During the reign of Maharana Fateh Singh, from 1884 to 1930, the ruler was inspired to establish a lavish and special accommodation meant exclusively to host visiting dignitaries and other guests of his ruling House of Mewar. Located along the shores of Lake Pichola like the other palace properties of the Maharana's family, it remained unscathed and largely intact over the years despite the numerous historic events that had transpired since that time, such as both World Wars, the independence of India, its transition towards a republic, and the accompanying loss of ruling status for local rulers such as the Maharana.

It was at the hands of Maharana Fateh Singh's grandson, Maharana Bhagwat Singh Mewar , that the decision was made to convert the property into a public accommodation. To that end, the Maharana started opening up these residences to the public in order to generate income for their upkeep. The ensuing success of this endeavor only convinced the Maharaja to expand the project to include his other family properties, such as the Shiv Niwas Palace, which began renovation in 1978 and was opened to the public in 1982 after only a 4-year renovation period.

Currently, the property is still owned by the Maharana and his heirs and descendants through the management of the HRH Group of Hotels, a firm set up by Maharana Bhagwat Singh to manage their palace accommodations after the Indian government had retired the provision of princely allowances to former nobles.

Among the many accolades it has garnered over the years are the Prestigious Heritage Grand Award , the Heritage Award for Excellence in 1997-1998 , the National Tourism Award for the Best Heritage Hotel in Heritage Grand category four times, and other awards.

Design and Architecture

Shiv Niwas Palace serves as an illustrative example of the style and elegance of Rajasthani architecture, prominently featuring its Indo-Saracenic and Rajputani design influences. Indo-Saracenic influences are prominent and can be seen in the common use of domes on roofs and open pavilions, *recessed iwan entrances , chhajja overhanging eaves, and the muted use of geometric patterns and frescoes in exterior surfaces throughout the property. On the other hand, Rajputani exterior influences are noticeable in terms of the frequency of chhatri open pavilions, the mandapa stylings for indoor external spaces like the courtyard and pool, and the emphasis on engravings in terms of dome decoration and design.

Interior aesthetics are also similarly blended, with passageways, entryways, and rooms all reflecting either various historical or stylistic adornments. Indo-Saracenic influence is featured in terms of the lavish yet alternating use of colorful geometric and naturalistic patterns and shapes with neat and plain minimalism in various surfaces, while further integrating features like family portraits, frescoes, and valuable artifacts. Rajputani interior influences are observable, most exemplified by the presence of jharokha overhanging balconies overlooking the inside spaces of the palace, and common adornment of surfaces with various decorative projections and recesses that combine with the painted surface patternings. Modern and Western influences can be found in spaces such as bathrooms or furnishings like chandeliers, tables, and chairs.