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Delhi’s cultural life exhibits a unique blend of the traditional and cosmopolitan styles. The city is dotted with numerous museums, historic forts and monuments, libraries, auditoriums, botanical gardens, and places of worship. Complementing such traditional institutions are the ever-changing urban commercial and leisure centres, with their privately held contemporary art galleries, cinema multiplexes, bowling alleys and other sports venues , and restaurants serving a variety of Indian and international cuisines.

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Also reflecting Delhi’s cultural and stylistic diversity are its numerous fairs and festivals. These include an annual film festival as well as many sorts of trade and book fairs. The various religious groups in Delhi contribute to an ongoing succession of religious festivals and celebrations.

A varied history has left behind a rich architectural heritage in Delhi. The oldest buildings in the city belong to the early Muslim period; they are not homogenous in construction or in ornamentation, however. The influence of Hindu Rajput craftsmen is visible in the naturalistic motifs, the serpentine tendrils, and even the curves of the alphabets of Qurʾānic inscriptions. Some artists, poets, and architects from Central Asia brought with them the Seljuq (Turkish) tradition of architecture, characterized by a lotus-bud fringe on the underside of arches, ornamental reliefs, and bricks laid endwise and lengthwise in alternating courses in the masonry face.

By the time of the Khaljīs (1290–1320), a specific method and idiom , called the Pashtun style, had been established in Islamic architecture . Among the typical features of this style are red sandstone surfaces with white marble inlays, arches in the shape of a pointed horseshoe, windows fitted with perforated screens, and intricate and abundant decoration with arabesques and inspirational texts. Examples of early Pashtun architecture in Delhi include the Quwat-ul-Islam mosque; the Quṭb Mīnār , which, with its surrounding monuments, has been designated a UNESCO World Heritage site ; the tomb of Iltutmish ; and the Alaʾi Gate. Later Pashtun styles are represented by the tombs of the Sayyid (1414–51) and Lodī kings (1451–1526); these tombs exhibit either a low octagonal shape or a higher square edifice, the facade of which is broken by a horizontal decorative band and a series of panels that suggest a much larger structure.

The first important piece of Mughal architecture in Delhi was Humāyūn ’s tomb, which was the precursor of the Taj Mahal (in Agra). It introduced high arches and double domes to Indian architecture. Some of the finest representatives of later Mughal architecture are found within the Red Fort (Lal Qila). The fort’s massive red sandstone walls, which stand 75 feet (23 metres) high, enclose a complex of palaces and entertainment halls, projecting balconies, baths and indoor canals, and geometrical gardens, as well as an ornate mosque. Among the most famous structures of the complex are the Hall of Public Audience (Diwan-i-Am), which has 60 red sandstone pillars supporting a flat roof, and the smaller Hall of Private Audience (Diwan-i-Khas), with a pavilion of white marble. The Jama Masji d is a fine example of a true Mughal mosque, in part because it has minarets , where its precursors did not. Both Humāyūn’s tomb and the Red Fort complex are UNESCO World Heritage sites .

Stepwells ( van s, or baoli s) also showcase Delhi’s rich architectural heritage. The subterranean edifices—common throughout India as water sources for drinking, washing, bathing, and irrigation and as cool sanctuaries for caravans, pilgrims and travelers—were commissioned by royal, wealthy, or powerful patrons. The structures were complex engineering feats and distinctive examples of both Hindu and Islamic architectural styles. They were excavated several stories underground in order to access fluctuating water tables. Although each stepwell varies stylistically, all of them incorporated flights of stairs leading from the surface to the water. Many also functioned as inverted temples, featuring column-supported shade pavilions and elaborate stone carvings. Two stepwell examples in Delhi are Agrasen ki Baoli and Gandhak ki Baoli .

The architectural styles of the British period combined British colonial and Mughal elements. Structures ranged from the grand—as represented by the Presidential House (Rashtrapati Bhavan) and the Parliament and Secretariat buildings—to the utilitarian, as seen in the bungalows and institutional buildings. Since independence India has aimed to develop its own architectural language in a synthesis between Western and local styles. In Delhi examples of such architecture can be seen in the Supreme Court building, the Vigyan Bhavan (a conference centre), the Crafts Museum, offices of the various ministries, and the institutional buildings near Connaught Place. Since the late 20th century, a number of Indian and foreign architects have added buildings to the city’s landscape that may be considered postmodern (mixing many elements of diverse origin) in style. Notable among these are the National Institute of Immunology, the headquarters of the Life Insurance Corporation of India, the building of the Embassy of Belgium, and the Indian Bahāʾī Temple.

Delhi is home to a number of important museums and busy cultural centres. The National Museum of India, the National Gallery of Modern Arts, and the Indira Gandhi National Centre for the Arts are all dedicated to the preservation, documentation, and dissemination of the country’s artistic heritage. The Crafts Museum showcases Indian carving, metalwork, painting, and other crafts; the institution regularly hosts events at which local craftspeople demonstrate their art and sell their wares . The Siri Fort Auditorium is an important centre for major cultural events. The Pragati Maidan, a world-class trade and cultural centre, is another prominent landmark where events and exhibitions of international scale are held throughout the year. Dilli Haat is a popular bazaar that offers a diverse range of handicrafts and cuisines from the various states.

Aside from its museums, auditoriums, and other cultural centres, Delhi is a city of gardens and fountains, among the most notable of which are the Roshan Ara Gardens and the meticulously planned Mughal Gardens. Many park and garden areas have grown up around historical monuments, such as the Lodī Gardens (around the Lodī Tombs) and the Firoz Shah Kotla Grounds (around Ashoka’s Pillar). Along the Yamuna riverfront, memorials set in flowering gardens have been built for various 20th-century national leaders. Among these are Raj Ghat (honouring Mahatma Gandhi ), Shanti Vana (honouring Jawaharlal Nehru ), and Vijay Ghat (honouring Lal Bahadur Shastri ).

The national capital territory has well-developed sporting facilities, including a number of stadiums that were built when Delhi hosted the Asian Games in 1982. Several sports complexes are located within the city, while world-class golf courses are situated on its periphery . Among the major outdoor natural recreation areas are the Delhi Ridge and the Yamuna riverfront.

Delhi is an important centre for publishing, the press, and other mass communications. Doordarshan, the country’s national television network, and All India Radio are both headquartered there. Major daily newspapers issued from Delhi include The Times of India and the Hindustan Times .

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The making of New Delhi

The imperial capital of new delhi forms one of the most enduring architectural legacies of colonial rule in the indian subcontinent..

Published : Dec 21, 2017 12:30 IST

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India Gate. It was originally designed as a war memorial dedicated to the Indian soldiers killed during the First World War and other wars such as the Afghan War. The nearby canopy used to serve as a memorial to George V.

THE imperial capital of New Delhi forms one of the most enduring architectural legacies of colonial rule in the Indian subcontinent. It had come under British control by 1803 and more firmly so after the suppression of the 1857 rebellion.

However, the decision to make it the new capital was only taken in 1911. The process of setting up the new imperial city was not a simple architectural or urban planning exercise; it emerged out of intense debates relating to the changing strategic interests of the British Empire in India. It also involved intense discussions regarding the site of the new capital, choice of architects, style of architecture, layout of the city, acquisition of land and design of individual buildings—all of which played an important part in the making of New Delhi. The whole process was further complicated by the outbreak of the First World War, time and cost overruns, and differences between the two leading architects, Edwin Lutyens and Herbert Baker.

Why was a decision taken to shift the capital from Calcutta to Delhi? Nationalist opposition to colonial rule was building up in Calcutta, which had been the seat of the British administration for around 150 years. Further, Lord Curzon’s partition of Bengal—the creation of a new province of Eastern Bengal and Assam with the “Muslim city” Dacca (Dhaka, now capital of Bangladesh) as the capital—had caused a huge uproar, leading to a boycott of foreign goods, the development of a movement for swadeshi enterprises and, later, bombings and political assassinations. Calcutta was becoming a less hospitable home for the British. There were at least two primary ideas at the heart of the discussions surrounding the transfer of the capital. The first was to reunify Bengal and in some way assuage the hurt nationalist sentiments. Connected to this was the second idea of giving Bengal the same status and autonomy as the Madras and Bombay presidencies. It was argued that “the Supreme Government should not be associated with any particular Provincial Government” and that in the long run the provinces should have a larger measure of self-government.

The author Jag Parvesh Chander points out that Sir J. Jenkins (Home Member of the government) provided a “masterstroke of invention” by proposing an idea that involved revoking the partition of Bengal, redrawing its provincial boundaries and transferring the imperial capital to Delhi. However, the plan was kept a top secret until the Coronation Durbar of 1911, held in Delhi, where King-Emperor George V announced the transfer of the seat of government from Calcutta to the ancient capital of Delhi and the creation of a new governorship for Bengal. Lord Curzon and, interestingly, many Europeans were angry with the “unhappy desecrators of Calcutta”. The newspaper The Englishman even warned that those going to Delhi would suffer from “the swamps and heat, the boils and blains, the snakes and insects” and much more.

Why was Delhi chosen? It was an ancient city associated with Hindu mythology and sacred legends. It had a more central location and was closer to the summer capital, Shimla. Some even argued it had a better climate. More importantly, Delhi had been a seat of power under the Delhi Sultanate and the Mughals, and the government wanted to build on this symbolic association too. The historian Rudrangshu Mukherjee says that Calcutta lacked the grandeur of Delhi. Further, the 1857 rebellion had shown the symbolic importance of Delhi and the emotional connect people had with it and the Mughal emperor. Interestingly, during the Coronation Durbar, George V and Queen Mary even appeared before the Delhi public from a jharokha (overhanging enclosed balcony) at the Red Fort—trying to appropriate an imperial symbolism and a practice only reserved for emperors—to reiterate their supremacy over the subcontinent.

The Delhi Town Planning committee was formed, and Lutyens (who had designed a garden city and country homes in England) was appointed as the consultant to draw up a master plan. Viceroy Lord Hardinge himself was involved in the planning of the new capital in a major way.

The historian Percival Spear says the architectural committee of Lutyens (an architect), John A. Brodie (an engineer) and S.C. Swinton (a municipal issues expert who also had knowledge of Indian architecture) chose a site on Raisina Hill, south of Shahjahanabad, reversing an earlier decision to build the capital on a site north of the Mughal capital. They saw the new site as an Indian Acropolis, with the proposed Viceroy’s House (now Rashtrapati Bhavan) as the Parthenon. The architect and heritage expert Lucy Peck says that the Viceroy’s insistence that the capital should be completed in four years made Lutyens rope in Baker, a friend and architect who had designed colonial buildings in South Africa. Baker could only join in 1913, by which time most of the decisions had been taken. It was agreed that Lutyens would design the Viceroy’s House and the overall layout of the city, whereas Baker would take care of the twin secretariat buildings (now North and South blocks).

The historian Thomas R. Metcalfe argues that New Delhi was not simply meant to provide housing and office space for bureaucrats and was charged with symbolic meaning from the very outset. There were many opinions on the proposed architectural style. George Bernard Shaw and Thomas Hardy advocated an Indian style executed by an Indian architect. The debate eventually narrowed down to the three principal actors: Hardinge, Lutyens and Baker. All three were agreed on the need for an architectural style that would manifest Britain’s imperial position in India.

The debate was about what such imperial architecture ought to consist of. Broadly speaking, Lutyens and Baker preferred European classicism (modelled on or deriving inspiration from ancient Greece or Rome), whereas Hardinge preferred at least a part of the “Eastern”, or more specifically the Indo-Saracenic, style associated with Delhi and its neighbourhood. With Hardinge’s mediation, Lutyens and Baker eventually settled for a Western-style classical architecture with details being filled up with Indian motifs. This, however, happened after much debate and deliberation and even a scuffle, which soured relations between the two architects and friends.

Lutyens was known for his uncompromising adherence to European classicism. Metcalfe says, to him, the line of descent of architecture was straight and clear: it emerged from the Greeks, who passed it on to the Romans from where it went to the Italians, who in turn handed it over to the French and to Christopher Wren (the famous British architect who was fond of the Graeco-Roman style and designed English churches, including St. Paul’s Cathedral). Lutyens did not have any great respect for Indian architecture, which he regarded as mere “spurts by various mushroom dynasties with as much intellect as there is in any art nouveau”. Baker, like Lutyens, was not fond of Indian architecture.

However, as Metcalfe says, for him the design was not going to be either Indian or Roman or English but purely imperial; it should be able to capture in stone the spirit of the British Indian Empire. “The new capital must be the sculptural monument of the good government and unity which India, for the first time in history, has enjoyed under British rule.” To him, as Metcalfe clarifies, Indian architecture was not politically expressive. It did not have the “constructive and geometric quality necessary to embody the idea of law and order which had been produced out of chaos by the British Administration”. European classicism, therefore, had to be given pride of place in New Delhi as it had been in Pretoria, South Africa.

Lutyens and Baker found sufficient common ground to create a harmonious set of buildings on Raisina Hill. However, they fell out on the location of the secretariat buildings in relation to the Viceroy’s House. Rejecting the original plan of locating them a little below the Viceroy’s House, Baker insisted they be moved up onto the acropolis; it should form “one high platform expressing the importance of the unity of the viceroy with his government”. This meant pushing the Viceroy’s House further back away from the edge of Raisina Hill, which Lutyens reluctantly agreed to. The gradient leading up to the hill had to be gentle so that there was a harmonious and balanced effect to the altered architectural scheme.

However, Baker, who oversaw the construction of the slope, allowed for too steep a gradient. This created an architectural anomaly that still haunts New Delhi. As one moves from India Gate towards Raisina Hill, the Viceroy’s House disappears after a point of time, leaving only its dome visible. When Lutyens discovered this, he tried his best to remedy it but failed. He called it his “Bakerloo”.

Leaving this and some other issues aside, British officials were massively preoccupied with the making of the new capital over the next two decades. During this period, most of them who had migrated from Calcutta lived in cramped temporary quarters in the Civil Lines, an area that had been the site of British settlements after the capture of Delhi in 1803. The construction work was interrupted by the outbreak of the First World War (1914-1919), and the bulk of the work, therefore, took place in the 1920s and 1930s. The new city was formally inaugurated in February 1931. Some schemes and aspirations, however, such as bringing the Yamuna back to its original place and the creation of riverside parks and drives, never materialised.

The art historian Vidya Dehejia says features such as monumental classicism, vast ceremonial avenues, open spaces, geometrical symmetry and a grand central axis characterised New Delhi’s outlay plan.

The heart of the new imperial city was the Viceroy’s House located on the top of Raisina Hill and flanked by the twin secretariat buildings. The viceregal estate and the crescent (which is an architectural arrangement of buildings along an arc or curved street) behind the Viceroy’s House, Willingdon Crescent (now known as Mother Teresa Crescent), contained residential accommodation for important functionaries.

The main streets were supposed to have beautiful vistas at their ends. King’s Way (now Rajpath, or “Avenue of the State”) was the principal imperial axis and was supposed to connect Purana Qila (or Old Fort, associated with the Afghan ruler Sher Shah Suri and the Mughal emperor Humayun) to the Viceroy’s House via the war memorial arch (India Gate) and Victory Square (Vijay Chowk). Queen’s Way (now Janpath, or “Avenue of the People”’) crossed the principal axis at right angles, connecting the central commercial hub Connaught Place and a host of important buildings with South End Road (now known as Rajesh Pilot Marg). Further beyond Connaught Place in the north was the Jami Masjid, the grand congregational mosque of the 17th century Mughal capital, Shahjahanabad.

Vidya Dehejia points out that streets in residential areas were structured around roundabouts which were mini gardens that functioned as traffic circles. Rules of official hierarchy were followed, and residences were allotted on the basis of official status. A lot of thought also went into the greening of the new capital. The municipal forest officer P.H. Clutterbuck’s list of Indian trees became the basis for planting of trees along the avenues. W.R. Mustoe, Director of Horticulture and an expert from Kew Gardens, selected trees that were sturdy, shade-giving and long-lived. The historian Philip Davies points out that each of the major avenues had a distinct botanical identity such as tamarinds on Akbar Road, neems on Aurangzeb (now A.P.J. Abdul Kalam) Road and Arjun trees on Queen’s Way. Mustoe, along with the architect Walter Sykes George, landscaped a Mughal-style garden inside Government House at the insistence of Hardinge.

Important buildings on King’s Way included the Viceroy’s House, the twin secretariat buildings and the Council Chamber (now Parliament House). The Viceroy’s House was originally designed as a monumental Government House. However, as Lucy Peck clarifies, the changes following the colonial government’s Montague-Chelmsford Reforms (1919), which expanded the administration’s representative machinery, meant that a separate structure was required for the legislature. The Viceroy’s House was, therefore, reduced to serving as the residence and office of the Viceroy and was also used for formal state functions.

Built mostly between 1921-29, the Viceroy’s House is an intensely horizontal two-storeyed building and, at the time of completion, formed one of the largest residential buildings in the world, larger than the Palace of Versailles in France. The upper main floor is made of cream-coloured sandstone and marked by long colonnades linking solid battered-wall pavilions. The ground floor is a monumental platform in red sandstone interrupted by arched openings and square windows. Brought from western Uttar Pradesh, red and cream sandstone were a standard feature in earlier Mughal buildings. They protected structures from scorching summers—the “violence” of the Indian sun as Lutyens would say—and torrential rains.

The central feature of the building is the massive central copper dome (50 metres, or 164 feet, above the ground) which rises on a cream sandstone drum enclosed by a railing like the one at the Sanchi stupa. There are chattri s, or kiosks, on either side of the drum while water flows through a series of circular stone basins, sometimes in a stepped formation. Water channels, pools and fountains (including on the roof) like those in Mughal monuments and a three-levelled garden adorn the building. In front of the building is the famous Jaipur Column—the Maharaja of Jaipur parted with the bulk of the land—built on the pattern of famous pillars in Europe but with some Indian symbols like a bronze lotus crowned by a glass six-sided Star of India.

The Viceroy’s House has 340 rooms, the most famous of which are the Throne Room (which lies right below the central dome and is now known as Durbar Hall) where investitures and durbars took place; the Ballroom (now called Ashoka Hall) specially noted for the ceiling containing an equestrian portrait of Fateh Ali Shah, the second of the seven Qajar rulers of Persia, hunting with 22 of his sons; and the Banqueting Hall (now called the State Dining Room), which once had pictures of Governor Generals and Viceroys.

The twin secretariat buildings were constructed between 1914 and 1927. Like the Viceroy’s House, they are built in cream and red sandstone—the red forming the base while the cream is used for principal floors. European-style features include columns and domes, particularly the Renaissance-like dome at the centre of each building. Indian architectural elements include the use of red sandstone, jali s (perforated screens), chajja s (eaves/shade-giving cornices) and decorative elements such as chhatri s (canopies that appear on the roofline), carved brackets and elephant heads on pillar capitals. Arches used in the construction are circular as opposed to the pointed Indian arches. Metcalfe says that besides picking up architectural elements from both the East and the West, Baker was also concerned about climate and decoration. Features like spacious colonnades, open verendahs, chajja s, jali s and small high window openings increased the circulation of air, reduced the amount of sunlight within buildings and brought the outdoors close at hand. These features, except for the colonnades, gave the building an Indic appearance.

The square area in front of the twin buildings has the four Columns of the Dominion of the Empire presented by the Commonwealth countries Canada, South Africa, New Zealand and Australia. Each red sandstone column is surmounted by an Asokan-style pillar capital containing a chakra, a bull, a lion and an inverted lotus. The columns are topped by bronze ships signifying the maritime might of the British Empire. It was assumed that India would become a dominion as well.

The Council Chamber is located slightly away from the main imperial axis and was planned later. It was originally supposed to be located within the Viceroy’s House, but the Montague-Chelmsford reforms created the need for a new building. Baker was entrusted with its design, and it was to house three chambers: the Council of State (now the Rajya Sabha), the Legislative Assembly (now the Lok Sabha) and the Chamber of Princes. A proclamation of George V in 1919 established the last chamber as a forum for the rulers of the princely states of India to voice their concerns and aspirations. It survived until the end of the British Raj.

The Council Chamber is designed like a coliseum with lobbies connecting three semicircular chambers to a central chamber—where Jawaharlal Nehru made his “Tryst with Destiny” freedom at midnight speech—with a suppressed small dome. The whole structure is surrounded by a painted and plastered colonnaded verandah. Later, a floor was added to the building. The structure is bound by a stone railing reminiscent of the Sanchi stupa. The stone posts outside the building look like the Mughal lamps in Agra.

The site between Victory Square and India Gate is like an imperial avenue or a ceremonial boulevard and is dotted on both sides by huge lawns, pools and rows of trees. Containing six big fountains, the boulevard is now the site of the Republic Day Parade. Victory Square is like a spacious plaza containing six big fountains. This is where the “Beating the Retreat” ceremony is held every year to conclude the Republic Day celebrations.

India Gate, completed in 1921, was designed by Lutyens as a hexagonal space with an arch-shaped war memorial—which the heritage expert Swapna Liddle says looks similar to European memorial arches, notably the Arc de Triomphe in Paris—at the centre and roads radiating out of it. It was dedicated to the Indian soldiers killed during the First World War and other wars such as the Afghan War. The India Gate complex contains a canopy that was originally designed as a memorial to George V, who died in 1936. It carried a statue of the monarch until 1968 after which the statue was shifted to Coronation Park. There was some talk in the past about putting Mahatma Gandhi’s statue under this canopy. However, this was eventually ruled out. The area around the war memorial was called Princes Park, and important ruling families were allotted land to build houses along the sides of the hexagon. The notable ones among them include Hyderabad House, Baroda House (which has the offices of the Indian Railways), Patiala House (now a district court complex), Jaipur House (now the National Gallery of Modern Art) and Bikaner House.

King’s Way was supposed to end near Purana Qila in a lake where the silhouette of the monument would appear. However, Lady Willingdon (wife of the then Viceroy) insisted on creating the National Stadium between the fort and the memorial arch. Work on the structure started in 1931 under the supervision of Robert Tor Russell, who was consulting architect to the Government of India after 1919 and the chief architect of the Public Works Department (PWD). The main entrance to the stadium is dominated by five large arches, and the structure is topped by five dwarfed chattri s installed at the suggestion of Lady Willingdon—much against the wishes of Lutyens. The historian Laura Sykes says Lutyens never forgave her for redecorating the Viceroy’s House in shades of her signature mauve; he called her “a mauvais sujet ”.

Queen’s Way and most of the buildings located on it were designed by Russell. At one end of the street lay the commercial hub called Connaught Place—named after George V’s uncle, the Duke of Connaught, who visited Delhi in 1921. Said to be modelled on the Royal Crescent in Bath in England, it was planned as a two-storeyed open colonnaded structure with shops on the ground floor and houses on the first. This area forms part of the Delhi ridge and was earlier dominated by keekar trees and overrun with jackals and wild pigs. When Connaught Place was finally completed around 1935, it looked like two concentric circles of buildings interspersed with three roads, the Inner, Middle and Outer Circles.

The complex had an array of shops and establishments catering to affluent and powerful British and Indians. Wengers—named after the Swiss couple Wenger—for example, designed in 1926, became the first bakery and confectionary shop to introduce French bread, Swiss chocolates and margarine pastries to the imperial city. In its early days, it also served as a popular venue for expatriate weddings, ballroom dances and official dinners. Besides shopping and dining, Connaught Place provided entertainment facilities such as cinema theatres, including Regal (designed by Walter Sykes George and inaugurated in 1932) and Plaza (designed by Russell and inaugurated in 1933, it has a classical facade of columns). Other theatres, including Odeon, Rivoli and the India Talkie House, came into being around 1938.

The Imperial Hotel was designed as a luxury hotel in the 1930s and it eclipsed the hotels in the earlier British hotspot, the Civil Lines. It was built by F.B. Blomfield, one of Lutyen’s associates, and inaugurated by Lord Willingdon in 1936. Silver tea service, tableware from London, Italian marble floors, Burma teak furniture, original paintings by Thomas and William Daniell and James Fraser on the walls, a vision of undulating green lawns and turbaned waiters in red—all helped create the aura of an early 19th century English manor in the heart of imperial Delhi. Close to the Imperial Hotel are the eastern and western courts, designed as hostels for legislators. There are currently plans to replace the transit hostel at the western court with a residential guest house for Members of Parliament.

Further down Queen’s Way were a museum housing a collection of paintings by Sir Aurel Stein (now the National Museum) and the Records Room (now the National Archives), which was originally established as the Imperial Record Department in 1891 in Calcutta. It was shifted to Delhi and located at the intersection of King’s Way and Queen’s Way in 1926. The street ended at South End Road, which together with Lodhi Gardens formed the southern boundary of Lutyens’ Delhi.

Willingdon Crescent continues to form the western boundary of the presidential estate and runs between Teen Murti Bhavan and Ram Manohar Lohia Hospital (previously Willingdon Hospital). The Teen Murti complex was designed by Russell and was originally called Flagstaff House. It was the residence of the Commander-in-Chief of the British Army, and, later, of the first Prime Minister of independent India, Jawaharlal Nehru. Later, after the three statues memorial was installed at the traffic roundabout in front of the complex, the building was renamed Teen Murti Bhavan. The British sculptor Leonard Jennings built this memorial to commemorate the Jodhpur, Hyderabad and Mysore lancers who had fought gallantly in Syria, Palestine and Sinai during the First World War.

At the other end of Willingdon Crescent is another busy traffic roundabout, which houses the Gole Dak Khana (literally, round post office) in the centre and Sacred Heart Cathedral New Delhi on one of its sides. Nearby are located the Gole Market (round market) and Willingdon Hospital. The Gole Dak Khana was designed by Russell and built in the 1930s. Originally known as Alexandra Place, it was the seat of the PWD and reportedly also served as the Viceroy’s camp post office in the 1930s. It was upgraded to a general post office in the 1960s. The church near the roundabout was one of the first Roman Catholic churches in Delhi and its construction was supervised by Father Luke, who worked closely with Lutyens.

The earlier churches in the city, including St. James near Kashmere, or Kashmiri, Gate, St. Stephen’s in Shahjahanabad and the Cathedral Church of the Redemption near the Viceroy’s House, were Anglican. The British architect Henry Medd (Russell’s successor) designed the church building, which is based on Italian architecture. There were other civic facilities near this roundabout. Willingdon Hospital was started in 1932 for government staff with 54 beds.

The Gole Market was designed by G. Bloomfield as a 12-sided structure built around an open circular courtyard, punctuated with six semicircular arched gateways leading into the market, and had wrought iron lamp posts and benches.

Lutyens designed the staff quarters on the viceregal estate and the National Archives. Baker designed a few bungalows, and a particularly warm one on Akbar Road became known as “Baker’s Oven”. However, the PWD with Russell in the lead designed most of the other bungalows and official housing. Lucy Peck says that the houses south of the imperial axis looked grand, while those in the north-west near the Gole Dak Khana were humble clerks’ houses with front verandahs, several rooms and a backyard.

Whatever the size of the house, Lucy Peck points out, the basic pattern remained the same: the main road gave access to the front of the house and there was a service lane at the back. Feroz Shah Road had, she further says, a rare type of housing: a modest version of “palace facades” of 18th century urban England. Here, narrow houses were built to look as if they were part of a “grander seeming” scheme or a single magnificent edifice. There was shared accommodation for single men at the P.T. Chummery Quarter complex near Hailey Lane, and there were modest houses for the posts and telegraph staff near Kasturba Gandhi Marg. Travancore House at the Kasturba Gandhi roundabout, originally built as a princely house, had a butterfly design, that is, a colonnaded structure with two wings.

The imperial capital also had a provision for new churches. Arthur Shoosmith (1888-1974) designed St. Martin’s Garrison Church, and Henry Medd designed the Cathedral Church of the Redemption and Sacred Heart Cathedral New Delhi. Three and a half million bricks went into the construction of the Garrison Church (completed in 1930), which, soldiers claimed, looked like a fortress—with buttresses, parapets, straight lines and few windows—and would have been easy to defend in an emergency. The inside resembles a basilica with its high circular dome and curved arches reaching up to the vaulted roof. The Cathedral Church of the Redemption stands north of the Jaipur Column and west of Parliament House at North Avenue. On February 23, 1927, Viceroy Irwin laid the foundation stone at the spot that would be the central dome, the exact centre of the church. Opened to public worship on Sunday January 18, 1931, it is built in white dholpur stone sandwiched between a roof and a plinth of red sandstone. Smooth and polished ashlar masonry was reserved for the moulded courses and the elegant columned porches.

Metcalfe says that the British also chose an imperial style because that was the medium through which Europeans apprehended empire. Its “eternal principles” and “ordered beauty” were fit to embody in stone the spirit of the empire more than any other style of architecture. Further, by connecting their monuments to the ideals and empires of a cherished classical antiquity, the British sought to enhance the moral worth, at least in their own eyes, of their political handiwork. Metcalfe points out that such an architectural style was not tied to any specific geographical setting, and its elements could be reproduced in any tropical dependency. He also argues that what had been worked out in Pretoria and refined in Delhi could be carried to such places as Kenya, where Government House (now State House), Nairobi, built by Baker in 1925, was but a minor variant of the design experimented with before.

At the laying of the original foundation stone of Delhi, Viceroy Hardinge said: “Many capitals have been inaugurated in the neighbourhood of Delhi… and assuredly none ever held promise of great permanence or of a more prosperous and glorious future.” Ironically though, only 16 years after the city was inaugurated, Lord Mountbatten handed over the reins of sovereignty to an independent India. As Philip Davies says, it is a curious fact of history that empires in decline often undergo a resurgence of cultural vigour before their demise, and the British Empire, like those of Spain, Rome or Austria-Hungary, was no exception.

Shashank Shekhar Sinha has taught history in undergraduate colleges at the University of Delhi. He does independent research on tribes, gender, violence, culture and heritage.

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Sep 23, 2014

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NEW DELHI. The Capital of India. New Delhi. According to the Census of 2001, Area – 1483 Sq. Km. Population – 18 Million Per capita income of Rs 38,864, roughly 800 US Dollars According to Economic Survey of Delhi conducted in 2005-06 According to the Estimates of State Domestic Product,.

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NEW DELHI • The Capital of India

New Delhi According to the Census of 2001, • Area – 1483 Sq. Km. • Population – 18 Million • Per capita income of Rs38,864, roughly 800 US Dollars According to Economic Survey of Delhi conducted in 2005-06 According to the Estimates of State Domestic Product,

Economic Situation in New Delhi

Fabric and People Climate • 2 different kinds of New Delhi • Becoming more cosmopolitan – there is a place for everyone, earlier dominated by Punjabis, now a melting pot of different Indian and international cultures • A lot of history, but becoming more open minded at the same time • Willingness of people to help • Various cuisines and emergence of Niche restaurants • High end malls and traditional bazaars, specialized supermarkets • Great nightlife – clubs, bars, lounges, special focus on younger generations (Bluo) • Common wealth Games in 2010 • Transportation ( Air, Rail, road, metro, cheapest car) • Space for subcultures to thrive • Open spaces (horizontal, not vertical) ( Why I like that) • There is always a lot to do for everyone residents and tourists alike • Idea capital of the country • National Capital Region • Schooling • Sports • Strength of weak ties • Mixture of Colonial and Mughal Architecture

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New Delhi Central Vista: Regressive Urban Planning and Outmoded Architecture

Raj Path, from India Gate looking to Rashtrapati Bhavan (formerly Viceroy’s House) designed by Sir Edwin Lutyens. Photo ©Sondeep Shankar

The Rajpath, the central axis of New Delhi used to be one of the most beautiful urban spaces in the world. The view from India Gate at one end, to Sir Edwin Lutyens’s Rashtrapati Bhavan (formerly the Viceroy’s House under the British Raj built 1912-1931) at the other end, over two miles away, supplies a breath-taking spectacle. The axis culminates in the extraordinary dome of the Rashtrapati Bhavan, a synthesis of a western classical cupola and a Buddhist stupa which rises from Raisana Hill. Flanked on either side by the two Secretariats and the circular Parliament Building (designed by Sir Herbert Baker, 1912 to 1928), the ensemble is a masterpiece of Baroque processional planning. The buildings themselves fuse Indian and western motifs in red or amber colored sandstone, materials typical of past monuments in the region of Delhi over the centuries. This concentration of state buildings and institutions was intended to anchor British Imperial power for the long term.

The dome of Rashtrapati Bhavan (Formerly known as the Viceroy’s House), Sir Edwin Lutyens, 1912-1931. Photo ©Thomas Kligerman, click to enlarge.

Secretariat, North block, Sir Herbert Baker, 1931. Photo ©Laurie Jones

With the Independence of India in 1947, the Viceroy’s House became that of the President of the new nation, and the great esplanade became an open-air democratic space for all citizens, both a public park and a setting for such rituals as the Republic Day parades every year on January 26th. In ensuing decades, new institutions were created along the fringes for government bureaucracies but also for cultural and archival purposes, such as the National Art Museum, the National Archives Building, and the Indira Gandhi National Center for the Arts. In effect, the Rajpath became an alleyway of cultural memories, preserving the priceless artistic and archival treasures of the nation and making them easily available to the public. Part of the beauty of the place resided in the ease of access from all sides, for all levels of society. I have vivid memories of an evening in the hot season 40 years ago, with ice cream vendors gathered around India Gate, children playing on the grass, and people from the stifling streets of Old Delhi coming to Rajpath to cool off and enjoy some fresh air, as the pale orange disk of the setting sun descended beyond the monuments on Raisana Hill in the distance.

Click plan to enlarge

Site Plan, Central Vista project, designed by Bimal Patel / HCP. Image courtesy HCP

The Indian Government’s Central Vista project, designed by Bimal Patel and his firm HCP, is now being executed at top speed and at a pharaonic expense of approximately $3 billion, involves a massive and destructive rearrangement of this entire area, all in the name of Prime Minister Narendra Modi’s supposed aim of signaling a new, “post-colonial” vision for India and celebrating 75 years of Independence in 2022. The project includes the creation of a vast new Parliament Building alongside the old; an extravagant new Prime Minister’s residence; the destruction of a dozen institutional buildings along the Rajpath (representing almost 5 million square feet of space), and the construction of huge, monotonous office blocks of little aesthetic distinction on each side of the Rajpath, to provide room for over 50 ministries, containing 70,000 people bureaucrats and workers.

This assault on architectural heritage is accompanied by radical rearrangements of cultural and documentary contents. The artistic and archival holdings of the National Art Museum, National Archives Building and Indira Gandhi National Centre for the Arts, are being stored temporarily in a luxury hotel before being integrated somehow in the two existing Secretariat buildings, although there is no transparency about these plans. This transfer of national, in fact universal, treasures, some of them ancient works of art and fragile manuscripts, is risky in the extreme. Scholars, museum directors, and archivists from India and around the world have already raised the alarm. The documentation of national history and the preservation of treasures essential to the collective memory are without a clear future museological or ideological direction. The question has been posed: will history be rewritten, presented and represented to fit the agendas of the extreme Hindu nationalism of the present power base?

There is no doubt that some existing ministries and other public works along the edges of the Rajpath needed restoration and upgrading in terms of new technologies and interior layouts. But to demolish all of them completely seems excessive and wasteful in the extreme, especially at a moment of national economic crisis exacerbated by the coronavirus hitting India (critics in the national press assert that the budget for the Central Vista could create dozens of hospitals and vaccinate roughly three quarters of the population). None of these buildings, dating mostly from the 1950s and 1960s with their vague historical references is a “masterpiece” as are Lutyens’s outstanding works. But they are part of the architectural heritage of the evolving cityscape, and they record moments in post-Independence history, starting with Jawaharlal Nehru’s tenure in 1947. Surely they could be updated to do their job without the expense and ecological impact of destruction followed by new construction? Some of them—the cultural buildings and museums in particular—should be preserved with their contents intact.

What Patel is erecting instead is a solid phalanx of grim, identical, and repetitive rectangular office blocks, each 490 feet long, 443 feet on the sides, and 130 feet tall, with vast interior courtyards. Each unit will contain enough offices for 6,000 workers. These blocks, ten in all, will march relentlessly down each side of the Rajpath in a manner that encroaches on existing public space and establishes barriers between the Rajpath and the neighboring areas, like a controlling wall. With their bland exterior façades and their fully glazed atria, these behemoths could have been yanked directly from an office park on a highway somewhere in the U.S. in the 1970s. This is an odd way of signaling a “new Indian Identity” for the 75-year-old democracy. The overall effect of this symmetrical and regimented array of banal boxes is curiously dictatorial.

The Central Vista project implies an extreme bureaucratic centralization precisely at a moment when modern communications systems permit work at a distance. Roughly 16,000 cars will be coming into work and leaving everyday, in a city that already suffers from nightmarish traffic jams and one of the worst levels of pollution in the world (despite “official” aerial views suggesting a luminous and limpid green arcadia). There is a metro system and there will be underground tunnels with fast links between ministries; nonetheless, there is already discussion of plowing wider traffic arteries, even double-level roads, through the verdant carpet of low-rise New Delhi, with further negative impact on quality of life, air, buildings, and vegetation. The Central Vista project is a retrograde and anti-ecological urban plan which, in social terms, is liable to turn an entire stretch of the Rajpath, once so free and easy, into a surveyed security zone.

Model, New Parliamentary House, by Bimal Patel/HCP, next to existing Parliamentary House by Herbert Baker, 1912-13. Image courtesy HCP

The proposed new Parliament building designed by Patel will sit on a triangular site next to the existing one The earlier circular building was conceived by Herbert Baker in 1912-13 to house the Imperial Legislative Council and opened in 1927. In 1950, with the foundation of the Indian Constitution, its three main chambers were adapted for parliamentary use. The cylindrical structure, circled by 144 columns, was inspired in its overall form by the 11th century Chausath Yogini temple in Madhya Pradesh. Over the years, the Parliament building has proved increasingly inefficient and subject to several clumsy alterations and additions. One way of dealing with these shortcomings would have been to restore and update the existing structure and then add a sympathetic extension, as happened with the exemplary Parliamentary Library behind the old Parliament House, designed by Raj Rewal, 1992-2002. This fuses modernity and tradition in its forms, spaces, structure, and materials, and rests on a centralized plan inspired by the 15th century Jain Temple at Ranakpur. It responds to the Parliament at an abstract level without mimicking it or competing with it, and fits perfectly the urban context.

Parliamentary Library, designed by Raj Rewal Associates, 1992-2002, with Herbert Baker’s Parliamentary House in the background. Photo courtesy Wikimedia Commons/Raj Rewal Associates

By contrast, Patel’s Parliament House proposes itself as the protagonist. It dominates its predecessor and is intended to be a monument marking the political program of the “new era”: a major statement of some kind embodying a fresh vision for Indian democracy. Yet in many respects it is an overblown and feeble copy of Baker’s old parliament from a century ago. It imitates directly but without sufficient abstraction or transformation. The two main chambers echo the form and disposition of those in the old building but have been expanded to allow for 888, instead of 552 seats, in the case of the Lower House (the Lok Sabha), and 384, instead of 245, seats, in the Upper House (Rajiya Sabha). Up- to-the minute technology will assure improved functioning and the members will gain a lot of space for all their activities.

Nevertheless, the new Parliament House is disappointing on the aesthetic and symbolic levels. The interiors resemble those of a pretentious hotel while the exterior façades provide skin-deep imitations of Baker’s elegant plinth and colonnade. Patel’s version is a postmodern pastiche without authenticity or expressive depth. It would have been fashionable for a brief period 35 years ago but is already outmoded. Besides, monuments should not be bound by fashion and should transcend time. That is certainly not the case here. Nor is there any evidence of the craftsmanship manifest in Baker’s design. The details are stilted and schematic. The overall form is ponderous and has inevitably been compared to a wedding cake, even to a Soviet era monument clad in stilted classical clichés. The new building is crowned by a sort of spire formed from a column with four lions, a reference to the columns of Ashoka (c. 280 BC) in the Mauryan Empire. But even this topknot looks as if it has been stuck on.

Prime Minister Nehru had Le Corbusier’s Capitol Complex at Chandigarh, constructed in the 1950s, to mark the aspirations of the new, secular democracy of India. The Government of Pakistan (and later of Bangladesh) had the magisterial National Assembly in Dhaka designed by Louis Kahn in 1962, completed in 1983, represent the state. These are impossible acts to follow as they are universal modern masterpieces, timeless but of their time. Prime Minister Modi has Bimal Patel as his state architect, an organizer of infrastructure on a large scale, but hardly a designer of major architectural interest. The Central Vista proposed is already a historical, architectural, and urbanistic relic out of touch with the real needs and aspirations of the times. It is lacking in any positive social or political meaning for the amelioration of daily life. It is destroying the architectural and cultural heritage of a great national capital. It is shredding the collective memory of the Indian Republic at a crucial moment in its history.

The aim was to provide a vision of the radiant future for India, but the architectural results are fatigued and the urban proposals regressive. One can only hope that the trees will grow up to mask the political and aesthetic embarrassment of the new Parliament. The supreme irony in all of this talk of a ‘post-colonial era’ is that the monuments designed by the architects of the British Raj —by Lutyens and Baker —for New Delhi manifest a more developed sense of Indian tradition than almost anything produced along the Rajpath since, Rewal’s fine Parliamentary Library being the notable exception. What results with the Central Vista is a sort of symbolic devaluation of modern architecture on the one hand, and of tradition on the other. Perhaps this is a true mirror of the ideological contradictions at work in contemporary globalized and nationalist India. In spite of its drawbacks, the effort is still moving forward: according to reports, the work on the Central Vista and the New Parliament has begun.

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William J.R Curtis is an award- winning historian, critic, artist and photographer. His best known books are  Modern Architecture Since 190 0 and  Le Corbusier Ideas and Forms . In 2015 there was a retrospective of his artistic work in the Palace of Carlos V in the Alhambra.

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CBSE, Narcotics Control Bureau launch anti-drugs campaign in Delhi school

Cbse is exploring the possibility of formalising an mou with the narcotics control bureau (ncb) to extend drug awareness programmes across all cbse-affiliated schools..

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• CBSE launches anti-drug campaign at a Delhi school with NCB's support
• Event promotes drug-free lifestyle with lectures, presentations, and Q&A session
• CBSE plans MoU with NCB to extend drug awareness in all affiliated schools

The Central Board of Secondary Education (CBSE) organised the "Say No to Drugs, Yes to Life" campaign at Modern School, Vasant Vihar, New Delhi, on Wednesday. The event, held in collaboration with the Narcotics Control Bureau (NCB), aimed to raise awareness about the dangers of drug abuse and promote a drug-free lifestyle among students, teachers, and parents.

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PM inaugurates National Conference of District Judiciary in New Delhi

Unveils stamp and coin commemorating 75 years of the establishment of the Supreme Court of India

“75 years of the Supreme Court – this is the journey of the Constitution of India and its constitutional values! This is the journey of India evolving as a democracy!”

“75 years of the Supreme Court further enhance the glory of India as the Mother of Democracy”

“140 crore citizens of India have only one dream in Azadi Ka Amrit Kaal – Viksit Bharat, New India”

“Spirit of Bhartiya Nyaya Sanhita is ‘Citizen First, Dignity First and Justice First’”

The Prime Minister, Shri Narendra Modi inaugurated the National Conference of District Judiciary at Bharat Mandapam in New Delhi today. The Prime Minister also unveiled the stamp and coin commemorating 75 years of the establishment of the Supreme Court of India. The two-day Conference, organized by the Supreme Court of India, hosts five working sessions to deliberate and discuss the issues related to the District Judiciary such as Infrastructure and Human Resources, Inclusive Courtrooms for all, Judicial Security and Judicial Wellness, Case Management and Judicial Training.

The Prime Minister began his address by recalling his visit to the Platinum Jubilee celebrations of Rajasthan High Court a few days ago and expressed gratitude for being present at the National Conference of District Judiciary being organized today as part of the 75th year celebrations of the Supreme Court of India. Shri Modi underlined that the Supreme Court of India’s journey of 75 years does not merely associate with one institution but is also a journey of India’s Constitution, its values and the journey of India evolving as a democracy. The Prime Minister highlighted the crucial role of the makers of the Constitution and the entire judicial system in this journey. He also mentioned the role of crores of citizens of India who entrusted this judicial system. “People of India have never shown disbelief towards the Supreme Court of India or the judiciary”, PM Modi exclaimed. Therefore, the Prime Minister said, the journey of 75 years of the Supreme Court of India emboldens India’s glory as the Mother of Democracy. It strengthens the cultural proclamation of Satya Mev Jayate, Naanritam. Noting that the nation has completed 75 years of its independence and is about to celebrate 75 years of the Constitution, Prime Minister Modi said that the occasion is filled with pride and inspiration. He congratulated all fraternities of the judicial system and the citizens of India on the occasion and also conveyed his best wishes to those taking part in the National Conference of District Judiciary.

“Judiciary is considered as the Guardian of our Democracy”, underlined the Prime Minister. Terming it as a huge responsibility in itself, Shri Modi lauded the efforts of the Honorable Supreme Court in efficiently discharging its responsibilities in this direction. Shri Modi remarked that the Judiciary upheld the spirit of justice since Independence and praised the Judiciary for playing an important role in protecting the Constitution even during the troubled times of Emergency. He further added that the Supreme Court also protected against the attacks on fundamental rights and whenever the question of national security arose, the judiciary protected the unity and integrity of India by keeping the national interest paramount. For all these achievements, Shri Modi congratulated all the distinguished persons of the judiciary for these memorable 75 years.

Throwing light on the efforts in the past 10 years to facilitate justice, the Prime Minister mentioned the work being done for the modernization of courts at the mission level and highlighted the contributions of the Supreme Court and the judiciary. He said that the National Conference for District Judiciary is another example of this and recalled the organization of ‘All India District Court Judges Conference’ by the Supreme Court and the Gujarat High Court. Noting the importance of such events for initiating ease of justice, PM Modi highlighted the issues to be discussed in the next two days and gave examples of management of pending cases, human resources and improvement of the legal fraternity. Prime Minister Modi expressed happiness that a session on Judicial Wellness is also being organized in the next two days. “Personal wellness is the most important requirement of social well-being. This will help us to prioritize health in our work culture”, he added.

“Developed India, New India – is the desire and dream of 140 crore citizens in today’s Azadi ka Amrit Kaal”, emphasized the Prime Minister. He added that New India meant a modern India with thinking and determination. Shri Modi underlined that the Judiciary was a strong pillar of this vision and the District Judiciary in particular, being the base of our Indian Judicial system. He remarked that the District judiciary was the first touch point for justice for a common citizen of the country. Therefore, he emphasized that it was of utmost priority that the first centers of justice should be capable and modern in every way. Expressing confidence, Shri Modi said that the national conference and the discussions will help in fulfilling the expectations of the country.

Underlining that the standard of living of common citizens, determined by the ease of living, is the most meaningful parameter of development for any country, the Prime Minister said that simple and easy access to justice is imperative to ease of living. He said that it can be made possible only when the district courts are equipped with modern infrastructure and technology. Pointing out the pendency of about 4.5 crore cases in the district courts, PM Modi said that work has been carried out at multiple levels in the last decade to eliminate this delay in justice. He informed that the country has spent about Rs 8,000 crore for the development of judicial infrastructure. He further added that 75 percent of the funds spent on judicial infrastructure in the last 25 years took place only in the last 10 years. “In these 10 years, more than 7.5 thousand court halls and 11 thousand residential units have been prepared for the District Judiciary”, he added.

Underlining the importance of e-Courts, Shri Modi said that the intervention of technology has not only accelerated the judicial processes but also has rapidly reduced the problems of people ranging from lawyers to complainants. The Prime Minister highlighted that the courts were being digitized in the country and the e-Committee of the Supreme Court was playing an important role in all these efforts.

The Prime Minister noted that the third phase of the e-Courts project was approved in 2023. He added that India was moving towards creating a unified technology platform, which incorporated emerging technologies like Artificial Intelligence and Optical character recognition. Shri Modi highlighted that such technological platforms would help analyze pending cases and predict future cases as well. He added that technology would integrate and speed up the work of various departments like Police, forensics, jail and court. “We are moving towards a justice system which will be completely future-ready”, Shri Modi remarked.

Prime Minister Modi highlighted the crucial role of policies and laws along with infrastructural and technological advancements in the transformational journey of the nation. Therefore, Shri Modi said, the nation has made such big and important changes in the legal framework for the first time in 70 years of independence. Referring to the new Indian judicial system in the form of Bhartiya Nyaya Sanhita, the Prime Minister said that the spirit of these laws is ‘Citizen First, Dignity First and Justice First’. He pointed out that India’s criminal laws have been freed from the colonial mindset of rulers and slaves. He gave the example of repealing a colonial-era law like sedition. Throwing light on the idea behind the Nyaya Sanhita to not punish citizens but to protect them, PM Modi mentioned the implementation of stricter laws for crimes against women and children, and provisions of community service for punishment for minor crimes for the first time. Shri Modi also spoke about Bhartiya Sakshya Adhiniyam and said that electronic and digital records have been recognized as evidence under the new laws. He also mentioned the Bhartiya Nagrik Suraksha Sanhita and said that a system is in place to send summons in electronic mode to reduce the burden of pending cases on the judiciary. The Prime Minister also urged to take necessary steps to train the district judiciary in this new system under the guidance of the Supreme Court. He also suggested judges and lawyer colleagues become a part of this campaign. “Our lawyers and bar associations have an important role in making the public familiar with this new system”, he added.

Drawing the attention of the gathering against the burning issue, the Prime Minister emphasized that atrocities against women and the safety of children were a serious concern in the society today. Shri Modi highlighted that many strict legislations were enacted for the safety of women in the country. He added that in 2019, the government had planned to establish fast-track special courts. Explaining further, he said that there was a provision for a deposition center for important witnesses under the fast-track special courts. He further emphasized the important role of District Monitoring Committees under fast-track special courts, consisting of the District Judge, District Magistrate and Superintendent of Police. He added that the committee’s role was important in creating coordination between various aspects of the Criminal Justice System. Shri Modi stressed on the need to make these committees more active. He added that the quicker the decisions in cases related to atrocities against women, the greater will be the assurance of safety for half the population.

Concluding the address, the Prime Minister expressed confidence that the discussions taking place will yield valuable solutions for the country and will strengthen the path to ‘Justice to all’.

The Chief Justice of India, Justice D Y Chandrachud, Hon’ble Judges of the Supreme Court, Justice Sanjeev Khanna and Justice B R Gavai, Union MoS (Independent Charge) for Law & Justice, Shri Arjun Ram Meghwal, Attorney General of India, Shri R Venkataramani, President of Supreme Court Bar Association, Shri Kapil Sibbal and Chairman of Bar Council of India Shri Manan Kumar Mishra were present on the occasion among others.

Addressing the National Conference of District Judiciary. https://t.co/QRCLSh1mDS — Narendra Modi (@narendramodi) August 31, 2024

सुप्रीम कोर्ट के 75 वर्ष... ये यात्रा है- भारत के संविधान और संवैधानिक मूल्यों की! ये यात्रा है- एक लोकतन्त्र के रूप में भारत के और परिपक्व होने की! pic.twitter.com/Y97Jr5BBFr — PMO India (@PMOIndia) August 31, 2024

सुप्रीम कोर्ट के ये 75 वर्ष, मदर ऑफ डेमोक्रेसी के रूप में भारत के गौरव को और बढ़ाते हैं। pic.twitter.com/5qbDMgp0HC — PMO India (@PMOIndia) August 31, 2024

आज़ादी के अमृतकाल में 140 करोड़ देशवासियों का एक ही सपना है- विकसित भारत, नया भारत! pic.twitter.com/00ZF1a3WYQ — PMO India (@PMOIndia) August 31, 2024

भारतीय न्याय संहिता के रूप में हमें नया भारतीय न्याय विधान मिला है। इन क़ानूनों की भावना है- ‘Citizen First, Dignity First and Justice First’. pic.twitter.com/Qknl7O0o4y — PMO India (@PMOIndia) August 31, 2024

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Redevelopment of New Delhi Railway Station - PowerPoint PPT Presentation

Redevelopment of New Delhi Railway Station

India's largest business group with diverse business interests in 7 sectors ... world renowned u.k architect terry farrell, who has built hong kong's kowloon ... – powerpoint ppt presentation.

• India's largest business group with diverse business interests in 7 sectors
• Revenues equivalent to 3.2 of Indias GDP and a Market capitalization of 62 bn
• Operations in over 80 countries with International income 65 of group revenue
• Products and services exported to 85 countries
• Largest employer in private sector, over 2,70,000 employees
• Group revenue FY 2007 Rs 215,414 cr / 48 bn
• Group profit FY 2007 Rs 14,871 cr / 3.3 bn
• Tata Sons has set a strong ethics framework and encouraged the pursuit of highest standards in corporate governance
• The Tata Group mission is to improve the quality of life of the communities it serves, through leadership in sectors of national economic significance
• Five core values provide direction to the Tata Group companies
• These values are fully reflected in the way that the companies manage their businesses
• Tata Code of Conduct prescribes ethical principles, such as Transparency, Respect, and Ethical Business Approach
• Tata Sons pursues highest standards in corporate governance through
• Experienced Board of Directors
• Three key Board Committees for greater transparency
• Group Corporate Centers overall monitoring
• Real estate and infrastructure identified as the next new area for growth
• Tata Realty and Infrastructure Limited (a 100 subsidiary of Tata Sons) has been set up as a Real Estate and Infrastructure Development company
• TRIL is the investment advisor for offshore fund Tata Realty Initiatives Fund (TRIF - 1) with a corpus of US 750 Mn for Real Estate projects
• Key Focus Areas for TRIL
• Real Estate
• To develop unlock the value of real estate assets of other Tata companies
• To develop real estate as per market opportunities
• Infrastructure
• Airports, Urban Infrastructure, Surface Transportation, Special Economic Zones (SEZs), Logistic Parks
• TRIL and Changi have signed an MOU for development of 35 Non Metro Airports in the country. Technical bid already submitted for the first airport.
• Proposed Metro Airport - Cost around Rs. 10,000 Crores to develop and would handle 40 Mn passengers when completed
• TRIL would also evaluate the development of airport ventures as and when announced by the Government of India
• Logistics Parks
• TRIL and Jafza have signed a JV for development of Logistics Parks in India
• Land evaluation / acquisition is already underway for phase - I (7 strategic locations identified across the country)
• Urban Infrastructure
• TRIL has successfully qualified along with Tata Power and Mitsubishi Corporation to bid for phase 2 of the Mass Rapid Transit System, Metro Rail from Charkop to Mankhurd (approximately 32 Km)
• Special Economic Zones
• Development of sector specific SEZ in Andhra Pradesh (323 Acres)
• Development of Multi-Product SEZ in Maharashtra (3000 Acres)
• Multi Product SEZ in Orissa
• IT Parks and Campuses
• IT SEZ for Tata Consultancy Services, TCS at over 8 locations
• Andhra Pradesh
• Proposed development of a high end Retail and commercial development in the Central Business District (CBD) of Hyderabad
• Approximately 13 acres site with a proposed mix of commercial and retail development
• Development of an IT and Telecom campuses
• MICE resort in Tamil Nadu on 500 acres
• Development of an IT SEZ
• The Ministry of Railway (MOR), Government of India plans to develop the New Delhi Railway Station through Public Private Partnership (PPP)
• MOR has decided to redevelop major railway stations into World Class Stations benchmarked with the worlds best stations
• These projects are to be executed with private sector partnership by leveraging the real estate development potential in the air space above the station and on railway land around the station
• Twenty two (22) railway stations including New Delhi, Howrah, Chennai, Mumbai CST, Bangalore etc. have been selected so far by the MOR for development into world class stations. Development is proposed to be undertaken in phases
• The first phase comprises six stations- New Delhi, Patna, Jaipur, Agra, Howrah and Chennai of which New Delhi is the first station to be taken up
• New Delhi Railway Station is the main railway station in Delhi (capital of India), and is one of the largest stations in India
• The station is located in the heart of the city and borders Connaught Place, the prime business center of New Delhi
• At present, New Delhi station is handling, on an average, 0.35 million passengers per day who arrive/depart by 256 trains including 78 suburban trains
• New Delhi Station is a junction station and accommodates originating, terminating and passing train services. The existing Station comprises 12 platforms that vary in length, the longest platform being 610 m in length. The station is currently being extended and upon completion will comprise 4 additional platforms and an additional fourth foot over bridge
• Government of India has appointed world renowned U.K architect Terry Farrell, who has built Hong Kongs Kowloon Station and Londons MI6 Headquarters, to develop a detail master plan for redevelopment for New Delhi Railway Station
• The work would encompass
• redevelopment and modernization of the infrastructure at the passenger terminal and
• real estate development on about 86 hectares of land comprising the railway station, offices, parking, public spaces and commercial development.
• The concessionaire selected through international competitive bidding would undertake the work on Design, Build, Finance, Operate and Transfer (DBFOT) basis.
• The indicative capital cost of the project is Rs. 5000 crores, excluding the real estate development for commercial purpose.
• Additional investment on the real estate development with be approximately Rs. 2500 crores.
• Cushman and Wakefield (Real Estate Consultant) has recently stated that the site is worth USD 2.5 billion (Rs. 9,900 crores).
• Real Estate redevelopment of the surrounding railway land, is for approximately 86 hectares. Of this, about 49 hectares of land area is covered by tracks at station and yard. The air space above such tracks and rest of the land will be considered for utilization while developing the master plan.Real Estate development will be in four distinct zones for commercial, transport, residential and community usage
• Total Commercial development will be in the range of 4-6 million sq ft
• The two stage bidding process is selected for the award of the project.
• Stage 1 Technical Qualification Stage
• The first stage, termed as qualification stage, involves the qualification of the interested parties/consortium, who make an application in accordance with the provisions of the qualification document.
• At the end of this stage up to 5 suitable pre-qualified applicants shall be eligible for participation in the next stage, termed as bidding stage.
• Stage 2 Financial Bid Stage
• Bids will be invited for the Project on the basis of the lowest financial grant required by a Bidder for implementing the Project.
• A Bidder may, instead of seeking a Grant, may also offer to pay a premium to the Authority for award of the concession.
• The Grant/ Premium amount shall constitute the sole criteria for evaluation of Bids.
• Projects which qualify as
• Category 1 Project experience on Eligible Projects in passenger terminals and railways sector that qualify
• Category 2 Project experience on Eligible Projects in core sector that qualify
• Category 3 Construction experience on Eligible Projects in passenger terminals and railways sector that qualify
• Category 4 Construction experience on Eligible Projects in core sector that qualify
• For the purpose of this project
• passenger terminals shall mean railway stations, metro stations, airport terminals and bus terminals and
• railways sector shall mean tracks, bridges, tunnels, signalling and overhead equipment and
• core sector shall mean highways, power, telecom, ports, airports other than passenger terminals, industrial parks, petroleum and natural gas, pipelines, irrigation, water supply, sewerage and real estate development.
• For a project to qualify as eligible project under Category 1 and 2
• It should have been implemented on BOT, BOLT, BOO, BOOT or other similar PPP basis
• The entity claiming experience should have held, in the company owning the Eligible Project, a minimum of 26 equity during the period for which Eligible Experience is being claimed
• The capital cost of the project should be more than Rs. 250 crore (Rs. Two hundred and fifty crore only ) and
• The entity claiming experience shall, during the past 5 (five) financial years preceding the Application Due Date, have (i) commissioned the construction work of the project and paid for it, and/ or (ii) collected and appropriated the revenues of such project after commencement of commercial operation.
• For a project to qualify as eligible project under Category 3 and 4
• the Applicant should have paid for execution of its works or received payments from its client(s) for works executed, fully or partially, during the 5 (five) financial years immediately preceding the Application Due Date, and
• only the payments (gross) actually made or received, as the case may be, during such 5 (five) financial years shall qualify for purposes of computing the Experience Score.
• However, payments made or received in respect of projects having a capital cost of less than Rs. 250 crore (Rs. two hundred and fifty crore only) shall not be reckoned as payments for Eligible Projects.
• The Applicant shall have a minimum Net Worth of Rs.1,000 (one thousand) crore as at the close of the preceding financial year.
• In case of a Consortium, the combined technical capability and net worth of those members, who have an equity share of at least 26 each in such Consortium, should satisfy the above conditions of eligibility.
• Thus there will be a maximum of 3 consortium partners whose technical and financial capabilities can be counted
• a) For every eligible project, calculate the capital expenditure incurred and revenue appropriated from such project in last five years
• b) Summation of all the eligible scores will give the final technical score from the company
• In a consortium, for a members technical and financial score to qualify ,it has to have at least 26 stake
• Thus the number of members who can contribute to technical and financial score will be a maximum of three
• Apart from modernisation of the railway station, the real estate development rights on approximately 86 hectares are on offer.
• This poses a one off opportunity to own a legally clear commercially developable real estate in the heart of the capital.
• As per the current real estate scenario, the current commercial capital value in Conought Place is approximately Rs. 30,000 Rs, 45,000 per sq ft (USD 750 USD 1100 per sq ft).
• Due to unavailability of any private land in the vicinity, the developer of the subject site will command a huge location and real estate stock advantage.
• Current passenger traffic of approximately 0.35 million people a day, providing enormous opportunities
• All railway stations in India are in the heart of city thus providing huge upside potential
• Other major railway stations in the country are also on offer on PPP basis in the near term, thus this also provides a first mover advantage in this sector.
• The modernization and redevelopment of adjoining lands for railway stations will be one of the biggest opportunities in India infrastructure/real estate in the near future
• According to the criterion stated in the presentation and the RFQ
• Details of list of eligible projects according to the criteria mentioned
• For every project
• Date of commencement of construction
• Date of commencement of operations
• Project Cost on the date of project commencement
• Revenues appropriated from the project in the past five years
• Capital expenditure incurred on the project during the past five years
• Equity in the project and the duration for which equity was held
• Total experience score
• Financial Net Worth (It shall mean the sum of subscribed and paid up equity and reserves from which shall be deducted the sum of revaluation reserves, miscellaneous expenditure not written off and accrued liabilities.
• Detailed RFQ and Project Information Memorandum are also attached with the mail.
• Alternately one can download the same from www.indianrailways.gov.in
• Details of Website
• Tata Group www.tata.com
• Tata Realty and Infrastructure www.tata-realty.com
• Contact Details in Tata Realty and Infrastructure

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