The Architecture of Lahore reflects the history of Lahore and is remarkable for its variety and uniqueness. There are buildings left from the centuries ago rule of the Mughal Dynasty, the Sikh Empire, as well as from the era of the British Raj, whose style is a mixture of Victorian and Islamic architecture often referred to as Indo-Gothic. In addition, there are newer buildings which are very modern in their design. An interesting point about Lahore's architecture is that unlike the emphasis on functional architecture in the west, much of Lahore's architecture has always been about making a statement as much as anything else. Lahore art has always been popular worldwide and thus it lures tourists from all over the world.
The old city houses a number of Lahore architecture, which have a strong influence of the Mughal style. Department of archaeology has excavated many architectural remains of the buildings that were built during the rule of Rama of Ayodhya. Thus it can be said that though most of the buildings of Lahore carry Muslim heritage, there are a few structures, which have the influence of other religions such as Sikhism, Hinduism, Jainism and Zoroastrianism.
However, Lahore architecture also includes the thirteen gates, through which one can enter the city from various directions. Some of the gates are known as Raushnai Gate, Masti Gate, Yakki Gate, Kashmiri Gate, Khizri Gate, Shah Burj Gate, Akbari Gate and Lahori Gate. Some of the other significant buildings of Lahore built during the Mughal rule are Jahangir’s Quadrangle, Maktab Khana, Khilwat Khana, Picture Wall, Kala Burj and Hathi Paer.
Lahore architecture consists of a few mosques as well. An atypical style of all the major buildings was that they were surrounded by beautiful gardens.
Read more about Architecture Of Lahore: Walled City, Mughal Architecture, Sikh Architecture, British Architecture, Modern Architecture
Famous quotes containing the words architecture of and/or architecture:
“Polarized light showed the secret architecture of bodies; and when the second-sight of the mind is opened, now one color or form or gesture, and now another, has a pungency, as if a more interior ray had been emitted, disclosing its deep holdings in the frame of things.”
—Ralph Waldo Emerson (1803–1882)
“For it is not metres, but a metre-making argument, that makes a poem,—a thought so passionate and alive, that, like the spirit of a plant or an animal, it has an architecture of its own, and adorns nature with a new thing.”
—Ralph Waldo Emerson (1803–1882)