The Gomti Riverfront in Lucknow, India: Revitalization of a Cultural Heritage Landscape

Abstract

Abstract Historic Lucknow was oriented to the Gomti riverfront with monumental architecture of mosques, mausoleums and palaces concentrated on the southern bank. Thus the river was much more than a transportation artery enjoyed for its views and breezes and appreciated for its utility. This elite riverfront landscape was transformed into backwaters and disappeared from the public eye over time. Its centrality as a landscape of power was lost as a result of the momentous political and economic changes, beginning with the Indian Uprising/Mutiny in 1857. Although efforts are currently underway to beautify the riverfront by lining it with parks and plazas, they do not explicitly evoke the historic landscape and are piecemeal efforts to provide greenery. The paper outlines an urban conservation model and suggests design interventions that would revitalize the riverfront and contribute towards preserving both tangible and intangible heritage of the city. Acknowledgements The design proposals discussed in the article are taken from Swati Nagpal's unpublished Masters in Landscape Architecture (MLA) thesis, University of Illinois at Urbana Champaign, 2007, "The Gomti Riverfront in Lucknow, India: Revitalization of a Cultural Heritage Landscape". Notes 1. The crafts plaza on a 12.8-acre site consists of 210 brick kiosks with pitched fabric roofs arranged around courtyards. The outer courtyards open up to the river edged by kunds that can become social spaces for sitting and gathering. The plaza is connected by a bridge of boats to the exhibition plaza on the opposite bank consisting of series of interconnected open galleries with sloping tiled roofs supported by brick columns. Performances can occur in the central sunken green spaces edged by a stretch of ghats. A Chikan Park showcasing production of chikan embroidery is designed for the eastern part. The sequential production process of embroidery, dyeing, and tailoring would be carried out in a fish-shaped (Nawabi symbol) plaza opening on to a parterre garden in a paisley shape, a popular Chikan motif. Laundering and drying in a colorful display would occur on either side of the plaza. 2. The Mutiny Memorial is designed as a linear, symmetrical plaza, flanked by mango groves and is a study in contrast between hardscape and softscape, mass and void. The memorial walk in the plaza is lined with friezes depicting the various battles, and overlooks the memorial trees planted in shallow water. Chattris and domed pavilions in the orchards dedicated to the fallen heroes serve as outlook points to the river. 3. A linear and terraced riverfront entrance park would restore that connection. The Lat in a large water tank with Constantia as a backdrop would beckon the visitor who, after alighting from the boat, can traverse through two 400-foot mulberry groves planted in a charbagh pattern, interspersed with raised plazas where chattris similar to the one adorning Constantia's facade provide seating and outlook.