrance on
all four sides. These entrances are set in high recessed archways and
above each entrances a panel of red sandstone without any inscription.
The gateway-is flanked on either side by 8 windows piercing the
entrance wall.
Jami Masjid at Begampur
Projecting off the north end of the prayer wall is a large Royal mosques, three bays square with
an impressive stone mihrab. The central compartment of the prayer-hall is surmounted ,by a large dome,
while small low domes characteristic of the Tughluq architecture rise on the roof from the central aisle and
from the corridors. The mosque's walls show the typical Tughluq slope and are constructed of ruble masonry
covered with a thick coat of durable stucco decorated with small, blue glazed tiles that are in some places still
intact and used here for the first time in I ndia's Muslim architecture are another instance of I ranian
influence.
On the whole it is a great conception as to planning and disposal, homogenous and pleasingly
proportioned. The pylon was an entirely a new feature which had been unknown in I ndia and as it seems its
inspiration came from outside from some allied member of iwan. Though, no doubt it marred the impression
of the spherical superstructure, it was magnificently accommodated in be facade of the sanctuary and it was
this effect which the architect had in view.
I ts emphatic vertical outlines are reinforced by the double columns of the wings and are also at
the same time beautifully constructed by the bold horizontal line of the chhajja. Arches have been gorgeously
crowned by cupolas; Aisles have deep shadows full of mystery and concern. Firuzs mosques are quite
different in texture and spirit and so are the mosques of Telingani, particularly, such a conspicuous feature as
the central pylon is not there in any other mosque of Delhi of the 14th century.
The large central court measuring 75 by 68 Mtrs. is enclosed by arcades on
three sides and by a prayer-hall three bays deep and covered by low domes on the west .
I n the middle of each side are an iwan and dome, here used in the first four iwan plan
in Muslim Indian architecture . The arcades are protected by long stone cave (chhajjas)
and the bays are covered by low domes on massive square stone pillars. Reflecting an
I ranian type, the prayer-hail iwan is framed by two nonfunctional engaged minarets the
first polygonal and the upper two circular and tapering like the Qutb Minar. The
facade of the prayer-hall is broken by 24 arched openings,, the central one being the
highest and flanked by tapering minarets in the Tughluq style.
Hisar is situated about 150 km north-west of Delhi. I t was
founded in 1354 by Firoz Shah Tughlaq before it was a jungle.

According to a legend, Firoz Shah Tughlaq, during one of his
hunting trips, came across a Gujjar girl. The Sultan, enthralled by her
beauty, married her. The girl refused to accompany the Sultan to Delhi, as
she preferred to stay back, the Sultan constructed a palace for her. This
palace is now known as Gujari Mahal.

The Sultan was aware of the scarcity of water in the area but
he was determined to develop a beautiful city there. As no city can be
developed without the availability of water, the Sultan drafted a plan for a
canal, which was excavated by 1356. As the canal was filled with the
Yamuna water, it was subsequently known as the Western Yamuna Canal.

Earlier the area was known as Hisar-e-Firoza (the fort of
Firoz). At present, there are no traces of any monuments of that period,
except for the ruins of Gujari Mahal.

The Gujari Mahal is a living monument. This is a complex
palace comprising the royal residence of the Gujjar girl and the Sultan,
Shahi Darwaza, Diwan-e-Aam, the Baradari with three tehkhanas
(underground apartments), a hammam, a mosque and a pillar
Legend Of Gujari Mahal.. Hisar-e-Firoza
entrance
Within the complex, there is a mosque called Lat Ki Masjid. I t is one
of the most beautiful mosques built by Firoz Shah. I t has a distinguishing pillar
and a square chamber. Unlike the usual mosques, it is L-shaped. I t also has a
pillar that bears the genealogy of the Tughlaq kings.
The mosque is built partly of red and buff sandstone and partly of
rubble masonry having thick plaster. Stone pillars showing floral and geometrical
designs, extricated from destroyed Hindu temples, support the main arched
openings.
I ts hall 80x21' having 40 pillars The main prayer-hall has nine bays
consisting of arches supported on pillars. I t has a carved 'qibla' and a pulpit on
the wall in the west. Within the courtyard in the northeast, there is a 'Lat' (pillar)
after which the mosque is named. The 'Lat', made of sandstone, is a part of an
Asokan pillar. Behind the laat, stands beautiful domed building having a square
chamber showing moulded and panelled decorations in red sandstone.


Lat Ki Majsid.Hissar
The City Jaunpur
Karar Fort, built in 1360 by Sultan Firoz Shah Tughlaq
with materials brought in from the palace and temples of the Rathore
kings of Kannauj. With the advent of Sharqis, the fortifications were
further strengthened and numerous royal edifices added, but only to be
reduced to rubble by the Lodis a century later .
The fort still offers a few interesting monuments together with the
eastern gateway that has been salvaged along with a portion of the fort
wall.
The Atala Masjid Constructed by
Shams ad-Din I brdhim on the site of the Hindu
temple, Atala Devi, and on foundations
prepared by Firoz Shah Tughluq
The Sharqi mosque tapering minarets, battered
sides of the propylons, stucco decoration,
archand beam openings, and low four-cenfred
arches with decorative fringes all derived from
examples of Tughlaq mosques in Delhi and,
perhaps built by craftsmen fleeins Delhi fbr Life
and vzork.
The pylon at the Beghumpuri
Masjid in Delhi which seems to have inspired
the J aunpur architect is comparatively a modest
structure.




Plan Of Atala Majsid
Materials of construction.........
In the Firozian times
During the long reign of thirty-seven years FI ROZ SHAH was responsible for a very
large number of important building projects, all produced in a style peculiarly his own.

This style is sufficiently dissimilar from anything appearing previously, that before these building
are described some explanation of their deviation from the normal course of development seems called for.
The differences in the architectural character of the creations of the Firozian period are fundamental, and
imply the birth of a new order of ideas, as they are a reflection of the conditions that prevailed at the seat of
the government at this particular juncture.

The economic position was such that Firoz,
when he found himself in power even with the best of
intentions could only satisfy his structural ambitions by
means of buildings composed of inexpensive materials
and in a plain but serviceable style.


.
For in its prime a certain surface finish was
obtained by means of color wash, since entirely
abraded, but even when its new could not have been
inspiring, as its outward aspect was almost entirely
one of plain white.
Architecture produced on these
terms resolves itself into a somewhat dull and
featureless form of expression, a scheme of
somber monochromes and half-tones, although
it is true some of the lack of effect now
observable due to long centuries of weathering.
A city palette devoid of colours
City of Hisar
City of Kotla
City of J aunpur
Tomb of sultan ghari
..Unmistakably economic architecture
I t is form of architecture that cannot be mistaken.
I n place of the finely coursed and well-finished sandstone ashlar, a
very- different order, consisting of random rubble work was used, its
untrimmed surfaces being coated with a substantial layer of cement
Hauz khas tomb
I n certain parts of the
building such essentially structural
features as lintels, doorposts, pillars and
the like, were formed of roughly dressed
monoliths, and in the rare instances
where decoration was applied, it was not
carved in stone but molded in plaster.

Lat ki masjid
Hauz khas complex
The changing symbolic architectonics
Construction methodology employed by the Firozian
builders naturally reacted on the character of the architectural style.
Additional strength and stability was assured by building
certain portions thicker at the base than at the top, an experience which
gives the illusion of greater power, although no such angle of batter is
really structurally necessary.

This effect of slope is emphasized in many of the examples by
the attachment of tapering turreted buttresses at the quoins, and by pro-
jecting conical bastion-like towers crowned with low domes from the four
comers of the building. The four pillars at the corners enclose the volume
in which the structure spans.
An important advantage enjoyed by Tughluq architects was that even the
biggest mosques and tombs were usually erected during an amazingly short time. Tughtuq
architects were proud of their ability to build quickly.
Under the Khiljis architecture had begun to acquire a standard
proportion of mass, grace and ornament and a preference for an appropriate use of
red color to relieve the grey drab surfaces. But with the puritanical Tughluq the order
changed.
While sandstone had indeed been used interspersed white-marble and burnt
brick, undressed stones and rubble formed the main materials in construction. Gach
(cement) and strong quick lime and burnt bricks have been used variously in Hauz Khas,'
bands of channels and in Hisar Firoz respectively, and hewn-stone stair-case in respect of
Firoz Shah's repair of the tomb of Sultan's Ghari has been used
.Materials and workmanship
Use of tessellated pavement (farsh-i-tarshib) has also been recorded for the west
wall of the college of sultan Alla-ud-Din. Use of dug up earth for embankment
of the ditch and side walls in Hisar-firoz is also recorded Thick walls of mud or
bricks may have been ,borrowed by the ,Tughluq from Sind, Punjab or even
Afghanistan, where mud and brick were in use."

We should now consider the resources, by way of building materials,
that were at the disposal of the patrons of this new order. Delhi being located at the
terminal outlier of the Aravalli hill chain, abounds in ridges of low hillocks of a
-other metamorphosed-variety of quartzite which does not fracture well, is indeed
found in massive blocks and laminated lumps; 'and is an all too poor a material for
Working for decoration or detailed carving. Without anticipating this special phase
of the Tughluqs in so far as I slamic architecture around Delhi goes, we may just
Say that these and many other constructions of that period any even the earlier and
Later ones were built of Delhi quartzite.
..Resources that created the difference
The buildings were constructed of with shapeless rough rubbles, coated
with thick plaster ,which was incised and decorated with geometrical patterns.

Architectural features saw a fusion of the I ndian and I slamic worlds. Broadly speaking the style
of the period is heavy, massive, simple and austere, with sloping walls, squinch arches, triangular pendentives
for supporting low domes, battlement necking or support at external angles of the buildings.






But the noteworthy of this period is their fine proportions and balance, besides, they are
expressive of strength and determination.

Four-folded gardens, called the charbagh
became an indispensable part of this new typology of buildings.


Firozian attempt to expand the activity, consistent with the skills and
resources available was certainly not one to be caviled at , even for its originality this was
the simple and austere phase of architecture with an increasing building activities.
Although as a ruler, Firoz Shah Tughlaq might have failed, but he would always be
remembered as a great builder who cared for and considered the I ndian ness of the land
he was building. Hindus learnt the construction of making domes and arches, although
during this phase domes were more of experimental structurally.

..Hence the chronicle narrates
The I ndian non-muslim building tradition such as the the chattri, blocky pillars and capital, the heavy
stone railings and balustrade, and the chhajjas or eaves. Their absorption into muslin building styles was
essential to the creation of I ndo-Islamic Architecture.
The mosque architecture under Tughlaqs saw many changes:-
-Begampuri And Lat-ki-masid
with courtyard with arcades on
the sides of rubble masonary.

-J ami masid at Kotla andHhauz
Khas with high plinth and west
walls.

The co-axial mosque for example
the Khriki And The Kalan Masjid
I t is on of the characteristic that Firoz Shah buildings were functional, which is
clearly witnessed in the pyramidal structure of Kushk-i-Shikar, Kotla, on which he
erected the Ashokan Lat,so that the dignity and strenght is amparted to the construction
and non-functional ormenataiona has been discouraged.
Under Tughlaqs a definite symbolism of architectural form seems to have been followed.
During Firoz Shahs reign, although maximum number of building projects was undertaken,
none of the structures were so memorable enough to be written in the golden annals of history. There
was more of quantity and very less of quality.
Architecture produced on these terms resolves itself into a somewhat dull and featureless form of
expression, a scheme of somber monochromes and half-tones, although it is true some of the lack of
effect now observable due to long centuries of weathering
Tughluq palaces represent an impressive diversity of type and their functional variety indicates the
increasing sophistication in the Muslim World. They seem to have been consciously employed as
nucleuses for new urban areas, and they were thus the most important elements in the enormous city
projects undertaken. Size of Tughluq palace complexes can be understood as a response to the increasing
bureaucratic centralization of the Tughluq state and to the massive immigration of Muslims into I ndia
from the west. These cities and palaces in fact became the inspiration of the Mughal architecture few
centuries later..

and the saga continues