Hindola Mahal - Architecture

Architecture

The plan of the Hindola Mahal is a T-shape, though examination of the exterior walls leads to the conclusion that the crossbar was added later. The vertical mast of the plan consists of one main hall measuring 30m x 18m x 12m high. Its lateral walls are 3 meters thick and further reinforced by massive inclined buttresses that angle over 77 degrees. These highly inclined buttresses give the Hindola Mahal (Swinging Palace) its name. They also neutralize the outward force of five massive ogee arches that once supported the large flat roof of the main hall. On each exterior of the long sides of the main hall are six recessed arches which hold doors in their lower sections and three slabs of open-work stone windows to let in air and light. A high wall holds battlements on the roof of the building.

The crossbar of the Hindola Mahal is of about the same proportions as the main hall but is split into two tiers. The upper floor, which is divided into two rooms, looks onto the main hall through an arched opening. The ground floor consists of a cruciform gallery with arms that extend to another entrance to the building and an arch to the main hall.

The Hindola Mahal represents the characteristic elements of the architectural style of the Malwa period (1400–1550): simplicity, boldness, and well-proportioned. The Hindola Mahal emphasizes its architectural simplicity with minimal ornamentation and stands out boldly through massive inclined buttresses. These elements make the Hindola Mahal a unique exaggerated example of the Malwa style. In addition, the pointed arches on the building’s interior reflect how Malwa architecture was influenced by the Delhi styles.

Read more about this topic:  Hindola Mahal

Famous quotes containing the word architecture:

    The two elements the traveler first captures in the big city are extrahuman architecture and furious rhythm. Geometry and anguish. At first glance, the rhythm may be confused with gaiety, but when you look more closely at the mechanism of social life and the painful slavery of both men and machines, you see that it is nothing but a kind of typical, empty anguish that makes even crime and gangs forgivable means of escape.
    Federico García Lorca (1898–1936)

    I don’t think of form as a kind of architecture. The architecture is the result of the forming. It is the kinesthetic and visual sense of position and wholeness that puts the thing into the realm of art.
    Roy Lichtenstein (b. 1923)

    They can do without architecture who have no olives nor wines in the cellar.
    Henry David Thoreau (1817–1862)