ABSTRACT
The chapter provides a detailed description of Wajid’s architectural project at the Qaiserbagh. The precinct is reconstructed by accessing several archival imagery, colonial accounts, maps, and Wajid’s own writings. It carries a drawing which provides a speculation of the precinct during Wajid’s times. It follows a spatial sequence determining the location of several buildings, some of which no longer exist. It discusses the buildings in the Qaiserbagh for their queer capacities; for example, Lanka appears as a theatrical stage, the Safed Baradari as an austere setting of an imambada, the Parikhana as a setting devised to perform the institutionalized ishq, the zenana as a maze of rooms that resisted colonial appropriation, the gateways as portals into Wajid’s fantastical world, and so on.
