The Taj Mahal is famous as an enduring monument to love.

It was built by the fifth Mughal Emperor Shah Jahan as a final resting place for his beloved wife, Mumtaj Mahal. The foundation of her mausoleum was laid in1631 and was completed after 22 years in 1653 at a cost of 32 million rupees. Twenty thousand workmen and master craftsmen from Persia, France, Iran, Italy and Turkey worked on the building. Site slection: The site for the Taj Mahal was so chosen because of the bend of the river and as such offered a clear view of the monument from the Agra fort. The river took a sharp turn at this place, almost at a right angle so that a water-shed is made where the thrust of the water is the minimum. It was, thus, the safest point on the river-bank, it is far from the hubbub of the city~ affording a quiet and beautiful situation, ideal for the project. The river-bend created here almost a vast lake of clean water below and just in front of the Taj Mahal, with overwhelming moisture in the surrounding atmosphere which was capable of absorbing dust or any other air pollution. The orientation of the site facilitated the incorporation of a mosque in the Taj complex. Site planning: In a true Mughal tradition the tomb was laid in a garden enclosure but was more logically placed at the head of the garden which added rich depth and perspective to the monument. The four standing minarets at the four corners of the platform on which the Taj stands provide a kind of a spatial reference frame for the central structure. This reference transforms what could have been massive oppressiveness into a comprehensible beauty. These minarets serve a dual purpose of imparting a comprehensible scale as well as preventing its huge mass to amorphously disintegrating into the horizon. The Taj Mahal complex is bounded by a crenellated red sandstone wall on three sides. The river-facing side is unwalled. On the inner (garden) side, the wall is fronted by columned arcades, a feature typical of Hindu temples later incorporated into Mughal mosques. The wall is interspersed with domed kiosks (chattris), and small buildings which may have been viewing areas or watch towers (such as the so-called Music House, now used as a museum). The main gateway (darwaza) is a monumental structure built primarily of marble. The style is reminiscent of that of Mughal architecture of earlier emperors. Its archways mirror the shape of the tomb's archways, and its pishtaq arches incorporate the calligraphy that decorates the tomb. The vaulted ceilings and walls have elaborate geometric designs, like those found in the other sandstone buildings of the complex. The plan of the this whole conception takes the form of a rectangle lying north-south measuring an impressive 1900 ft x 1000 ft with a central area divided of into square gardens of 1000 ft side.The Taj stands on a square 187 ft side and 22 ft high flanked on either side by two similar structures viz. a mosque on the western side and a guest-house on the eastern side

GARDENS: The ornamental gardens through which the path leads are palanned along classical mughal char-bagh style. Two marble canals studded with fountains, lined with cypress trees [symbolising death] emanating from the central raised pool, cross in the center of garden dividing it into four equal squares. The garden is laid out so as to maintain perfect symmetry. The mausoleum stands majestically at the north end just above the river and not at the central location. At the centre of the garden, in the mid of the tomb and the gateway, is a raised marble lotus shaped tank with a cusped and trefoiled border. The tank has been arranged to provide a clear view of Taj in its water from any point in the garden. The background has been provided by the sky. it changes its colour and texture and the Taj is always presented in a variety of tints and moods. Out of the total area of 580m x 300m , the Taj garden alone covers 300m x 300m The Taj Mahal garden is unusual in siting the main element, the tomb, at the end rather than at the centre of the garden. But the existence of the newly discovered Mahtab Bagh or "Moonlight Garden" on the other side of the Yamuna provides a different interpretation that theYamuna itself was incorporated into the garden's design, and was meant to be seen as one of the rivers of paradise. FLOOR PLAN OF THE TAJ: The interior of the mausoleum comprises a lofty central chamber, a crypt immediately below this and four octagonal corner rooms originally intended to house the graves of other royal family members. In the center are the cenotaphs of shah jahan and Mumtaz Mahal. Shah Jahans cenetophs is to the left and is higher than that of Mumtaz Mahal which rests immediately below the dome. A marble screen of trelliswork surrounds the grave while both tombs are exquisitely inlaid with semiprecious stone. The acoustics of the building are superb with the dome celing being designed to echo chants from Koran and musicians melodies.

LOCATED IN THE ANCIENT TOWN OF OLD DELHI,SHAHJANABAD. CONSTRUCTED IN THE YEAR 1644-1658 BY THE MUGHAL EMPORER SHAHJAHAN. THE JAMA MASJID IS THE FINAL ARCHITECTURAL EXTRAVAGANZA OF THE MUGHAL EMPORER SHAHJAHAN. THE MONUMENT WAS BUILT BY ABOUT FIVE THOUSAND ARTISANS. ORIGINALLY,CALLED THE MASJID-IJAHANUMA OR THE MOSQUE COMMANDING THE WIEW OF THE WORLD,THIS MAGNIFICENT STRUCTURE . STANDS ON THE BHOJHLA PAHARI ,ONE OF THE TWO HILLS OF THE OLD CAPITAL.. JAMA MASJID WAS THE MAIN CONGREGATIONAL MOSQUE OF SHAHJANABAD.JAMA MASJID IS A MAGNIFICENT EXAMPLE OF MUGHAL ARCHITECTURE. IT IS THE LARGEST MOSQUE IN INDIA.IT WAS CUSTOMARY FOR THE EMPORER AND HIS COURTIERS TO GO TO THE MOSQUE EVERY FRIDAY TO ATTEND JUMME KI NAMAAZ,THE CONGRESSIONAL PRAYERS. THE LAL QUILA OR THE RED FORT LIES TO THE EAST OF THE JAMA MASJID. THE JAMA MASJID WAS DESIGNED AS THE MAIN MOSQUE OF SHAHJANABAD THE HALLMARK OF THIS MOSQUE ARE THE WIDE STAIRCASES AND ARCHED GATEWAYS.THE STRUCTURE WAS SITUATED ON A HIGH PLATFORM O THAT ITS MAGNIFICENT FAADE COULD BE VISIBLE FROM ALL NEIGHBOURING AREAS. LIKE ALL OTHER MOSQUES,JAMA MASJID IS A PORTICO WHICH IS ENCLOED ONLY IN THE WESTERN SIDE WHICH CONSISTS OF A KIBLAH. GATEWAYS THE MOSQUE HAS THREE GATEWAYS.THE IMPOSING GATEWAYS PPROACHEDTHROUGH A BROAD FLIGHT OF STEPS IN THE NORTH AND SOUTH. THE LARGEST AND HIGHEST GATEWAY ON THE EAST ISREACHED BY A FLIGHT OF THIRTY-FIVE STEPS AND WHICH WAS PROBABLY USED BY EMPERORS,REMAINS CLOSED ON MOST OF THE WEEKDAYS. THE STAIRS ARE CONSTRUCTED OF RED SANDSTONE. THE NORTHERN GATE IS REACHED BY A FLIGHT OF THIRTY-NINE STEPS,WHICH IN OLDEN DAYS WERE OCCUPIED BY STALLS KEPT BY COOKS. THE SOUTHERN GATE IS REACHED BY A FLIGHT OF THIRTY-THREE STEPS Mosque: THE MOSQUE MEASURES 65M X 35M.AS SOON AS ONE PASSES THROUGH THE GATEWAYS, ONE ENTER INTO THE COURTYARD WHICH MEASURES 408 SQ FEET. THE MOSQUE HAS THE CAPACITY TO HOLD AT LEAST TWENTY-FIVE THOUSAND DEVOTEES.

ON THE BACK OF THE MOSQUE,THERE ARE FOUR SMALL MINARETS CROWNED LIKE THOSE IN THE FRONT..THE MOSQUE STANDS ON A PLINTH FIVE FEET ABOVE THE PAVEMENT OF THE TERRACE/COURTYARD THE FLOOR IS COVERED WITH BLACK AND WHITE MARBLES ORNAMENTED IN IMITATION OF MOSHALLA OR THE CARPET FOR PRAYERS. THE TOWER IS MADE UP OF FIVE FLOORS,EACH PRONOUNCED BY A PROTRUDING BALCONY. THE FIRST THREE FLOORS ARE MADE UP OF

Important physical changes were carried out in the overall settings of the site after the Indian Mutiny in 1857. After Independence, the site experienced a few changes in terms of addition/alteration to the structures.

During the British period the Fort was mainly used as a cantonment. The Red Fort is an attraction for tourists
from around the world. Improtant buildings: Diwan-i-Aam Beyond this gate is another, larger open space, which originally served as the courtyard of the Diwan-i-Aam, the large pavilion for public imperial audiences with an ornate throne-balcony (jharokha) for the emperor. The columns were painted in gold and there was a gold and silver railing separating the throne from the public. Diwan-i-Khas The Diwan-i-Khas or "hall of private audience" was used by the emperor for giving private audience to the courtiers and state guests. The hall, with openings of engrailed arches on its sides consists of a rectangular central chamber surrounded by aisles of arches rising

RED SANDSTONE.THE FOURTH ONE WITH MARBLE AND THE FIFTH ONE AGAIN WITH
sANDSTONE. EACH MINARET HAS THREE PROJECTING GALLERIES OF WHITE MARBLE AND HAS SUMMIT CROWNED WITH A LIGHT OCTAGONAL PAVILLION OF SAME MATERIAL. THE MINARETS ARE LOCATED ON THE NORTH AND THE SOUTH SIDE.THE PREMISES OF THE SOUTH MINARET IS 1076 SQ FEET

from piers. The lower parts of the piers are inlaid with
floral designs, while the upper portions are gilded and painted. The four corners of its roof are surrounded by pillared chhatris. Over the marble pedestal in its center stood the famous Peacock Throne which was removed in 1739 by Nadir Shah of Persia and later in the year 1760 the Marathas removed and looted the Silver ceiling of the Diwan-i-Khas. To the north is a square red sandstone building standing by itself a little a loof and selfcomposed, referred to as the Diwan-e-Khas. The building

WIDE AND PEOPLE ASSEMBLE HERE FOR PRAYERS {NAMAAZ}.THE MINARETS ARE
130FT HIGH AND oFFERS A FABULOUS BIRDS EYE VIEW OF THE CITY. Red Fort: The Red Fort is a 17th century fort complex constructed by the Mughal emperor Shah Jahan in the walled city of Old Delhi that served as the residence of the Mughal

Emperors. It also served as the capital of the

Mughals until 1857. It covers a total area of about 121.34 acres. Mughal Emperor Shah Jahan, started construction of the massive fort in 1638 and work was completed in 1648. The layout of the Red Fort was organised to retain and integrate this site with the Salimgarh Fort. The fortress palace was an important focal point of the medieval city of Shahjahanabad. The planning and aesthetics of the Red Fort represent the zenith of Mughal creativity which prevailed during the reign of Emperor Shah Jahan. This Fort has had many developments added on after its construction by Emperor Shahjahan. The significant phases of development were under Aurangzeb and later Mughal rulers.

from the exterior has two storeys, the upper one with a
deep hanging eave around it like a hood and the lower floor is demarcated externally by a balcony supported by decorative brackets. The flat roof has a tall kiosk at each of the four corners. Inside, it appears that the building is not two-storeyed but one high-ceilinged room. At the centre is a single faceted pillar with long tapering brackets clustered around it supporting a walkway with branching catwalks connected to corners of the room. Moti Masjid To the west of the hammam is the Moti Masjid, the Pearl Mosque. This was a later addition, built in 1659 as a private mosque for Aurangzeb, Shah Jahan's successor. It is a small, three-domed mosque carved in white marble, with a three-arched screen which steps down to the courtyard. The Moti Masjid measures approximately 12 x 9 meters, with a height of nearly 8 meters.

Nahr-i-Behisht The imperial private apartments lie behind the throne. The apartments consist of a row of pavilions that sits on a raised platform along the eastern edge of the fort, looking out onto the river Yamuna. The pavilions are connected by a continuous water channel, known as the Nahr-i-Behisht, or the "Stream of Paradise", that runs through the centre of each pavilion. The water is drawn from the river Yamuna, from a tower, the Shah Burj, at the north-eastern corner of the fort. The palace is designed as an imitation of paradise as it is described in the Koran; a couplet repeatedly inscribed in the palace reads, "If there be a paradise on earth, it is here, it is here". The planning of the palace is based on Islamic prototypes, but each pavilion reveals in its architectural elements the Hindu influences typical of Mughal building. The palace complex of the Red Fort is counted among the best examples of the Mughal style. Alberti: Leon Battista Alberti, Italian architect, art theorist and writer, was born in Genoa in 1406 and died in Rome in 1472. He began his artistic studies in Padua and Bolonia, but the most important period of formation passed in Rome, where he in 1432 started to work in the office of an apostolic abbreviator. He studied deeply the classic architecture, its design, proportions, decorations and projecting. Palazzo rucellai Palazzo Rucellai is a palatial 15th century townhouse on the Via della Vigna Nuova in Florence, Italy. The Rucellai Palace is believed by most scholars to have been designed by Leon Battista Alberti between 1446 and 1451 and executed, at least in part, by Bernardo Rossellino. Its facade was one of the first to proclaim the new ideas of Renaissance architecture based on the use of pilasters and entablatures in proportional relationship to each other. The grid-like facade is achieved through the application of a scheme of trabeated articulation. The stone veneer of this facade is given a channeled rustication and serves as the background for the smooth-faced pilasters and entablatures which divide the facade into a series of three-story bays. The three stories of the Rucellai facade have different classical orders, as in the Colosseum, but with the Tuscan order at the base, a Renaissance original in place of the Ionic order at the second level, and a very simplified Corinthian order at the top level. Twin-lit, round-arched windows in the two upper stories are set within arches with highly pronounced voussoirs that spring from pilaster to pilaster. The facade is topped by a projecting cornice. The ground floor was for business (the Rucellai family were powerful bankers) and was flanked by benches running along the street facade. The second story (the piano nobile) was the main formal reception floor and the third story the private family and sleeping quarters. A fourth "hidden" floor under the roof was for servants; because it had almost no windows, it was quite dark inside.

St. Peters Basilica Donato Bramante (1444 March 11, 1514) was an Italian architect, who introduced the Early Renaissance style to Milan and the High Renaissance style to Rome, where his most famous design was St. Peter's Basilica. In 1505, Pope Julius II, in order to glorify Rome, made a decision to demolish the old St Peters Basilica and replace it with something grander. Bramante won the competition that was held to design the new St Peters Basilica. The foundation stone of Donators Bramante design was laid in 1506. This plan was in the form of an enormous Greek Cross with a dome inspired by the Pantheon. The main difference between Bramante's design and that of the Pantheon is that where the dome of the Pantheon is supported by a continuous wall that of the new basilica was to be supported only on four large piers. Bramante's dome was to be surmounted by a lantern with its own small dome. Bramante had envisioned that the central dome be surrounded by four lower domes at the diagonal axes. The equal chancel, nave and transept arms were each to be of two bays ending in an apse. At each corner of the building was to stand a tower, so that the overall plan was square, with the apses Plan of St. Peters Basilica projecting at the cardinal points. Pope Julius died in 1513 and Bramante was replaced. Major contributors were Raphael and Michelangelo and was completed in 1590 by Giacomo and Fontana

Filippo Brunelleshi (1377-1446) Invented linear perspective, one-point perspective Most of his work is in Florence, Italy He was a master goldsmith great work in bronze artwork Considered f1st renaissance architect Bramante and Brunelleshi visited Rome and studied Roman architecture Important works Foundling Hospital,Ridolfi Chapel, Florence Cathedral, Pazzi Chapel, Basilica of San Lorenzo, Santo Spirito Florence Cathedral (1418 1436) Began - 1296-Gothic Arnolfo di Cambio Dome 1418 one of earliest buildings no one knew how to build dome larger than pantheon, Buttresses were forbidden , no rafters for scaffolding Brunelleshi won competition to design dome largest brick dome in the world The cathedral complex includes the basilica, the baptistery, and Giottos Campanile Timeline 1296 Cathedral begun on design by Arnolfo di Cambio. 1334 Giotto: building of campanile 1349 Project continued on a enlargerd plan by Francesco Talenti include apse and side chapel, finished campanile - Talenti's definitive design emerged calling for an enormous octagonal dome 1418 competition for construction of dome 1420 technical solution for vaulting proposed by Brunelleschi approved and construction begun 1436 church consecrated The basic plan is a cross - wide central nave of 4 square bays, aisle on either side, the naves and aisles are separated by wide pointed gothic arches resting on composite piers. The building is huge: 153m length, 38m width and 90m at crossing Dome - basic design by cambio Octagonal dome- no external buttresses Brunelleshi self-supporting dome made of bricks Base is tensioned by horizontal chains of iron and wood