Bombay grew as an urban centre under the direction of
the British who brought their aesthetic values with them
from ‘home’. In the 18th and early 19th centuries, they
experimented with the neo-Classical style of
architecture, but then, suddenly, the city charted a new
course that reflected contemporary European fashions.
Gothic architecture of the medieval ages became high
fashion, admired for its human scale and the manual
construction techniques its appearance evoked.
Gothic style buildings express their purpose quite
directly on their exterior form. So, vertically,
articulated by externally perceptible staircases, large
open halls, functional areas, or visible methods of
managing load, is observable on the outside of these
buildings. This legibility of function is a hallmark of
Classical aesthetic strives to achieve restfulness with
an orderly monochromatic presence, whereas the Gothic
style is expressive, disturbing and disjointed with
lively coloured surfaces. Flying buttresses, lancet
windows and stained glass are noteworthy features of
such architecture, and its buildings are often
embellished with carved and narrative elements.
The various Gothic styles employed in Bombay do relate
both in appearance and in practice with contemporary
structures in Britain. Magazines, photographs and the
ease and frequency of travel between Bombay and Britain
all contributed to the thorough and accurate
dissemination of the latest design theories within
The buildings of Bombay are, in many ways, unmistakably
different from structures erected for similar uses in
Britain. Some of these dissimilarities are naturally
related to the climate and the construction materials
employed, as even Smith had heartily argued that Gothic
architecture had to be adapted to the climate and
sunlight of the Indian subcontinent.
Victorians first employed science, engineering and
imported products to solve their perceived architectural
problems in India. But over time, creative architects
who chose to work and live in the city became the
dominant component that determined Bombay’s appearance.
Architects such as Emerson, Stevens, Adams and Murzban
adapted the accepted theories of architecture to the
particular needs of India.
Bombay Gothic’s heyday ended for many reasons. As
political events in India became associated with
stylistic preferences in architecture and nationalism
began to coalesce into a recognizable movement, the
architectural profession responded accordingly.
The younger architects were actively looking for fresh
solutions to stylistic and formal questions in
(Excerpted from Bombay Gothic By Christopher W London
Published by IBH)
Ideas and editorial by
Harpreet Kaur.Do mail your opinions to EDITOR AT