MAY 2015 ` 175

ARCHITECTURE DESIGN
A N I
+ N D I A N J O U R N A L O F A R C H I T E C T U R E

architecture for divinity

VOLUME 32 ISSUE 5
ƥȯȹȳ ɁɃɀȳ ɇȽɃ Ⱥȷȹȳ ȷɂ ȰȳȴȽɀȳ ɇȽɃ ȰɃɇ ȷɂ˷
ƱȽɃ ȹȼȽɅ Lesso ɅȷȼȲȽɅɁ ȺȯɁɂ Ʉȳɀɇ ȺȽȼȵ ɂȷȻȳ˷

ƤȳɁɁȽ ƚɃȷȺȲɂȳȱȶ ƨɀȷɄȯɂȳ ƤȷȻȷɂȳȲ

Ƨ˞ȱȳ˶ ƟɃɀȵȯȽȼ˴ Ơȯɀɇȯȼȯ ̑ ƯȯɀȳȶȽɃɁȳ˶ ƟɃɀȵȯȽȼ ˱ ƚȯȼȵȯȺȽɀȳ
̵̵̶̴̴̴̯̰̱̳̳ ̑ ȷȼȲȷȯ˲ȺȳɁɁȽ˷ȱȽȻ ̑ ɅɅɅ˷ȺȳɁɁȽ˷ȱȽ˷ȷȼ
ƭƨƮƛ ƨƪƧƞơƤƝ s ƭƨƮƛ ƯơƦƜƧƯ s ƭƨƮƛ ƜƧƧƪ

The Lesso Group

 74 90

54 Functionally, religious centres have expanded…

Narendra Dengle
60 A Spiritual Setting
Mhasoba Mandir, Kharawade, Pune
Narendra Dengle and Associates, Pune
66 The White Church
Parish Church of Solace, Cordoba, Spain
Vicens + Ramos, Madrid, Spain
72 Sacred Space
46 Universal Prayer Hall, Gurgaon, Haryana
Sikka Associates Architects, New Delhi
74 A Community Church
Community Church Knarvik, Hordaland, Norway
15 ABOUT THE ISSUE Reiulf Ramstad Arkitekter, Oslo, Norway
80 The Meditation Hall
18 REFLECTIONS Meditation Hall, Sri Aurobindo Ashram, New Delhi
20 UPDATES Design Consortium, New Delhi
90 Centre for Inner Growth
ARCHITECTURE FOR DIVINITY Dhyanalinga Yogic Temple, Coimbatore
28 Explorations in emotive, engaging and Isha Yoga Centre, Coimbatore
experiential space making... 96 The Role of the Hindu Temple for the North
Yatin Pandya Indian Community in Surrey, Vancouver
36 Incorporating Curvilinear Forms Niranjan Garde
Botta Cripta, Bergamo, Italy
Gianluca Gelmini, Bergamo, Italy 100 EXPLORING DESIGN
42 Minimalistic Design Design in Ceramics
Shiv Temple, Pune, Maharashtra
108 RESEARCH
Sameep Padora & Associates, Mumbai Reclamation of Kunds on Govardhan Hill, Braj
46 Breaking Rigid Boundaries
Amita Sinha
Sancaklar Mosque, Buyukçekmece, Istanbul
Emre Arolat Architects, Istanbul, Turkey 116 PRODUCTS
about the issue A N I N D I A N J O U R N A L O F A R C H I T E C T U R E

A ll along in the history of human civilization, one observes that religion has
always been one of those strong anchors to combat the fear of the unknown
and provide directions in the art of living. It was thus that architecture for
worship always encapsulated elements of architecture that generate a ‘wow and
inspiring factor’ in the mind of the worshippers. Whether it be a church, a temple,
gurudwara or then a mosque— the scale, artwork, materials, etc., all combined
together to create a grandeur, a spirit of hope and an environment of serenity and
solace. Over the period of time, this typology has undergone a rationalization and
has evolved a newer vocabulary. In the Indian context, when it comes to the
temple, it now has added newer functionalities associated with it, taking it to the
level of a larger complex with greater urban design inputs. There are also more
commercial activities associated. This Issue of the magazine probes the emerging
contemporary design developments in architecture for divinity.
Sancaklar Mosque,
Buyukçekmece, Istanbul The Community Church in Norway designed by Ramstad Arkitekter stands apart
(Architects: Emre Arolat
Architects, Istanbul, Turkey)
in its approach with a modern interpretation to the church form with a play of
colour. It is also a venue for gatherings to facilitate art, music and cultural
All drawings and visuals for the
projects and articles, unless
mentioned otherwise, are
development. Inspired by the Buddhist architectural form, the Meditation Hall at
courtesy the architects/authors. the Sri Aurobindo Ashram, New Delhi, sets sensitively in the natural surroundings.
The material choice and the volume of spaces along with a climate controlled
façade all combine together intelligently to set in the devotional mood. The
Sancaklar Mosque in Istanbul is a simple and elegant statement in textured and
layered tones on the outside and inside. As the architects’ say, “it aims to address
the fundamental issues of designing a mosque by distancing itself from the current
architectural discussions based on form and focusing solely on the essence of
religious space.” The other published projects too have their own focus in concept
and interpretation of this design typology which evokes reverence.
The dynamics in
modulated
experimentation
further gets projected
in our Exploring
Design section.
Image Artistic creativity
of
th e Month entwined in ceramic
products finds its place
here with abstractness
in form, texture and
mould becoming a
visual delight.

Suleymaniye Mosque – well set in the urban fabric of Istanbul, Turkey

A hundred times have I thought New York is a catastrophe and 50 times: It is a beautiful catastrophe
—Le Corbusier
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 Years in India Tradition meets Emotion.
Showrooms
We meet You.
GROWING STRONGER...

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E-mail: info@hacker-kitchens.com
Website: www.haecker-india.com / www.haecker-kuechen.com
Reflections

Photo credit: Museum of Sacred Art (MOSA)

Celebration of forms
and spirituality…
Initiated by Martin Gurvich, director of MOSA, ‘Forms of Devotion:
The Spiritual in Indian Art’ is an arts project conceptualised around
the notion of the spiritual and devotional in Indian art. The
exhibition showcased 300 works by over 150 artists, selected from
a collection of over 3000 artworks.

18 M a y 2 0 1 5 ARCHITECTURE+DESIGN
LED pole-top luminaires with asymmetrical flat beam light distribution,
protection class IP 66, 2200 to 5760 lumen. Luminaires with three light
outputs, with efficiency-optimised lighting technology. Reflectors made
of reflection-intensive pure aluminium, polymer-free optical system
components as well as 20 years’ availability guarantee for LED modules.
Regional Manager Asia Pacific · International Projects · André Ng
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Fax +65 6692 8001 · andre.ng@bega.com · www.bega.com

Das gute Licht.

For safer paths.
Updates

Fast Track Architecture

A rtopex, one of Quebec’s leading manufacturers of office

furniture, has commissioned a Canada-based architectural
firm Lemay to design its new showroom in the heart of historic
S outh Florida-based architectural
firm Nichols Brosch Wurst Wolfe &
Associates (NBWW) announced that its
Old Montreal. The project is located in the prestigious former latest project ‘The Hilton West Palm
headquarters of the Royal Bank of Canada. The emblematic Beach’ has topped off. The
building has been completely revitalized and rethought in order transformative new development,
to give Artopex a space that reflects its image and values. which is connected to the existing Palm
Starting at the entrance, an uninterrupted ribbon of images Beach County Convention Center, will serve as a driving
of Quebec landscapes guides visitors through the different zones force for downtown’s burgeoning urban landscape.
of the showroom, spread accross two basement levels. Quebec’s The structure, which boasts 400 spacious guest rooms
urban, industrial and natural and suites and over 24,000 sq ft of contemporary meeting
landscapes translate Artopex’s space, was thoughtfully envisioned by NBWW. The firm
commitment towards the sought to create more than just an expansive resort, but an
community and the environment, urbane, tightly knit neighborhood experience. Instead of
two values at the core of the designing a front garden with a grand arrival sequence,
company’s culture. The pixelated typical of other convention hotels, the firm pushed the
treatment of the background building toward the sites edge to create an impactful street
images creates a defocused effect that directs the eye toward presence. This approach to the positioning of the property
the product, making an original contribution to its display enabled the firm to design added amenity-rich elements
From the outset, the architects faced two major challenges: the inclusive of a spacious recreation deck along the back of the
front door is dwarfed by imposing neoclassical columns, and the building, adjacent to the ballroom facilities. The 12-storey
showroom’s basement location suffers from a shortage of natural building features a three-storey accent overlooking
light. In response to the first, an enormous LED-animated Okeechobee Boulevard, which called for special detailing
marquee draws the gaze and energises the entrance with a variety and materials, making this added layer a prevalent element
of lighting effects. Addressing the second, a large opening in the of the hotel.
floor leads to oversized wooden stairs serving as a meeting place The aesthetics of the building were inspired by the
as well as a display space, while flooding the lower levels with convention centre, a streamlined approach that allowed for
natural light. The arrangement of the different zones, linked by efficient spaces and clear architectural expressions. The hotel’s
lighting effects, creates several contrasting ambiances that massing is accentuated with deep cantilevering trellises on the
enhance the visitor experience. buildings parapets.
Photo credit: Claude-Simon Langlois For more information, visit: www.nbww.com.

C hicago-based Goettsch Partners (GP) has announced the start of

construction on the 445m tall mixed-use Nanning Resources
Centre Tower. Located in Nanning, capital of the Guangxi Province,
ascending to the sky; culminating in an illuminated beacon that will
define the new Nanning skyline”.
The angled geometries of the facades are designed to
the project is sited along Minzu Avenue at the heart reinforce the crystalline form while celebrating the
of the burgeoning Fengling District. The 255,000sq tower’s verticality. Entirely encased in floor to ceiling
m tower is linked to public transportation through high performance glass, the skin design features
underground connections at the B1 level, and to integrated ceramic shading elements that offer added
adjacent buildings via indoor and outdoor pedestrian solar control while maintaining ample natural light
corridors at the ground and sixth floors respectively. without obstructing views. Designed to LEED-NC Gold
The design of the tower is derived from its multiple standards, façade is one of many features holistically
uses which include 170,000sq m of class A office integrated towards reducing the project’s
space, 5,000sq m of boutique retail, and a 45,000sq environmental footprint while providing a world class
m luxury Shangri-La hotel. The massing of the level of comfort and quality. “The NRC Tower will not
building steps and tapers to accommodate the changing floor only be a symbol for Nanning’s fast growing economic prosperity
plates of the various program types, resulting in a form that is both but a bold symbol of its dedication to environmental
efficient and identifiable. Paul De Santis, LEED AP, principal at GP, responsibility upon its completion in 2019,” said Travis Soberg,
said, “The overall effect of the tower is of a crystalline form AIA, principal at GP.

20 M a y 2 0 1 5 ARCHITECTURE+DESIGN
Updates

Competitions

A merican architect Steven Holl Architects has been selected as

the winner for the construction of a new wing for
Dr Bhau Daji Lad Museum recently. Dr Bhau Daji Lad Museum,
gallery to showcase contemporary Mumbai, focusing on
important milestones in the city’s cultural development and
highlighting its social and artistic achievements as well as
one of India’s leading cultural institutions, is in the process of temporary exhibition spaces of international.
creating a dynamic new identity for The competition was organised by
itself as a cultural hub in Mumbai Malcolm Reading Consultants on behalf of the
through a major expansion plan that Museum. 104 submissions were received
includes a 130,000sq ft new building to from the world's most renowned architects
be called the ‘Mumbai Modern Wing’. from whom 8 were shortlisted. The Municipal
The new addition to the existing Commissioner of Mumbai and Co-Chairman
museum will comprise a new gallery of the Museum Trust, Mr Sitaram Kunte,
space, an interpretation centre, a chaired the eminent eleven member jury,
library, an archive, conservation facilities and a new museum notable for its array of leading international figures from the
shop and café. At the heart of the new wing will be a permanent museum world, academia and the business community.

The SBID International

Design Awards 2015
has announced a call for
new categories– Office Design and
Healthcare Design which will be added
to the existing popular categories
highest accolades in the interior design
industry. Each category undergoes an
exclusive two-tier judging process by
entries. Architects, ranging from best Hotel Design, Retail panels of leading industry experts for
interior designers and Design and Intelligent Design to best KBB both technical content and aesthetic
manufacturers are invited to submit their Project, Public Space and Visualisation creativity and evaluates elements, such
projects and products for the current (3D renderings) to make a total of as brief compliance, budget, health &
edition. The deadline for submitting 14 categories. safety, and fit-for-purpose design.
entries is July 30, 2015. The SBID International Design Awards To know more, visit:
This year’s edition will include two has come to be regarded as one of the www.sbidawards.com

Exhibition

R enewable Energy Asia 2015, the 11th South East

Asia's Renewable Energy Technology Exhibition
and Conference, will be held at BITEC, Bangkok,
green technology. The event will also host the 11th
International Renewable Energy Conference under the
theme "The Future of ASEAN Renewable Energy in the
from June 3-6, 2015. Light of Energy Price Volatility”. The conference will be
The event will feature the latest energy sources and attended by representatives from world leading
systems along with cutting edge machinery, equipment companies, academics and researchers and share their
and renewable energy technology. The latest wind & views on the future of renewable energy in today's rapidly
solar power projects are among the many systems that will be changing world.
featured along with thermal, hydro-power, bio-mass and other To know more, visit: www.renewableenergy-asia.com

Trade news

T he ‘Partners in Success Meet’ of Violam Decorative Laminates was held in Chandigarh. Over
150 dealers from Haryana and Punjab took part in the event. The meet was aimed to share
the company’s vision, mission and goals to capture more market share in the region and also to
strengthen the relationship of dealers and Violam brand in the state.
Manit Gupta, director of Stylam Industries Limited, said, “Our dealers and the distributors
have played a very vital role and have closely been associated with us and also discussed the
way forward for the organisation, formulated forward-looking strategies for the brand”.
At the event, the brand discussed about its latest collections and products. Besides, the company also announced the arrival of new
range of products in next three months including UNICOLOR Laminates, DIGITAL Laminates and POST FORMING Laminates.

22 M a y 2 0 1 5 ARCHITECTURE+DESIGN
Updates

Trade news

S capes Siolim by Scapes India is a luxury

destination villa property located at Siolim,
Goa. Spread over an area of 5200sq m, the
property is surrounded by the protected forests of
Marna, accessible within 10 minutes from all night
clubs and restaurants of Goa.
Designed by New Delhi-based architect Rajiv
Narain, the property is a self contained unit built
in the tropical villa style with a touch of modern
architecture. Each villa is designed with the
concept of providing destination home that offers
the indulgence of resort living and the exclusivity
of a private villa. It is a blend of luxury and
aesthetics with key emphasis on privacy and space
for every mood. It is furnished with designer
furniture and equipped with modern technology.
Other amenities and facilities include a private
pool, an open airy space and a manicured garden.
Besides, Scapes Siolim has selected buyers with an
ideal mix of corporate clients.
Recently, the company opened a sample villa
of the property showcasing the careful design and
detail that went to the conception for each villa.
To know more, visit: www.scapesindia.com

Awards

M arkthal designed by Netherlands-based

architectural firm MVRDV has been
selected for the MIPIM Award 2015 for Best
from the fields of property and real estate. The
Markthal beat out three other buildings, in Paris,
Tianjin, and Tangerang in Indonesia, to win the
Shopping Centre. MIPIM, the world’s largest award. On receiving the award, co-founding
real estate and property fair, is held in Cannes director of MVRDV Winy Maas, said, “The MIPIM
in March each year, attracting more than award recognises innovation and daring in the
25.000 people. building sector. The developer Provast dared to
The prestigious award is chosen based on an realise our vision for a new typology, and the
equal split between the votes of the jury and building is now honoured on the global real estate
the votes of the attendees of the conference. stage. That is a fantastic reward for a developer
This year’s jury included Kengo Kuma and who dared to think outside the box in that way".
Dominique Perrault, in addition to nine other industry leaders To know more, visit: www.mvrdv.com

W eiss Architecture &

Urbanism Limited
has been awarded an
animation “The Hole Idea” in which an eccentric scientist
develops a portable hole. Whereas the original cartoon holes
are black voids, the playful holes created in the Winnipeg snow
OAA Award in the are bright orange, yellow, pink, blue, green, and purple. Fitted
Concept Category for with a wooden bench, the large vaulted space of the hut
their whimsical, snow functions as a refuge from the cold winds howling down the
covered Warming Hut in river. The colourful array of holes on the snow’s surface
Winnipeg, Manitoba. brighten up the cold and wintery landscape.
The design was inspired by the 1955 Looney Tunes To know more, visit: www.weissau.com

24 M a y 2 0 1 5 ARCHITECTURE+DESIGN
Architecture for Divinity

explorations in emotive, engaging and

experiential space making–

Shantivan Memorial – Delhi

Architects: FOOTPRINTS E.A.R.T.H., Ahmedabad

Yatin Pandya

rchitecture is a celebration of life. dialogue between the user and the architectural

A Manifestation of an idea, it encodes

messages and emotes feelings. Architecture
communicates through spatial tools, may they be
product. The affectivity of the communication
depends on the easy comprehension of the encoded
messages and their appropriate compliances in built
the space sequences and its organisation, elements form. This communication takes place at three
of space making, their scale and form, or the levels– sensorial, experiential and associational.
symbolism of surface articulation. It is this aspect of Sensorial perception refers primarily to
encoding and decoding that sets an instantaneous physiological comforts arising out of physical

28 M a y 2 0 1 5 ARCHITECTURE+DESIGN
 their fullest as they went beyond case functions and
physical to inculcate the metaphysical and notional.
They therefore remain good studies to understand
core architectural phenomena of their timelessness,
experientiality and interactivity. Not necessarily as
religious landmarks or destinations of faith but
purely as experientially engaging spaces sacred
architecture deserved to be analysed and inferred
for their core spatial values and architectural syntax,
which can be possibly included and applied in
contemporary architecture.
Temple Architecture Traditions: Worship for the
Hindu is about introspection and therefore
Dadamiyan Masjid, Ahmedabad architectural space sequence response is a gradual
Architects: Hiren Patel Architects, Ahmedabad withdrawal from the worldly to intimate. The
sequence of gopurams, series of ascending steps and
platforms, rising volumes of domes and shikharas,
increasing degree of enclosure, decreasing levels of
illumination and the transition from the semi-open,
multi-directional pavilions to the unidirectional dark
sanctum enclosed by solid walls, all heighten the
progression from the corporeal to the spiritual as one
progresses from the gopuram to garbhagriha. This
sense of transcendence from terrestrial to celestial is
further enhanced by the culmination of the horizontal
planes of the platform into a vertical axis through tall
pointed shikharas symbolically pointing towards the
heavens. Even the filigree in terms of sculptures and
motifs evoke associations through their narratives
progressively changing from stories of mortal world to
celestial. All these nuances of space making help the
Plan of Dadamiyan Masjid perceiver transit from the collective, busy,
amorphous, distracting and bright space to quiet,
conditions essentially in response to environmental dark, personal, intimate and cosy space to have
control. This bodily perception is humanly universal. personal dialogue and introspection.
Also universal is the experiential aspect; however it For the temple, the gopuram– a tall entrance
deals critically with the mind and cradles emotions. gateway provides the visual reference from far
The process is spontaneous and reactionary to the distances. It reminds one of having entered the
nuances of space configuration and its dictates. religious realm. Guided by gopuram when one
While, the associational is the locale specific enters the gate, the subsequent layers of walls take
perception requiring pre-conditioning, familiarity or over. The direct path of movement is deflected by
the acquired information base. It creates spiritual the baffles in the form of wall planes and sculptural
bonds and succeeds through in-depth masses guiding one around the structures.
understanding of cultural connotations. The Circumambulation is part of the ritual. Each turn
complete communication is through wholesome orients one to the shrines of sub deities. Series of
balance of all the three. With these, architectural such foci and sequence of colonnades slowly
spaces can potentially nourish emotionally and withdraws from corporal worlds to enter the
spiritually. Religious architecture best illustrates this spiritual one. Open colonnades gradually get further
phenomenon as these places are more about and further enclosed as the sense of enclosure
emotional engagement than functional increases through sabha (nritya) mandapa and
performance. The concept/philosophy of worship goodha mandapa with increased presence of wall
translating into expected performance resolves planes. The intensity of light inversely decreases and
architecture accordingly. gets nearly dark at the fully enclosed garbhagriha.
Sacred spaces exploited these phenomena to The dark space renders the form of idol

ARCHITECTURE+DESIGN Ma y 2 0 1 5 29
 imperceptible and thereby inconsequential. Form of through the space. The simultaneous process of
an idol is what the mind’s eye conjures. The concealment and revelation of information brings
personal intimate space allows for concentration of about the element of mystery, inviting exploration.
mind and notions come through. This sense of discovering space is orchestrated by the
Motifs and sculptures along the movement shift in visual and physical axis. Movement through
corridor condition the mind while they too transform the space is most critical rather than the externalities
with increasing penetration into the precinct through of form or the shape of elements. What matters is the
depictions of royal stories to that of nymphs and composite resolution of the ensemble and its
apsaras to gods and goddesses. Each baffle creates a multifarious frames from a changing point of view– a
pause to discover and reorient. Next set of clues get time-space continuum.
Architecture for Islamic Faith: Islamic
architecture, contrary to Hindu notion of personalised
praying is about collective worship. Having emerged
from harsh geographic terrain of desert, in Islam
socialising is important for survival. The mosque
therefore is as much a social, nodal and functional
space as much as the spiritual and therefore gets
organised as gathering courtyard rather than an
interiority of the room. The core components of
Islamic architecture therefore are simply a wall with a
niche– the Mihrab, to primarily help orient towards
Mecca. As collective praying is more virtuous, the
minarets get inducted to call on prayer timings as well
as to become the distant visual feature. Open court–
Riwak, remains flexible gathering space for collective
prayers and Liwan– the cloistered colonnade,
Iskcon Temple, New Delhi
Architects: Achyut P Kanvinde, New Delhi surmounting the court remains the resting place in
harsh climate in between the prayer times. Dome,
contrary to popular conception, is not the
characteristic feature of mosque as it is of the tomb.
Tomb is about emphasising the point where someone
rests. Cardinal directions intersecting at the point,
symmetry in both axis and dome help emphasise that
centrality where someone lies buried underneath.
Today in the zeal of covering collective gathering
space, as the present trend of large mosques overseas
seem to suggest, the dome starts competing with the
directionality of Mihrab wall, creating spatial
confusion and conflict.
Architecture of Churches: Christian faith holds
God on a pedestal. Adam and Eve as a sinner,
defying God’s directive by succumbing to
temptations of the devil, the descendant humankind
shares the guilt and remains way dwarfed compared
to the God. Sermons and preaching are integral
Plan of Iskcon Temple
aspects of prayer to remind and explain God’s
words– the Gospel; and thereby collective praying
unfolded at every subsequent pause creating remains the denominator. The majesty of scale,
sequential unfolding and sense of discovery. The verticality of internal volume, formality of
extended movement adds the element of time over organisation through symmetry and elongated
space while helping conditioning of the mind. Thus aisles, top-lit naves, larger than life stain glass
makes the journey physically and mentally engaging dioramas, pervading silence, all of these help
and essentially experiential where predetermined enhance the glory of the God and humility of the
vignettes are sequentially unfolded as one moves mankind in comparison.

30 M a y 2 0 1 5 ARCHITECTURE+DESIGN
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 the experience profound through plurality – ability to
respond to multiple value systems, and identity –
internalisation of the experience by the perceiver.
Successful architecture manages to bring these
qualities by basing communication on the most
fundamental tenets of mind and matter. Together,
they mark the complete communication– a
wholesome experience integrating the spiritual and
the corporal.
How do architectural endeavours of recent times
explore these dimensions?
Contemporary Iterations in Sacred Architecture
Sacred Architecture as Continuum of the Tradition Vs
Degree of Abstractions and Deviations: On one hand,
Akshardham, as well as many of the contemporarily
built Hindu or Jain shrines, with the patronage of the
religious organisations, have preferred not to deviate
from traditional practices and have maintained the
Lotus Temple, New Delhi continuum of the classical mould in terms of
geometric compositions, formal expressions, external
appearances, assembly of elements as well as
preference for associable motifs. Some of the shrines
have retained even the traditional stone craft
construction practices while most have combined
contemporary materials like concrete frames and
brick masonry for load-bearing purposes and have
camouflaged them through stone cladding to retain
appeal of the old externally. Many, more recently for
cost savings, have resorted to fibre moulds to cast
traditional motifs and elemental profiles, in mortar
and rendered them like stone.

Plan of Lotus Temple

Thus, the varying interpretations of the

phenomenon of ‘worship’ have translated respective
conceptions of space and the emerging resolutions
have impacted behavioural responses accordingly.
The elements of a building, its scale, size, volume,
degrees of enclosure, levels of illumination as well as
motifs and decorations instil in the observer ethos
appropriate to the place. The spatial narratives and
the process of visual communication take place
through relative assembly of chosen elements and
their sequencing. Sequencing brings about the
kinaesthetic perception which makes architecture
experiential where ‘being there’ is what matters.
These aspects of space organisations remain
universally perceptible yet retaining specificity to the
perceivers own pace and mental makeup. This makes

Vietnam War Memorial, Washington, D.C

32 M a y 2 0 1 5 ARCHITECTURE+DESIGN
 temples, while making it congruent to concrete
construction without faking it. Idea of passage of
time, essence of circumambulation and kinaesthetic
movement sequence with unfolding of spaces is also
applied in organising the campus spaces. Movement
route also imbues the spirit and feel of the traditional
temple routes rather than imitating the plan geometry
of the campuses of bygone era.
Sanjay Mohe’s creation of Sai temple, abstracts it
further to recall suggestive shikhara outcrops and
volumetric modulations built through contemporary
material palette, but largely focuses on light
Matrimandir, Auroville, Tamil Nadu modulation for spatial definitions.
Matri mandir at Auroville has been an epitome of
contemporary space making for meditative purposes
and spiritual pursuit. This deserves a special mention
as it succeeds in doing so without any icon association,
but largely on the quality of space. It interprets the
ethos of Indian temples without replicating the forms
or elements. The spherical outcrop, freestanding
amidst clear landscape becomes the visual focus and
orienting element. The gold foil fused panels provide
the awe through its glitter and opulence at a little
closer look. Further journey through twelve petals like
structure, also associatively symbolic of Shri
Plan of Matrimandir Aurobindo, gradually disengages one from the
surrounding and sucks one to the inner volume. The
On the other hand, the contemporary shrines, inner sphere with self lit membrane panel provides for
created through professional interventions have the large and singular hollow for the journey within.
resorted to degrees of abstractions. For example, The spiral ascent through ramp suspended within
architect Satish Grover created a modern Buddhist inner hollow gradually disorients from the
shrine using the assembly of elements of traditional conditioned, pre learnt associations and creates
Stupa architecture but building them in contemporary transition for the intuitive journey. The ascent
materials like steel and concrete with simplification of culminates into mysterious chamber where top lit
detailing as well as filigree, yet retaining simile of crystal provides the central focus for meditation, while
their form and profile. the light radiated through internal reflection of the
Architect Achyut Kanvinde abstracted the shikhara crystal pervades magically to offer enough darkness
form and chaitya windows in Iskcon temple of Delhi not to be distracted by anyone else’s presence within
to the degree of retaining their identity to traditional the chamber, yet just about bright enough not to trip
on any one. The diffused and dimly lit up space
renders the space limitless and mythical by dissolving
boundaries of the enveloping surface.
Bahai temple in Delhi is a complete deviation from
the traditional frames of reference. It creates its own
concept on the premise of the philosophy of religion.
It relies on symbolism of shape (lotus) and its
associational bonds and yet creates spatial syntax
through varying petal forms, modulated volumes of
curved planes, singular Omni directional space within
circular geometry yet dynamics of lights and shadows
providing accent to different directions over diurnal
or annual sun cycles.
Sri Sai Spiritual Temple, Bangalore Architect Hiren Patel has had his stint of
Architects: Mindspace, Bangalore abstractions and geometrical references used to

34 M a y 2 0 1 5 ARCHITECTURE+DESIGN
 exposed concrete construction.
Memorial, like shrines, also are apt examples of
space making that goes way beyond function to exalt
physical into metaphysical and nourish mind, body
and soul. Vietnam War Memorial has been one of the
most evocative architecture of modern times with
meagre two walls and ground plane. With minimum
of built, it stands most profoundly interactive in
evoking emotions and engaging perceiver to the
fullest. Each of the design decisions adds value to
make it wholesome architecture with humour, satire,
agitation and consolation. Two wall planes put in
obtuse angle point ironically to Capitol and Lincoln
Plan of Sri Sai Spiritual Temple memorial, where decision to fight war was taken and
charter of freedom was framed respectively. The
angle of the wall creates cornered space and
conscious turn of direction. Diagonally sloping ground
aids in creating sense of volume and enclosure out of
two tapering wall planes. Choice of black granite as
wall material conjures association with Christian
tradition of tomb stone. With soldiers’ names
inscribed on stone walls it further establishes
memorial as collective tomb stone of all soldiers that
perished. Names engraved over glossy stone create
Section of Sri Sai Spiritual Temple
amusing graffiti and dynamic compositions with light
and shadows. Gloss of stone reflecting onlooker’s face
conjure domical Islamic structure at Ahmedabad, against the backdrop of soldiers’ name compels one
while building newer additions of sacred and cultural to question self and agitates to think futility of war.
places for Islamic faith in newer set of materials. Names inscribed in non alphabetical manner engage
The MIT chapel at Boston by Eerro Saarinen creates the perceiver to discover the name one is looking for
the psychedelic experiences by the play of lights. and thus involving him in the ritual. It also consoles
Essentially organised as the cylinder within the the visiting family to know that many soldiers in
cylinder, it has arched openings at the base of the addition to their dear ones died for the national
drum. The outer cylinder is flanked by the water body. cause. The texture created by engraved names makes
As a result sunrays bounces off the water body and it intensely interactive allowing the relatives to touch,
gets reflected on the circular wall inside. As the wind feel and caress the loved one. Not only that but
flows, the reflection dangles with the movement of putting the paper overlay and rubbing of crayon
water. Circular wall of the inner drum further distorts generates impression of name as souvenir to carry
the shadow forms. Thus, along the route of movement back. Cobbled stone strip of floor next to the wall
it creates the sense of turmoil through constantly and allows the flower, wreath or personal notes to be
unpredictably moving reflections and ever changing placed in front of the names. The reductively tapering
shadow patterns. The inner space in contrast is serene wall in the exit journey creates reverse transition to
and soothing with top lit drum and singular focus. bring one back to present realities and ask one
Architect Tadao Ando achieves the meditative question what was war’s worth and what was I
mood in the nature blessed church site with minimal doing? An amazingly interactive, evocative and
wall surfaces or built volumes. Chapel of water, emotionally engaging architecture with only two walls
through movement path defined along water, scale and a ground plane...
modulation and view compositions through changing Timeless architecture trades on dualities of time
reflectivity in still water, and play of light through and space, of mind and matter, of the notions and
backdrop of altar wall with cut-out and penetrating reality, of the microcosm and the cosmos, of the
sunlight forming the associable holy cross form and ‘conceptual’ and ‘perceptual’.
sense of infinity with unending view of landscape
create serene space conjuring ethos of traditional Yatin Pandya is the principal architect of FOOTPRINTS
churches and yet introducing absolutely E.A.R.T.H., Ahmedabad, and an ardent writer on various issues
contemporary idioms of modern architecture in in architecture.

ARCHITECTURE+DESIGN Ma y 2 0 1 5 35
Architecture for Divinity

Incorporating Curvilinear Forms...

Project: Botta Cripta, Bergamo, Italy
Architects: Gianluca Gelmini, Bergamo, Italy

36 M a y 2 0 1 5 ARCHITECTURE+DESIGN
T
he project of the renovation of the crypt is part of a with the underground crypt led to the creation of a link that
bigger project for the church of Sacro Cuore e S Egidio appeared inconsistent with the architecture system, with
Abate in Sotto il Monte (Bergamo). The project spatial and functional limitations .
included the renovation of the church's nave (floor and The project of the new link has been created with the dual
presbytery) and the external parts (walls, roof and the new purpose of restoring balance and continuity to the west
belfry). This church was built in the 1930 but the original elevation of the church and give the right importance to the
project was never completed. stairs connecting the crypt and the nave, using natural light
The original project included the construction of the church as the main element of the space.
vestry in the west side of the altar. The project was never The use of curvilinear forms has allowed the architects to
realised, but the need to connect the interior of the church circumvent the restricted size, without the perception of the

ARCHITECTURE+DESIGN Ma y 2 0 1 5 37
38 M a y 2 0 1 5 ARCHITECTURE+DESIGN
GROUND FLOOR PLAN

corners. The large window leads a lot of light in the space this space much attention has given to light, in particular the
and, thanks to white walls, spreads widening perception until relationship between natural light and artificial light.
the crypt level. Artificial light has been specially designed to create a light
The work in the crypt concerned in the first place the installation consisting of two rings of six meters in diameter.
reorganisation of the perimeter walls from the damp. Also, in This installation understands and measures the curvilinear

ARCHITECTURE+DESIGN Ma y 2 0 1 5 39
 PLAN OF UNDERGROUND CRYPT

space of crypt. The direct and indirect light is dynamic, FactFile

becoming a means of communication and expression through Client: Parish of Sacro Cuore E S Egidio Abate,
the ability to introduce different lighting scenarios depending Botta Di Sotto il Monte Giovanni XXIII, Italy

on the activities carried out in the space. Design Team: Andrea Mazzucotelli, Andrea Pressiani
Built-up area: 120sq m
Year of Completion: 2012
Photo credit: Gianluca Gelmini

40 M a y 2 0 1 5 ARCHITECTURE+DESIGN
Architecture for Divinity

42 M a y 2 0 1 5 ARCHITECTURE+DESIGN
 N

SITE PLAN

Minimalistic Design
Project: Shiv Temple, Pune, Maharashtra
Architects: Sameep Padora & Associates, Mumbai

D
esigned in dialogue with the priest and the people from
surrounding villages, the temple design was a
collaborative effort. Built through ‘Shramdaan’ (self-
build) by the villagers, this temple was constructed on a
shoestring budget using local basalt stone as a primary building
block, because of its availability from a quarry within 200m
from the temple site. The stone’s patina seems to confer age, as
if the temple had always existed before inhabitation. 1 4

In realising the temple design in close consultation with

the temple priest and the villagers, the architects attempted
to sieve out thorough discussion and sketched the decorative
components from the symbolic. Adhering to the planning
2
logic of traditional temple architecture, the form of the 3

temple chosen evokes in memory, the traditional shikhara

temple silhouette. Only embellishments integral to the
essence of temple architecture in memory, actually appear
1. CORBELED STONE (SHIKHARA)
in the finished temple. 2. INNER SANCTUM THRESHOLD

TEMPLE VIEW
3. BASALT STONE WALLS
The heavy foliage of trees along the site edge demarcate an 4. APPROACH
outdoor room, which become the traditional ‘mandapa’
(pillared hall), a room with trees as walls and sky the roof. The

ARCHITECTURE+DESIGN Ma y 2 0 1 5 43
SECTIONS
 1

1. INNER SANCTUM
(GARBHAGRIHA)
2. ASSEMBLY HALL
(MANDAPA)

GUIDELINES - PLANNING STRUCTURE

path to the temple winds in between white oak trees till two
freestanding basalt stone walls embedded in the landscape that
create pause as well as direct a person onto the east-west axis
on which the garbagriha/inner sanctum lies.
Entry to the sanctum is through an exaggerated threshold
space which in turn frames the outside landscape for the
inside. Stepped seating on the southern edge of the site
negotiates steep contours while transforming the purely
religious space into a socio-cultural one used for festival and
gatherings. Religious iconography in the form of statues of ENLARGED DETAIL - SHIKHARA
the holy cow, Nandi etc., become installations in the
landscape, and hence, find their positions in a natural setting
of the metaphoric sky-roofed mandapa.
The ashtadhaatu (eight metal composite) temple kalash
(finial) is held in place by a frame which also anchors a FactFile
skylight to allow light to penetrate the inner Design team: Sameep Padora, Minal Modak, Vinay Mathias
sanctum/garbagriha. Documentation: Viresh Mhatre, Anushka Contractor, Maansi Hathiwala,
Prajish Vinayak

Photo credit: Edmund Sumner Year of completion: 2010

ARCHITECTURE+DESIGN Ma y 2 0 1 5 45
Architecture for Divinity

46 M a y 2 0 1 5 ARCHITECTURE+DESIGN
Breaking Rigid Boundaries...

Project: Sancaklar Mosque, Buyukçekmece, Istanbul

Architects: Emre Arolat Architects, Istanbul, Turkey

S
ancaklar Mosque located in Buyukçekmece, a suburban by a busy highway. The high walls surrounding the park on
neighbourhood in the outskirts of Istanbul, aims to the upper courtyard of the mosque depict a clear boundary
address the fundamental issues of designing a mosque by between the chaotic outer world and the serene atmosphere
distancing itself from the current architectural discussions based of the public park. The long canopy stretching out from the
on form and focusing solely on the essence of religious space. park becomes the only architectural element visible from the
The project site is located in a prairie landscape that is outside. The building is located below this canopy and can be
separated from the surrounding suburban gated communities accessed from a path from the upper courtyard through the

Photo credit: Thomas Mayer

ARCHITECTURE+DESIGN Ma y 2 0 1 5 47
 N

SITE PLAN

Photo credit: Thomas Mayer

48 M a y 2 0 1 5 ARCHITECTURE+DESIGN
SECTIONS

FLOOR PLAN
Interior view of the mosque

Exterior view of the mosque Photo credit: Cemal Emden

 Photo credit: Cemal Emden

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 Photo credit: Thomas Mayer

park. The building blends in completely with the topography

and the outside world is left behind as one moves through
the landscape, down the hill and in between the walls to
enter the mosque.
The interior of the mosque, a simple cave like space,
becomes a dramatic and awe inspiring place to pray and be
alone with God. The slits and fractures along the Qiblah wall
enhances the directionality of the prayer space and allows
daylight to filter into the prayer hall.
The project constantly plays off of the tension between
man-made and natural. The contrast between the natural
stone stairs following the natural slope of the landscape and
the thin reinforced concrete slab spanning over 6m to form Photo credit: Cemal Emdern

the canopy helps enhance this dual relationship.

FactFile
The project won the best religious building award in the World Architecture Built-up area: 700.0sq m
Festival held in 2013. Year of completion: 2012

52 M a y 2 0 1 5 ARCHITECTURE+DESIGN
Architecture for Divinity

Luce Memorial Chapel, Tunghai University, Taiwan, by I M Pei Photo credit: Narendra Dengle

functionally, religious centres have expanded,

based on their own visions of the utility of
religion in day-to-day life...

By Narendra Dengle

R
eligious architecture would encompass many book shops, craft centres, chanting halls, assemblies,
typologies that include buildings for worship, etc. The scope of the topic is vast; hence this essay
places of deities, places associated with rituals attempts to discuss issues that mark the course of
from birth to death, even commercial places that sell contemporary architecture related to religious places.
material employed during rituals, places of The fact that religious architecture has
pilgrimages, dharamshalas, ashrams, monasteries and ‘contemporised’ means that there have been
nunneries, places for meditation and retreat, and departures in: Concepts of religion and rituals; the
related residential buildings, treasuries, underground spread of the religion to distant places from that of its
cellars, water bodies, strong geographical contexts origin and to other social-environmental contexts; and
such as hills, rivers, the oceans, forests et al. There are the methods of perceiving form and constructing them
individual worshipping places, as well as, campuses varying from those in the past.
that hold many other facilities like eateries, libraries, Departure and deviation from orthodoxy in religion

54 M a y 2 0 1 5 ARCHITECTURE+DESIGN
 occur in the concepts of: deity, mythology– thought, Distortions and compromises in doctrines due to
rituals and methods of worship, life and death, life the aberrations, religions suffer from invasions,
after death, reincarnation, spirit, iconography colonisation, conversions, migrations, diaspora,
associated with legends and gods, atman, which we economic globalisation and also through the
know have spread out in several branches away from intercourse with socio-political discourses of other
the ancient religions. Often, these branches have been cultures, alter the form and accent of space of religious
at loggerheads, uncompromisingly, among themselves, places. This is clearly noticeable in the religious places
giving rise to major conflicts and violence within a conceived and built by migrant populations in cultures
religion. Architecture becomes a symbolic narrative of dominated by different faiths. A city like Cologne in
such deviations because it must discover new ground Germany in the heart of Europe with its own
for architectural edifice away from tradition without distinguished history witnesses the construction of a
necessarily claiming religiosity associated with very architectonic mosque after much debate,
organised religions. undergoing scrutiny by other religious faiths, and
Incomprehensibility of ancient traditions and texts intelligentsia and finally seeing light of the day,
too becomes a factor to reckon with. Either the despite the different perceptions and disagreement
people who can make sense of the ancient text rare to among its citizens. On the other hand, if one looks at
find or where available they are steeped into the process of building a temple in an Indian village,
orthodoxy in that they would simply adhere to the one notices that the particular deity for whom the
ancient methods of building the places of worship, as temple was originally designed has now been
if the time has come to a stand-still. The question of crammed with a number of other deities that come up
lineage of the gurus and the enlightened also matters because a devotee ‘sees them in a dream telling them
and with a break in the lineage the patterns of the to make a place for worship for it’, as the legends
paths followed are different. The beliefs in identifying behind many temples inform us. The new construction
the Tulkus or the avatars too have undergone that must account for the deity’s sanctity and
transformations along with the faith. The Dalai Lama, symbolism hence is faced with a difficult task of
declaring that there would be no more Tulkus, has whether and how to put all these different deities
created a storm of sort even among the communist under one roof, or create a format for establishing all
China. Tools of interpretation and hermeneutics can of them by evolving a new form. The lack of
be an interesting way to discover a new logical path comprehension adds to the imagery that the villagers
but this is not the option available in most cases due groom in their minds, either collectively or
to lack of intellectual resources or sustained effort. individually, which becomes an adversary of any
Architects rarely follow an interdisciplinary approach logical design synthesis. Ironically, these tendencies are
in design that combines textual comprehension with by no means entirely ‘contemporary’, culturally
their discipline and are engaged in constructional speaking. Such problems existed in the past as well
processes of the day-to-day matters. Indulging in and solutions were cleverly devised in formats
form-space modulations with attention to functional acceptable to most diverse groups with a geometry
issues, more rigorously than to uncover newer paths that was aesthetically pleasing.
intellectually or historically along with someone who Hegemony of the priesthood over the uninitiated
comprehends the texts has been a hangover from the and downtrodden, exploited and oppressed society
modern movement. resulting into conditioned blind beliefs, perpetuating

Photo credit: Narendra Dengle

Cologne Central Mosque, Germany, 2010

Norbulinga Monastery, Dharamshala

ARCHITECTURE+DESIGN Ma y 2 0 1 5 55
 notices certain carry forward of traditional spaces used
for meditation, lectures/debates and residence. The
Norbulingka Monastery has had contributions from
different architects in its architecture and landscape
design. Rarely does one find one architect working
continuously on the various phases of development of

Photo credit: Narendra Dengle

such campuses. The devotees are most enthusiastic
and make contributions varying from engineering
knowledge, architecture and landscape as also going
into technical matters of illumination, acoustics and
other areas. The nunnery, which has been under
construction for some years, has addressed issues with
regard to rituals and traditions of the monastic
Dolma Ling Institute and Nunnery, Sidhpur, Kangra District, Himachal Pradesh. community by using a system of courtyards effectively.
Ashrams and retreats for meditation often become like
secure niches for communities that offer libraries and
different cuisines being served during meals. No more
the ashrams are frugal and austere in outlook as a rule.
Histories associated with spiritual leaders have
inspired meticulously planned museums that hold
clothes, utilitarian objects used by them, and of
course, the visual and textual information. The most
East London Mosque on Water Temple by Tadao Ando
Whitechapel Road, London meticulously planned collection is to be found at
Meherabad near Ahmednagar where the objects used
psychological, physical insecurities leading to over by Sri Meherbaba have been collected from all over
dependence on religious ritualism, contribute to the world and preserved in a mortuary like
certain ceremonial features of spatial hierarchy in atmosphere where no natural light is allowed to enter,
places of worship. Politically ensuring that economic and the temperature within the building is closely
disparity in society continues relentlessly has been an monitored for the fear of deterioration of the objects.
ancient ploy of domination assuring formal status quo The objects would further be examined for
in the designs of places of worship. Self-promoting authenticity before eventually displaying in the
religious teachers, who have managed marketing their proposed museum.
brand of religiosity successfully, exhibit a mockery of The effect of the demands on space has led to
architectural expression promoting far more fantastic multi deity multi-storeyed worshipping places
film-sets like palace-temples, rarely based on any although a traditional approach especially becomes
historical strata. Larger gatherings demand larger prominent in their endeavour to find urban inserts
assembly spaces and have become challenging where land cost becomes a major factor. Inter
architectural-structural issues. community tensions and rivalries also become
One should be able to classify the various aspects responsible for their growth or suppression in cities.
of religious architecture mentioned in the beginning of Newly built urban inserts are to be seen invariably in
this article so as to comprehend an architect’s comparison with ancient and old existing religious
approach to campus design for such places. Places places that continue to be popular and witness an
which are not necessarily places of worship but for increased following. Comparisons between the
training in meditational practices try to ensure certain contemporary and the ancient are inevitable so far as
sanctity in the campus, which is usually not associated the ‘non-negotiable’ elements of architecture how
with noisy, busy, ritualistic places of worship. Both these evoke the proper atmosphere and how these,
encourage congregational activities and have similar therefore, manifest anew. In some of the meditational
demands on structures and volumes for scale but the places, the traditional Buddhist or Hindu manner of
ambiance and quality differ considerably as can be sitting in sukhasan have given way to sitting in chairs
noticed in Vipasanna centres, Zen monasteries and so as if in an auditorium even wearing shoes. This
forth. Norbulingka Monastery and the nunnery at adaptation to new demand for convenience has
Dharamshala are contemporary interventions where naturally altered the form of traditional meditational
the critical approach of the architects involved is space. Together, these various types would constitute
encouraging and evident. In those campuses one the idea of contemporary religious architecture.

56 M a y 2 0 1 5 ARCHITECTURE+DESIGN
 Factors compelling the religious outlook and scale and features which require skilful negotiations
rituals often are critically edited to reduce the by the architect.
duration and for easy comprehension by laypersons Functionally, religious centres have expanded,
in cities, especially in a foreign country, or in a based on their own visions of the utility of religion in
country, where a particular religion may not have day-to-day life of the common citizen. The functions
the same following as in the country of its origin, extend into number of fields such as education, social
which also become major contemporary issues work, service to the poor, developmental work, health
assuming political importance. and medical facilities and even participation in
Practical limitations in construction systems and political activity. Intervention in education,
methodologies are highlighted by non-availability of encompasses teaching philosophies, religious studies,
appropriate land, locations as per the traditional ancient languages and dialects, and the campuses
rules and financial resources, provisions under the provide for functions such as language laboratories
local law for raising resources legitimately from and conservation, translation of scriptures,
private and public funds, political and social documenting varied data, archiving philosophical and
patronage and their resulting compromising effect on spiritual studies and scriptures, museology, large
architectural expression, unsteady and unaccounted libraries, research laboratories, etc, all of which
cash and its flow commensurate with the pace of reframe the brief logically, scientifically going beyond
construction together decide the course of the mere worshipping and religious rituals. In such
architecture, time it must take, and even departures it cases, the campuses become more like educational
must allow in the original plan. institutes or even small scale universities with
The qualitative aspect takes a beating when the residential facility for scholars. The impact of such
patron, the architect and the builder agency do not functional activities on the architecture of religious
work as a team. But when they do, the result is highly places opens an entirely different, perhaps a secular,
pleasing spatially, functionally and aesthetically. The space for studying and researching, albeit with the
procedural hold-ups are due to interference in design atmosphere that has spiritual aura about it.
both conceptually and methodologically. Patron- The departure from methods of construction of
architect is an extremely delicate association, which the past is owed to all the above mentioned reasons
enhances with their partnership, sharing the vision, and also the market forces that dump newer
concept and devotion, and can contribute most materials enticing the user to employ them in
fruitfully to the execution of the project. While the construction. Non availability of certain key building
devotees can contribute financially, as well as materials and induction of newer materials leads to
technologically, their over-enthusiasm can be of importing crafted pieces, idols, fountains, symbols,
hindrance if the decision making process is obscure. murals, drapery, metal and woodwork, considered
Higher security concerns resulting from the threat of invaluable and indispensable to the basic tenets of
terrorist activity, infighting within trusts, varied religious practices. The process often manifests in
‘visions’ and the polemic aspirations of devotees can distortions in traditional elements in their scale,
tear the fabric of architectural language into shreds. importance and construction, as the same elements
Most religious places need ‘approvals’ from the local have to be built using local materials and labour.
administrative and police authorities to ensure safety. Here, one also may note that a complete thrust
Barrier free strategies and provisions thereof to enable towards the so called authentic look or style is often
all kinds of disable devotees and visitors to use the attempted despite the adverse social or cultural ethos
campus also have brought in a different dimension of especially from the perspective of the diaspora. So,
one may have two extreme conditions- one that is
coming to terms with the local syntax and the other
trying to go back to its ‘original aestheticism’ and in
the process may appear to be fundamentally alien to
the context, climate and environmental concerns.
Architects have a tough time in entering the territory
of history and take a call on what is meant by visual
conformation with traditional elements and what is
liberating from them. A lot of post-modern issues
come into consideration in examining the contexts
for new expression. There have been examples of
Hurva Synagogue Project, after Louis I Kahn, phase 1, 1968 Christian church structures being adopted skilfully for

ARCHITECTURE+DESIGN Ma y 2 0 1 5 57
 sanitation. To address these, the state governments
energise to form strategies. The cities inflate as it were
like balloons and deflate after the melas but in the
meanwhile these cities suffer extraordinary stresses
testing the elasticity of their infrastructure. On the
other hand there have been some mosques, which
have been built in harmony with the townscape and
the terrace housing that precede it and appear like
part of the precinct with minor variations created by a
dome or a minaret.
Ismaili Centre Toronto by Charles Correa
Exploring light, air, water, texture and scale to
Islamic mosques, as seen in Turkey, and the same transcend rigid traditions of spatial organisation and
becoming accepted trendsetters for further mosques onto logically looking at pure elements is what has
to be built. been achieved wonderfully in his temple designs by
Trained architects being disconnected from the Tadao Ando because they are capable of bringing
traditional methods of construction, as well as, one to one’s inner self experiencing meditative
philosophies behind them, see it as a form making silence. The Water Temple is the residence of Ninnaji
exercise. The expression of architecture in such cases is Shingon, the oldest sect of Tantric Buddhism in
an attempt to reconcile with many other types of Japan, founded in 815. The building, (90-91) at
buildings the architect may be engaged in designing Awaji, Hyōgo, Japan, offers a sensory experience of
and hence carrying imagery unsuited in the syntax. An light and sound that is radically different from the
architect, who is not the so called ‘temple architect’, tradition of building temples in Japan. One is also
and yet is called upon to design it, has his/her own reminded of the majestic synagogue designed by
way of entering the process. Louis Kahn in Israel with the stunning sense of light
Inevitable hybridisation of imagery happens with and space, which could not be built in his life time.
architects wanting to be innovative through The Ismaili Centre designed by Charles Correa in
collaborations with newer forms of religious Toronto (2014) brings light in two layers of
translucent roofing in a dynamic way deviating from
how it was done in the past and yet bringing forth
the spiritual aspect of space most effectively.
Religious places which can be called
contemporary in their functional resolve show
sanitised needs, maintenance becoming an
aggressively uncompromising feature, often using
imported materials as if the devotees are possessed
by the memories of the places of their origin.
Architecture becomes a symbol of power and wealth
through the awe that it creates in its monumental
Crystal Mosque, Kuala Terengganu, Malaysia
form. The effect of the sublime being considered as
tendencies and rethinking philosophies together for the only major aesthetic charge can both be an
the basis of space-form relationship, as well as, visual effective tool or a disastrous one. This tendency can
influences through media. But time alone can tell sway between display of gross wealth and opulence
whether this type of space making can be of lasting cramming a lot of irrelevant crafted iconography and
value. Religious places that become hi-tech have the decorations on one hand, while on the other
aspirations to show off the so called latest technologies exploring the monumental sublime form minimally
for the awe inspiring effect in their public areas. and sensitively. The former variety of examples is
Mosques in the Middle East boast of capacities termed antisocial and filthily opulent in some
going beyond tens of lakhs of devotees. In such cases developing countries where large populations suffer
technology does come as a boon to ensure safety, from malnutrition and hunger leading to protests
economy of infrastructural work, energy conservation, and social tensions. Examples such as the Crystal
easy entrance-exit situation and emergencies. Mosque in the Islamic Heritage Park in Malaysia
Religious places in India such as Allahabad, or Nasik where basically the traditional form comprising of
during the Mahakumbh celebrations assume domes and minarets but executed in glass also
unmanageable scale and become huge problems of indicates a craze for novelty and power.

58 M a y 2 0 1 5 ARCHITECTURE+DESIGN
 Continuation of traditions is very much a contemporary
way of building religious places. With the historical context
withering away this type of architecture becomes kitsch in that
it becomes obsessed with the past, blind to the present. Along
with the above mentioned ‘departures’ from the tradition one
has also to recognise those traditional aspects, which have
fundamentally remained unaltered. Faith and devotion is a
force, which cannot be logically analysed and will continue
despite the enlightenment and rationality associated with
modernism, scientific and technological innovations, theories
on origin of life and genetic engineering. This is also evident
from a host of scientists, doctors, politicians, industrialists, etc,
who appear to be rational and pragmatic but continue to be
devotional or ritualistic in their private lives to the extent of
being superstitious. The congregational issues have been
entirely based on devotion and faith. Larger number of
devotees flock the major centres of religions all over the world
not withstanding socialist revolution as is witnessed after the
disintegration of the erstwhile Soviet Union. The architecture
of the open space and covered space that accommodate huge
populations needs close consideration in the aesthetics of
contemporary religious places.
Symbolism associated with particular deities, their vehicles
and their weaponry and other visual attributes, iconography,
without which the deity cannot be recognised becomes an
aspect of design and craft traditions that continues in Hindu
architecture. Similarly the Buddhist, Confucian and Tao temples
in China, Japan, where symbolism plays a major role in
defining entrances, spaces, numerology, where columns and
beams are not just columns, beams, roofing rafters, patterns in
the jaalis, alone, but have deeper symbolic presence in the
local consciousness. Depiction of animals, trees, flowers and
mountains, waterfalls, fish, is suggestive of how many elements
can make a particular architectural feature, all of which have
remained unchanged in most cases. However one finds that
designers have taken liberty from adhering to the subtlety of
text that clarify and identify all the attributes of a deity either
out of ignorance, or interpretations, which are part of
contemporary sensibility.
The above categories may be useful to identify the types of
religious places in different countries and faiths. It would be
important to note that in the developing world, where the
word ‘contemporary’ would mean coexistence of the tribal, the
rural, the folk, the popular, the urban, and the orthodox, and
whose respective worshipping tendencies vary considerably
and edifices for them may have to be examined on
considerably different footings; not applying the same criteria
for any critical approach.

All photographs courtesy: Narendra Dengle

Narendra Dengle is the principal architect at Narendra Dengle and

Associates, Pune.
(With research assistance by Minal Sagare)
Architecture for Divinity

A Spiritual Setting

Project: Mhasoba Mandir, Kharawade, Pune (under construction)

Architects: Narendra Dengle and Associates, Pune

M
hasoba is a pastoral deity worshipped in southern surrounded by hills. The region is breathtakingly scenic in
rural Maharashtra. It is known to be fearsome monsoon. In the summer months it gets very hot and one
sometimes associated with black magic, and also a desperately looks for shade. We tried to reason saying that the
guardian for the forests. Supposedly wandering through the deity does not need a temple, but the villagers, who had
forests, the deity did not, traditionally, have a formal temple. already built one in stone some years before, were very keen
The earlier shrines used to be located under trees as humble to have the entire campus well designed. We agreed. On every
thatched huts. The trustees of the devasthan approached us Amavasya, besides the major Hindu festivals, the devotees
some five years ago. They had seen the Ramakrishna Mandir throng the temple in large numbers. All sacrificial practices
we designed in Pune (2000) and wanted us to design the followed previously have been totally stopped by the villagers,
Mhasoba Mandir, where the original temple existed in the who are concerned about the sanctity of the place.
village Kharawade, on the way to Lavasa. The region is The existing campus, spread over about 1.8-acres, was on a
wonderful in its natural pristine beauty with lush green site that sloped down from the hill top which was part of the
landscape, local trees and farms going down to the river forest area. The trustees had built three structures at the site

SECTION
besides the shrine– one that was called the Bhakta Niwas, the
other a prasadalaya - used for serving prasad, and the third, a
Samadhi for a sadhu who lived there years ago. A double
storeyed building that housed several shops selling pooja
material, flowers and snacks also existed. The shrine itself was
a structure in stone attached with a garbhagriha in wood and
masonry. This would all be demolished keeping the idol which
was a natural eruption of rock around which the geometry of
the new campus would be planned. The shops would be
demolished while all other structures would be retained.

ARCHITECTURE+DESIGN Ma y 2 0 1 5 61
 We conceptualised a campus with three large courtyards
or angans, the entrance court would be the bazaar court
selling pooja articles leading to another court- lagnamandapa
or the wedding court that would hold large-scale functions
including the mass wedding ceremonies for over 100 couples
simultaneously. This would further lead to the sabhamadapa
court. The main temple now consists of the garbhagriha,
sambhamandapa and the natyamandapa perpendicular to
the access of the temple – these are surrounded by the
osaries which are really like resting verandas for the devotees
who may want to spend some time in the campus, have their
meals, etc. The osaries help define the angan. The 6m high
retaining wall at the back of the garbhagriha has been
provided with niches for more images that the devotees want
to place associated with the deity and the myth. Surrounding
the garbhagriha are two more shrines of folk deities locally
worshipped. The geometry of the courts and the proportion
system of various roofs has been given careful consideration.
The court surrounding the garbhagriha and sabhamandapa
has ample space for ritualistic processions of the palakhi on
certain days. The natyamanadpa which has been designed
like an amphitheatre would have kirtans, devotional music
and other forms of performing arts. The form of the canopy
over the natyamandapa provides a reflecting surface for the
sound emitting from the performing area of the stage and
has been designed so that the sound reaches the audience
without much artificial acoustic aid; a provision of sound
system too has been put in place. The canopy’s form reflects
that of the sabhamandapa roof by inverting it. The master
plan respects the natural terrain in the step-down form
culminating into the natyamandapa.
Natural light and ventilation demanded attention because
of the large number of devotees visiting the temple. They

62 M a y 2 0 1 5 ARCHITECTURE+DESIGN
 11

2 6

4 7 8

10 12

SITE PLAN 1. GARBHAGRIHA 7. COURTYARD 2 : LAGNAMANDAPA

2. SABHAMANDAPA 8. COURTYARD 1 : BAZAR COURT
3. NATYAMANDAPA 9. OWRI
4. COURTYARD 3 10. EXISTING PRASADALAYA
5. KUND 11. EXISTING BHAKTA NIWAS
6. GATEWAY TO COURT 3 12. EXISTING SAMADHI

would reach the garbhagriha for the darshan, by walking We proposed to use the natural and local materials– namely
throughout the darshabari, or the queuing vestibule that the deccan trap stone for the principal masonry for the base
forked out into a stepped one and the one with a ramp structure and exposed brick work for higher walls evoking
respectively. It was important that everyone walked and traditional architecture of Pune region. Since Mhasoba did not
queued up under shade in the summer months. The have any temples and this was going to be the first large-scale
darshanbari is ventilated through two kinds of jaalis designed temple we resolved the thematic issues to address the manner
by us. One is made of granite slabs in a grid form and the in which the temple has come to be used over the years and
other in ceramic pipes sloping down outward at lower and the imagery that befitted the regional context. The brick has
higher levels that allow filtered light and ventilation. There been obtained from Godhra, Gujarat, since the local brick is no
are no electric fans in the darshabari whatsoever. more of the desired quality.

ELEVATION
 The construction of the shikhara has been done in the drawings over and again to them and supervise the works
ferrocement precast ribs and cast in situ verticals. This needed as closely as possible all of which demanded endless patience
precision in casting, as well as, placing in position. The both in communicating and correcting/amending works and
garbhagriha roof too is done in ferrocement designed to be errors, and getting over negligence, but without crossing
80mm thick sandwiching a layer of thermocol in the two layers these hurdles the work would never have seen the light of
of ferrocement. The courts would all be paved in Vidhisha- the day. At the moment except for the baazar-entrance court,
stone obtained from Madhya Pradesh. The rainwater and the construction has reached a reasonable level to be
surface water harvesting is planned by creating trenches in the occupied and used. In another four months or so we expect
courts and leading to the kund built on south-west end of the the work in hand to complete.
property. Sub-soil filtering arrangement of water has been
planned by means of sand-gravel filters so that the kund retains Text by Narendra Dengle
clean water.
Finding an agency that would execute the work by reading
details comprehensively and plan out strategies for every
stage for such works is a huge problem. Civil contractors are FactFile
very happy these days pouring huge amounts of concrete Client: Mhasoba Devasthan Trust
and are concerned about time involvement. Resourcing funds Design team: Narendra Dengle, Shekhar Garud, Minal Sagare, Yashashree
from devotees, the government and other private sources Lambay, Dhanashree Ghaisas, Radhika Murthy, Ruchika Lodha
was done by the trustees very efficiently and resourcefully, Consultants: B V Bhedasgaokar Consulting Engineers, Pune (Structural),

however, the same takes a long time. No urban contractor, MEP Systems Solutions, Pune (Services)
Contractors: Jaihind Saakar, Kalbhor, T S Pawar, The Creation (Civil Work);
who has the right infrastructure, can afford to wait and move
Ferrocrete work - Ashok R Godbole (Shikhara), Kuhera Construction
slowly commensurate with the uncertainty of cash flow. This
(Sabhamandapa roof); Yash Construction, Mr Krishna (Stone work); Mannu
led to hiring local civil contractors, who are not habituated to Sharma (Woodwork); Bhalachandra Kadu (Kalasha)
reading drawings but are familiar with general and gross Proposed Built-up area: 900sq m
nature of civil construction. We had therefore to deal with at Cost of project: Rs 5.00 crore
least three different contractors, explain the scheme, read out Year of completion: Under Construction

64 M a y 2 0 1 5 ARCHITECTURE+DESIGN
Architecture for Divinity

66 M a y 2 0 1 5 ARCHITECTURE+DESIGN
The White Church

Project: Parish Church of Solace, Cordoba, Spain

Architects: Vicens + Ramos, Madrid, Spain

T
he parish centre is located on a corner plot in a
residential area between Historiador Dozy and
Francisco Azorín streets. The extended side is situated
in front of a green zone and the lateral side faces residential
buildings. The rest of the surroundings are still undeveloped.
To the north and west of the plot the structure is set back four
metres off the boundaries. On the north side, the entire
surface which coincides with the length of the structure is
occupied by an English style garden at the height of the
basement, to allow light and ventilation and give a courtyard
that can be accessible by the public.

ARCHITECTURE+DESIGN Ma y 2 0 1 5 67
 FLOOR LEVEL -1

68 M a y 2 0 1 5 ARCHITECTURE+DESIGN
 FLOOR LEVEL 0

FLOOR LEVEL 1

SECTION

ARCHITECTURE+DESIGN Ma y 2 0 1 5 69
 The complete parish is enclosed by a single prism with the The prism consists of the vestibule on the opposite end of
peculiarity that the short facade on the corner rises to seek the front wall of the presbytery, from where one enters the
the utmost possible light, fusing three concepts that are temple, the local parish basement and the first floor dwellings.
historically separate– the bell-tower, singular facade and light The entrance of the church has access to the sacristy, the chorus,
entrance or skylight. The prism is white prefabricated concrete the main hall and the chapel of the Blessed.
with a fluted base able to introduce horizontal light. The interior space is unified by a cloud with a convex plain

70 M a y 2 0 1 5 ARCHITECTURE+DESIGN
form locked in by the structure. The cloud circulates around
the space until it is lost in the heights of the skylight. The light
fades on the curved plane while dripping the headwall of the
presbytery. This diffused light illuminates the entire temple.
In the chapel of the Blessed a similar cloud forms the ceiling,
like in the main hall, but instead it rises and bends down to
accommodate the altar. The unity of the composition like the
unit to which sacred architecture aspires allows the
integration on the idea of a temple a sacred art inside. Many
artists have added their work to the final configuration of the
sacred space.
The contributing artists are: Fernando Pagola the altar,
ambo and the seat of the temple, Cesar Barrio the altar of
the Blessed Sacrament, Jose Antonio the Viacrusis, Javier
Martinez made Our Lady of Consolation of Javier Martinez,
Javier Margarit did both the Christ in the nave and the Christ
in chapel of the Blessed and the roof paintings are by Pablo
FactFile
and Jaime Ramos.
Contributors: Fernando Gil, Pablo Gutierrez, Joaquin Esperon, Desirée González,
Romina Barbieri, Raul Rodriguez, Tibor Martin, Patricia Elena, Javier Margarit.
Author: Ignacio Vicens and Hualde, José Antonio Ramos Abengózar Year of completion: 2011
Architecture for Divinity

Sacred Space

Project: Universal Prayer Hall, Gurgaon, Haryana

Architects: Sikka Associates Architects, New Delhi

N
amaste – a spiritual gesture, not a mere word, has combination of serene white marble and Glass Reinforced
a deep spiritual significance. “The divine in me Concrete (GRC) jaali. The two wings encase the glass with
honours the divine in you.” It recognises that the aluminium fins, radiating light. A soothing sensation is
Almighty resides in each one of us. This unifying essence or provided by the water body around the building. The hall is
oneness is acknowledged by folded hands. This forms the elevated 16ft above the ground.
basis of the Universal Prayer Hall. The pristine white is complemented by the lush greens
The prayer hall is infused with a subtle colour palette of around providing a buffer from the heavy traffic. The hall
white and grey. The folded hands are built with a provides a respite from the monotonous and busy lives of the

72 M a y 2 0 1 5 ARCHITECTURE+DESIGN
people. Placed at a central axis to the road, the building floor offers a break from the outer world with senior citizen’s
makes itself worthy of the attention providing a chance to lounge accompanied by a library, an office and a shop.
peep into our own self. The white reflects purity and completeness and the hands
The entrance is through a flight of steps adding to the suggest that there is no piece of creation built without the
grandeur of the building, and is flanked by greenery. When hands of the creator—the Almighty. The water body signifies
we enter the prayer hall, we experience our essence being the act of purification when we link ourselves to the
flooded with light. Almighty. The elevated built form marks the aspect that we

1 1
2 2
3 4 3

5 4

FIRST FLOOR PLAN (WITH PARTITION CLOSED) 1. ENTRY FIRST FLOOR PLAN (WITH PARTITION OPEN) 1. ENTRY
2. EXIT 2. EXIT
3. HALL 1 (PRAYER) 3. HALL
4. HALL 2 (YOGA) 4. AREA FOR SERVICES
5. AREA FOR SERVICES

must look “up” to the Almighty. It evokes a sense of respect

and sacredness to the form. The light in the interior makes us
feel enlightened delving into our inner soul. Based on the
concept “Namaste”, the hall creates a tranquil environment
that negates our egos and prejudices and alludes to
4
1 awakening of the soul.
2 The two wings of the building are folded together like
5 3 7
hands greeting the city, symbolising welcome as seen in the
6 cultural context of India. There is a diversity of religions in
7
Indian society giving rise to various religious buildings but
this halll acts as a unifying entity bringing the concept of
“universal religion”. The hall exemplifies contemporary
interpretation of spiritual architecture.

SECOND FLOOR PLAN 1. ENTRY 5. SENIOR CITIZEN’S LOUNGE

2. EXIT 6. SHOP Text by Medha Sobti
3. HALL BELOW 7. LIBRARY
4. OFFICE 8. AREA FOR SERVICES

FactFile
Built on a site of 0.4 acres, the built form stands 70ft high.
Client: DLF
The plan is circular with a radius of 44ft. The core consists of
Design team: Mr Raman Sikka, Mr Sarfaraz Patel, Ms Medha Sobti
two lifts and a staircase. The first floor is flexible enough to be Consultants: M/s Mehro Consultants (Structural)
used as a prayer hall solely or to be used as a prayer hall and Built-up area: 21,000sq ft
a yoga hall separated by a vertical partition. The hall has a Cost of project: Rs 110 Lakh
capacity of over 400 people without the partition. The second Status: Competition Entry

ARCHITECTURE+DESIGN Ma y 2 0 1 5 73
Architecture for Divinity

A Community
Church

Project: Community Church Knarvik, Hordaland, Norway

Architects: Reiulf Ramstad Arkitekter, Oslo, Norway

T
he new Community Church in Knarvik, located on the
scenic west-coast of Norway north of Bergen, is built
on a privileged site overlooking the cultural landscape
and local town centre. The building is carefully adapted to an
existing hillside between built and natural environment,
providing the church with an inspiring context of the
surrounding heath landscape. Its distinctive and innovative
character and central location makes it a landmark in the
community, to be inviting and inclusive for all people to
cultivate their faith throughout the week.
The church signals its function with a sacral dignity and
recognisable form, where the church spire, sanctuary and
chapel are emphasised by ascending roof planes. Inspired by
the local tradition of Norwegian stave churches, the building
utilises clear and elemental geometries, materials and
constructions. The compact building volume is split into two
stories on a rectangular plan, separating the sacred spaces
above from the cultural and administrative functions below. An
internal ‘church square’ connects the two levels with an atrium
stair into a continuous space, and may be joined or separated
from the sanctuary with sliding glass walls to accommodate
more than 500 people.

74 M a y 2 0 1 5 ARCHITECTURE+DESIGN
ARCHITECTURE+DESIGN Ma y 2 0 1 5 75
SITE PLAN

76 M a y 2 0 1 5 ARCHITECTURE+DESIGN
ARCHITECTURE+DESIGN Ma y 2 0 1 5 77
 UPPER LEVEL PLAN

LOWER LEVEL PLAN

SECTION
SECTION

Wood is the key material of the project, expressed in the

homogeneous cladding of pre-weathered pine heartwood and
mirrored by the light-coloured pine finish on all interior
surfaces. The building permits daylight into its volume through
lancet-reminiscent tall and narrow windows, splayed in plan to
maximise admittance and reduce glare. At night, the warm
glow of the interior reveals the activities of its religious and
cultural events.
The church aspires to provide a platform for a safe
upbringing for children and youth, to become a local venue
for gatherings and faith, and to facilitate art, music and
cultural development. The Community Church Knarvik has
an architectural expression, spatial solutions and materiality
which unites religion, culture and the site-specific context
into a whole.

Photo credits: Reiulf Ramstad Arkitekter/Hundven-Clements Photography

FactFile
Client: Lindås Church Council
Design team: Reiulf Ramstad, Christian Skram Fuglset, Anders Tjønneland
Consultants: Norconsult AS (Technical), Reinertsen AS (Acoustic)
Contractors: 7Fjell Entreprenør As
Built-up area: 2,250sq m (building), 15,000sq m (total planning area)
Cost of project: 80 million NOK
Year of completion: 2014

ARCHITECTURE+DESIGN Ma y 2 0 1 5 79
Architecture for Divinity

The Meditation Hall

Project: Meditation Hall, Sri Aurobindo Ashram, New Delhi
Architects: Design Consortium, New Delhi

80 M a y 2 0 1 5 ARCHITECTURE+DESIGN
M
editation is a mental discipline aimed at An attempt has been made to create an interactive interface
transcending the limitations of the thinking mind to with the external environment and has evolved from a
plunge into a deeper state of awareness, a state in rectangular plan with a vaulted roof, as conceived from the
which, in the words of Sri Aurobindo, “Our spirit sits alone and Buddhist Chaitya hall.
speaks to its gulfs.” The design attempts a seamless integration of the play of
Inspired by the Buddhist architectural form, the project is light, form and the surrounding greenery, with the Samadhi
the outcome of a sensitive design developed from the twin as the focal point. Portrayed as an extended altar, the
ideas of connecting with the spirit and reaching the almighty. Samadhi has been treated as a symbol of imagery and

ARCHITECTURE+DESIGN Ma y 2 0 1 5 81
 iconography. The front elevation on the north, facing the
Samadhi, silhouettes the hands rising in prayer, which
symbolises aspiration and devotion.
Along the diagonal axis, the building touts open corners
while remaining contained within the structural framework.
The services of the building are kept isolated in the four
corners. Slit windows for diffused light were inculcated in the
elevation. These breakup the large mass of the building and
lend a sense of height to the structure.
The material selection criteria also reflects the harmonious
interaction of the locally available materials. The constraints
of performance specifications in relation to surfaces also had to
be kept in mind. Thus, the conscious choice was made towards
stone, marble and wooden flooring.
The pitched roof rises up in a pyramidal configuration
symptomatic of power whereas the vaulted roof depicts the
cosmos. A deliberate attempt to create an uneven roof to
reduce the harsh effects of the projected sunlight, led to the
evolution of the combined roof. This helped in conserving the
genesis of the project which is also reflected in the elevation
representing silhouettes of hands rising in prayer.

1 1

1
N
GROUND FLOOR PLAN
1. ENTRANCE
2. MEDITATION HALL
3. VIEW TOWARDS SAMADHI

82 M a y 2 0 1 5 ARCHITECTURE+DESIGN
 1 1

3 3

FIRST FLOOR PLAN 1. BALCONY

2. MEDITATION HALL BELOW
3. SEATING

ARCHITECTURE+DESIGN Ma y 2 0 1 5 83
 1

SITE PLAN
1. MEDITATION HALL

N
2. SAMADHI

SECTION

The idea was to minimise the effects of mid-summer sun. The contrast of diffused lighting in the interior and warm
This has thus been achieved by reducing the fenestrations to lighting in the exterior reflects the harmony in design and at
slits in the eastern and western facades. Openings in the north the same time contributes to the creation of a meditative
and south sections were maximised to imbibe an experience ambience. The various levels created with the vaulted and
of seasons and minimise the heat transfer. An amalgam pitched roof are highlighted by the subtle lighting scheme
consisting of east and west oriented vaulted roof and north and which in total enhances the spiritual experience of the
south oriented pitched roof is evocative of the building’s interior space.
symbolic intentions. The project is a representation of the various symbolic

84 M a y 2 0 1 5 ARCHITECTURE+DESIGN
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The technical assistance to the selected projects will be provided free of cost and will be
borne under the BEEP project.

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 MAXIMUM OPENINGS ON NORTH TO REDUCE THE INCIDENT RADIATION,
AND SOUTH DIRECTION TO AN AMALGAM OF E-W ORIENTED
ACHIEVE MAXIMUM LIGHTING VAULTED ROOF AND N-S ORIENTED
PITCHED ROOF ARE PREFERRED
USING ACC BLOCKS INSTEAD OF
BRICKS FOR GOOD INSULATION

MORE VEGETATION ON EAST AND WEST SIDE

TO REDUCE DIRECT HEAT

considerations that graciously blend with both the interior and Roof vault receives around 35% less energy and provides
the exteriors. The building uses design metaphors and synthesis greater ceiling height, illumination possibilities and structural
principles of energy conservation with architectural stability. The light coloured roof reflects solar radiation and
manifestation. The achieved environment is thus ideal for conduction potential. East and west sides have minimal glazing
meditative purposes and spiritual pursuits. and double skin corner facilitates natural ventilation. Double

86 M a y 2 0 1 5 ARCHITECTURE+DESIGN
 ELEVATION

glazed windows as well as roof and wall insulation reduces 1.5m depth, and fans of 10,000cfm capacity have been
noise and heat insulation. LED lights have been used installed to transport air from vault to meditation hall through
throughout the interiors and exteriors. As low as 200W lighting pipes of 3ft diameter (hume pipe to masonry plenum and
load has been achieved by the use of LED lights for the entire further branches out in meditation hall using ducts). The system
7000sq ft space. Rainwater harvesting has been incorporated is well functioning and completely efficient in maintaining the
in the design of the structure. Water collected from the roof is optimum temperature in the building.
directed directly to three separate underground tanks placed
strategically around the structure.
The Earth Air Tunnel (EAT) system has been installed in the
meditation hall with the concept that the year round FactFile
Client: Sri Aurobindo Society
temperature two meter below the surface remains almost
Design team: Nilanjan Bhowal, Kaushik Kundu, Tanushree Dey
constant (20°-24°C). That makes it potentially useful in
Consultants: Ishaan Design (Structural)
providing buildings with ambient temperature. Depending on Contractors: WBG Consulting Engineers (Electrical); Sandeep Sethi (HVAC)
the ambient temperature of the location, the EAT system can be Built-up area: 750sq m
used to provide both cooling during the summer and heating Cost of project: Rs 2 crore
during winter. The architects have provided three vaults of Year of completion: 2009

88 M a y 2 0 1 5 ARCHITECTURE+DESIGN
 Architecture for Divinity

1
2 3 5 6

7 7

13

7
8
10

13
1. OFFICE 17

7
2. STORE
3. VIDEO PRESENTATION/GALLERY 11 11
4. PORTICO
5. WAY TO ASHRAM 14
6. SADHANA HALL 7
7. OPEN TO SKY
8. MANDAPAM

15 16
9. THIRUMURTHY PANEL
10. DHYANALINGA MEDITATION HALL
11. COVERED MANDAPAM
12. ENTRANCE CORRIDOOR

12 12
13. TOILET
14. AC ROOM/STORE
15. STALL

FLOOR PLAN
16. VERANDAH
17. CHAPPAL STAND

Centre for Inner Growth

Project: Dhyanalinga Yogic Temple Complex at the Isha Yoga Centre, Coimbatore
Architects: Isha Yoga Centre, Velliangiri foothills, Coimbatore

T
he project founded under the aegis of Isha Foundation,
is set at the foothills of the Velliangiri Mountains in
southern India. Created as a powerful sthana (a centre
for inner growth), this destination attracts people from all parts
of the world and is unique in its offering of all the four major
paths of yoga– gnana (knowledge), karma (action), kriya
(energy) and bhakthi (devotion).

90 M a y 2 0 1 5 ARCHITECTURE+DESIGN
ARCHITECTURE+DESIGN Ma y 2 0 1 5 91
 The centre houses the architecturally distinctive Spanda converge at this meditation centre to seek out inner peace
Hall and garden, a 64,000sq ft meditation hall and and wellbeing. Sadhguru Jaggi Vasudev, from the Isha
programme facility that is the venue for many residential Foundation, asked the Auroville Earth Institute to build the
programmes catering to various groups. Visually striking, dome to shelter the 14ft high Dhyanalinga– a mercury based
with an expansive white marble floor and a free-standing ling, and the dome was essential to lock the energy of the
pitched roof, the dominating feature of this space is the Dhyanalinga. The Dhyanalinga is a multi-religious meditation
exquisite wall mural, painted using only natural vegetable shrine created exclusively for the purpose of meditation.
dyes and earth extracts, depicting the life of a yogi. The Auroville Earth Institute designed the dome, studied
Measuring 140x12ft, this masterpiece of art is the largest-of- its stability, trained local and unskilled labour and supervised
its-kind in the world. the works with its team. A tight schedule was set from the
The Yoga Centre contains the Dhyanalinga, a unique and beginning by Sadhguru Jaggi Vasudev. Therefore, the use of
powerful energy-form sitting under a pillarless 250,000-brick CSEB had been eliminated from the beginning. Thus, the
dome structure as well as Theerthakund, a sacred choice went for fired bricks, which were laid with a stabilised
underground water body. Every week, thousands of people earth mortar. The foundations and walls were built in

SECTION

ELEVATION

92 M a y 2 0 1 5 ARCHITECTURE+DESIGN
random rubble masonry with granite stones in lime mortar.
They organised the site in such a way so that this dome of
22.16m diameter and about 570 tonnes was built in nine
weeks without support and with more than 200 workers. The
large amount of fired bricks required could not be supplied
by the same brick factory. Therefore, the fired bricks came
from about 20 different kilns. As a result, they had different
sizes and most of the time they had odd shapes (belly, cracks
and other irregularities). Therefore, nearly 200,000 bricks
had to be checked one by one. No reinforce concrete had
been used in any part of the building: neither for the
foundations, plinth nor tie for the dome. Sadhguru Jaggi
wanted the dome to last 1,000 years and reinforced concrete
has not yet proved to be able to last so long.

The dome features include– Section: segmental ellipse of

22.16m diameter and 7.90m rise; Thickness: 4 courses from
the springer to the apex: 53cm, 42cm, 36.5cm and 21cm at the
top; Weight: around 570 tonnes (brick dome = ± 420 tonnes
+ granite stone to load the haunches = ± 150 tonnes).
Single resonator absorbers (Helmholtz resonators) were
installed in three layers, so as to absorb 12 frequencies
between 120Hz and 1.50kHz. The result was a dome without
echo but still with a certain reverberation, which
was normal because of its volume. This gave a certain
sound quality.
Theerthakund is a deep immersion pool housing a live
linga - an energy source capable of enhancing one's spiritual
receptivity as well as overall health and wellbeing. A dip in
its waters serves as a preparatory tool to receive the energies
of the Dhyanalinga, before entering the Yogic Temple. Built
from gigantic granite blocks, this extraordinary structure

ARCHITECTURE+DESIGN Ma y 2 0 1 5 93
leads the visitor 30ft deep into the earth to a copper tank different dimensions of Shiva– Hara, Rudra and Sadashiva,
vaulted by an artistic mural of the Maha Kumbh Mela. the tripartite panel is an expression of the three chief gunas
Also located at the Yoga Center are the Isha Rejuvenation or qualities of every living being, in ancient vedic sciences
Center and Isha Home School. The Vanaprastha referred to as tamas, rajas and sattva.
accommodation on the premises was designed3 to give
people with families the opportunity to come and be
involved with the centre.
An architecturally appealing residential facility designed
in the shape of a triangle, a yantra (yogic symbol) which
represents ultimate perception, houses an active international FactFile
Client: Self
community of brahmacharies, full-time volunteers, guests
Design team: Sadhguru along with Isha design team
and visitors, making it a vibrant hub of activity and an
Consultants: Auroville Earth Institute (AVEI) (Structural (dome)), Isha design team
optimal environment to pursue one’s growth. Contractors: Self
Carved out of three 50 tonne granite blocks, the Trimurthi Built-up area: 18954.33sq ft (Dhyanalinga Temple)
panel is an impressive outcome of the art of stone sculpting Cost of project: Rs 50 lakh approx
cultivated in India over millennia. Symbolising the three Year of completion: 1999

94 M a y 2 0 1 5 ARCHITECTURE+DESIGN
Architecture for Divinity

Vedic Hindu Cultural Society (Lakshmi Narayan Temple), City of Surrey

The Role of the Hindu Temple-

for the North Indian Community in Surrey,
Vancouver A Case Study

By Niranjan Garde

T
his is a case study of Laxmi Narayan Temple Background: The global diaspora of Hindus in the
situated in the City of Surrey, Vancouver and 19th and early 20th centuries under the colonial rule
registered under Vedic Hindu Cultural Society. has been mainly in the form of indentured labours
This research study is centred on understanding the working on sugarcane plantations, lumber industry and
meaning of the Hindu temple for the north Indian labour for infrastructural works (Jacobson K. A., 2004);
community in Surrey, Vancouver. Broadly speaking, (Rukmani, 2001). Subsequent migration cycles include
what is the importance of this Hindu temple in a Indians that were recruited for construction, as
diaspora context? I start with giving a brief background businessmen and entrepreneurs. Overall, the Hindu
of diaspora of Hindus and subsequently move to the diaspora, as it formed over the decades, demonstrates
region of Vancouver. This is followed by brief history of a diversity in religious practices, class, linguistic and
this temple and subsequently the main themes cultural attitudes. Temples in new diasporic settings
highlighted from this case study. were a result of this interplay of inherent religious,

96 M a y 2 0 1 5 ARCHITECTURE+DESIGN
 social and cultural diversity of Indian ethnicity and Slowly, with the growth of the Punjabi Hindu
their response to each unique situation prevalent in the community, specific deities of the Hindu pantheon
host societies. The migration of Hindus in this period were included in this premise. As the community base
comprises South Africa, East Africa, Mauritius, grew, the most prominent festivals of India such as
Malaysia, Trinidad, Guyana, parts of Australia, British Diwali and Dussehra also began to be celebrated here
Columbia (Canada) and California (USA) in the time and other cultural functions started to take place. A
period of 1818 to 1947. Indian Independence in demand for Hindi and Sanskrit classes increased
1947, and changes in immigration policies in the USA leading to their inception. In 1998 with the
and Canada from 1965 to 1969, resulted in the procurement of a grant from the provincial government
migration of highly educated and skilled professionals and the capital generated by donation of funds, it was
coming from all parts of India. Immigration of Indians finally decided to plan, design and construct a new
to Vancouver since the beginning has predominantly temple on the piece of land received from the City of
been from the Doaba province of Punjab followed by Surrey, Vancouver, and a suitable architect was
surrounding districts in Punjab. This geographical appointed for the same. The main temple structure was
region is reflected in the composition of the Indo- built and made operational from 2002 and other
Canadian community today (Roberts, 2003). The additions happen as the needs of the community grow.
majority of people who form the community base of At present, popular festivals can draw crowds to a
this temple are Punjabi Hindus followed by Punjabi capacity of 10,000. The list of members has grown, the
Sikhs. Thus, the majority of the activities that take place community base is now predominantly comprised
in this temple respond to the concerns of this group, Punjabi Hindus and Sikhs, but one can see Indians
although other parameters appear to be universal coming from the states of Gujarat, West Bengal, Tamil
across pan-Indian population of Vancouver. Nadu, Uttar Pradesh, Madhya Pradesh, Rajasthan and
History of the Temple: The founding members of other diaspora locations such as Fiji, Mauritius,
the temple under study were registered as Vedic Hindu E Africa, Sri Lanka and other Canadian cities. This has
Society and were able to purchase an appropriate 10 turned into a biggest Hindu temple in the state of
acres for the construction of the temple. Initially, the British Columbia.
land was farmland with an existing chicken coup, a Themes: The question is what role this temple
small farm shed and a septic tank. The chicken coup plays for Indians staying in Vancouver? What kinds of
was fumigated and used for the purpose of religious issues are addressed through the establishment of this
activity, which consisted of rituals and recitation of temple? I will now state only the most prominent of
devotional songs every Sunday for two hours. The issues voiced through several interviews taken with
format of religious practice adopted was Vedic. the community participants:

Prayer Hall

ARCHITECTURE+DESIGN Ma y 2 0 1 5 97
 recitation have to be contained in the temple itself. This
necessitates an enclosed volume having all provisions of
MEP and HVAC, audio-visual and CCTV services. The
distinction between the outside environment and the
inside environment of the temple becomes pronounced
and is not gradual as may be evident in countless
temples present on Indian landscape.
Networking: This temple is also a place of social
networking. Indian immigrants require help on all
fronts in the initial years of their settlement.
Disbursement of information about housing, bye-laws,
rents, study, job prospects happens naturally during all
temple events which invite community participation.
On all other days, interactions with fellow Indians are
fleeting and rare and therefore weekly temple events
Typical cultural event in Prayer Hall
in the form of gatherings, prasad, prayers and faithful
Identity conflict: Things that used to be taken for following of the Hindu calendar are felt as an
granted in India and that may mean religious, social opportunity to bond with the Indian community and
and cultural attitudes can no longer be taken as a given get help in all aspects of settlement.
in a new context. Unless one consciously strives to Concerns of Elders: This temple also hosts special
routinely involve oneself in thinking about India, what it activities for the elderly responding to their specific
means to follow religious practices, what it means to be issues of health and heightened sense of loneliness due
a Hindu, or to speak in one’s mother tongue, listen to to mobility restrictions, inability to communicate with
music, or follow customs, one faces the eventuality of their grandchildren on account of language barriers and
completely getting transformed into new belief systems huge generation gap experienced between them and
cherished by the new context. At the heart of the matter their family members. Temple is their place to feel at
is the selective rejection of one’s previous value system home and vent their concerns. Ancillary spaces are
in terms of faith, community, gender relations and constructed where the elders can do group exercises,
selectively accepting new value systems. The perceived come for talks, see movies, celebrate birthdays and
‘loss’ of identity or reinterpretation of being Hindu or socially bond with one another. Such spaces are also
following Hindu religion is expressed consciously in the used as Hindi language coaching classes for students, or
temple. The architectural vocabulary of this temple, where academic cultural knowledge of India is shared
imagery of idols, the ritual format practiced, the dress with the younger generation.
code during times of religious events, the participation Prasad: The Sunday Prasad (or the dining space
in festivals and cultural events assist in this constant catering to 500 people) also becomes a community
exercise of reinterpreting who we are and how we gathering place. Apart from the practical function to
understand ourselves and the larger context surrounding support catering requirements for marriages, festivals
us. In this respect, the prayer hall or mandap, functions and other cultural events taking place in the temple, the
as a gathering place to perform religious functions, dining space connects members of the community
celebrate festivals and organise cultural events such as amongst themselves.
dramas, music, dance, discourses and so on. The
external form of the temple thus deliberately is chosen
to resemble a traditional temple – not so much for
imitating but more for reminding who we are as a
community and what values this temple represents.
Defining one’s identity becomes a conscious process.
The architecture of the temple also needs to address
the local bye-laws and building safety regulations in
terms of fire (since panel construction incorporates
wood based technology) and weather protection, since
Vancouver experiences cold and wet climate for nearly
7-8 months of the year. Also, privacy concerns of
neighbouring residences have to be taken into account
and therefore noise generated during chanting, Food pendals installed at the time of Dassehra in the temple premises

98 M a y 2 0 1 5 ARCHITECTURE+DESIGN
 Discussion: The temple becomes a place expressing
the religious, social and cultural values of this
community as they respond to the context of Vancouver.
Provision of spaces need to respond to these
parameters. It is not only for prayers that one comes to
a temple such as this, but something more than that.
We need to understand firstly, the basic difference in
the context of Vancouver (as felt as a ‘foreign’ land)
versus any Indian city (as felt as ‘home’) and what it
Independence Day celebration feels like to stay abroad as a minority in the midst of a
totally different culture. The underlying theme that
Generation Gap: The generation gap is a point of comes to challenge is the notion of ‘identity’ or what
concern that is felt between parents who have we think of ourselves as Indians or Hindus or
migrated from India and their young children born individuals since it becomes clear that we are a product
and raised in new Vancouver. Ideas about marriage, of the context around us. By context I mean the land,
dating, money spending, lifestyle choices, faith people, religious, social, cultural values and all things
systems are in conflict between children and their that become a part of our psyche as we grow up in
parents. The difference in these value systems is India. Some of the generalised factors that define the
because no formal religious education or faith based context of India which were voiced by my interviewees,
education takes place in public schools in Vancouver. included– intense day-to-day social interactions and
This means the onus of religious and cultural cultural exposure to social customs which develop the
education of India falls on the parents and this temple, sense of community and how one starts to acquire
where religious, social and cultural dimensions are values and certain thought patterns about life; the
expressed through the events taking place in the relative cohesiveness in the religious attitudes of parents
and children; the culture of joint family systems;
meaning of religion as ingrained through religious
customs, rituals and the interdependence of social
network throughout different phases of life. Language,
clothes, food, music– virtually everything in India starts
to influence our identity as Hindus or Indians. We carry
this sense of ‘India’ or ‘Hindu’ wherever we go.
Vancouver represents a total change of this connection
with the surrounding context and the process of
adaptation of our value systems begins. And one of the
prominent places where such adaptation of values is
practised is the Hindu temple. It becomes their place to
redefine these values. Thus, every community derives its
own meaning from its Hindu Temple built abroad.

Author’s note: All images used are with permission from the
Marriage function in the multipurpose prayer hall of the temple Vedic Hindu Cultural Society

temple. Parents thus consciously bring their children as Niranjan Garde did his post graduation in Advanced Studies
often as they can, so that children learn to appreciate in Architecture from the University of British Columbia,
certain value systems which parents believe to be Vancouver and is currently associated with Mitimitra Consultants
important for their children to follow. These value Pvt Ltd, Pune.
systems are hoped to be learnt by observing, watching
rituals, volunteering for temple’s events, participating References:
in religious dramas, reading books kept in temple Jacobson, K A (2004). South Asians in Diaspora: Histories and
library and by other such means. Religious Traditions. Brill.
Finally, lifecycle events such as celebration of a Rukmani, T S (Ed.). (2001). Hindu Diaspora. New Delhi:
child’s birth, thread ceremony, marriage and rituals Munshiram Manoharlal Publishers Pvt. Ltd.
following important purchases also require support of Roberts, M W (2003). Transnational Geographies: Indian
temple priests. All these happen in the temple premises. Immigration to Canada. The Canadian Geographer, 47(3), 235-250.

ARCHITECTURE+DESIGN Ma y 2 0 1 5 99
Exploring Design

Design in Ceramics
Delhi Blue Pottery Trust recently presented the ‘International Ceramic
Conclave’ comprising the artworks of several international ceramists and the
potter community of India. The exhibition was held at the India Habitat
Centre, New Delhi. Architecture+Design brings across a few creative
works that were showcased in the conclave...

Designer:
Late Sardar Gurcharan Singh,
New Delhi

100 M a y 2 0 1 5 ARCHITECTURE+DESIGN
 Designer: Melanie Ferguson, US

Designer: Seungho Yang,

Korea

“The ceramic process is the recycling

of the earth from its origin”

Designer: Jane Jermyn,

Ireland

ARCHITECTURE+DESIGN Ma y 2 0 1 5 101
 Designer: Harkishan Prajapati,
New Delhi

Designer: Olga Ravinskaya, Russia

A variety of forms, a
variety of colours…
The endless process of
trials and error…
Development and creation,
realisation of a dream…
This is ceramic for me.

102 M a y 2 0 1 5 ARCHITECTURE+DESIGN
 Designer: Devi Prasad,
Uttar Pradesh

Designer: Ted Secombe,

Australia

Designer: Shozo Michikawa,

Japan

104 M a y 2 0 1 5 ARCHITECTURE+DESIGN
 Facades and Roofs in

Umicore India Pvt. Ltd.

102, Naman Centre, C 31&32,
Bandra-Kurla Complex, Bandra (East),
Corporate Office, Bhopal Mumbai – 400 051, India.
Tel. +91 22 6627 5656

www.vmzinc.in
Email at: vmzinc.india@ap.umicore.com

Commercial Building, Surat Corporate Office, Noida

 Designer: Ann Van Hoey,
Belgium

Designer: Steven Low Thia Kwang,

Singapore

Designer: Svetlana
Pasechnaya, Ukraine
Research

Reclamation of Kunds on Govardhan Hill, Braj

By Amita Sinha

G
ovardhan Hill in Braj is highly low ridge, rising no more than 100ft brother Balaram spent many hours
revered, as it is believed to be the above the surrounding plain. grazing their cows on the tender grass of
metonymic form of Krishna and Govardhan meaning ‘increaser of cattle’ Govardhan Hill. Its shady groves and
embodiment of his divinity. Its visual was likely a site of animistic worship by ponds were ideal places for Radha and
imagery alludes to many myths, of which primitive tribes who worshipped it as a Krishna’s play and its hidden caves for
the most popular one is Krishna holding yaksha capable of assuming any form— their intimacy. Here nature’s bounties
it up like an umbrella on his little finger bull, peacock or serpent. This primitive were abundant– pure water from its
to protect his community from the floods animism was co-opted in the Puranic lore waterfalls, many varieties of herbs, fruits

Rudra Kund
Surabhi Kund Hariji Kund Manasi Ganga
Apsara Kund
Brahma Kund
Naval Kund
Rat
Charnamrit Kund
Govind Kund
Jugal Kund
Shankal Kund

Narad Kund

Kunds of Govardhan Hill

sent by the wrathful god Indra. Other of boy Krishna lifting the hill, a defining and flowers, and minerals and gems
representations include the mountain- episode in establishing his prowess. Over (Brahmacari 1997). The idealised
river dyad of Govardhan Hill and Yamuna time Govardhan, also known as ‘giriraj’ the depictions of Govardhan Hill are that of a
River flowing at its foot, the Hill Annakut king of hills and Krishna began to be lush landscape with abundant water
as a mountain of food, Krishna filling the perceived as one and the same illustrating bodies and diverse flora and fauna.
hollow of a cave in the hill, and the hill the conceptualisation of natural archetypes Individual sites on the hill were visualised
as a peacock and a bull (Entwistle 1987, as metonymic forms wherein the hill, river with imagery drawn from Krishna
Toomey 1994, Vaudeville 1980). or tree can evoke the entire natural world sporting with Radha and other gopis in
However, quite unlike its conical as a form of divinity (Sinha 1996). verdant, Eden-like setting of kunj (bower)
representations, Govardhan Hill is a long, It is believed that Krishna and his and nikunj (arbor). Medieval paintings

108 M a y 2 0 1 5 ARCHITECTURE+DESIGN
 show them in a green, rolling landscape
with the River Yamuna or a pond in the
foreground, occasionally a settlement on
the horizon. They show an intimate space
framed by trees and creepers where
Radha and Krishna are dancing or locked
in an embrace, often surrounded by a
circle of gopis (Isacco and Dallapiccola.
1992, Randhawa 1972, Ohri and Craven
Jr 1998). The imagined landscape is
based upon actual places and in turn
guides their making revealing the
reciprocity between representation and
physical reality (Hays 2007).
Kusum Sarovar

Place Archetype
The picturesque water bodies situated fed by natural springs, others are rain-fed practice of ban yatra or journey into the
in the midst of vans (forests) were not only and replenished by surface flow. Those at forest (Haberman 1994). In the 84kos
settings of amorous play of Krishna and the foothill collect runoff from the hill (168 miles) pilgrimage of Braj,
gopis but also sites of his propitiation by through the gravity-fed water conveyance circumambulation of Govardhan is
system. A few kunds are built in pairs, with recommended on the seventh day and
one catching the overflow of the other. pilgrims are advised to spend the night
Settlements are centred on the kunds— there. As many as 23 kunds in and around
Govardhan is built around Manasi Ganga, Govardhan Hill are visited by pilgrims in
Jatipura round Hariju Kund, Aniyor has the course of their parikrama. Kunds
Govind Kund, and Apsara and Naval kunds situated in vans are ideal locales for resting
are foci of Punchari village. Their street because of their sacred ambience,
network is oriented around the kunds, the proximity to the parikrama path, open
Udhhav Kund
Shiva Khari
only public open space within the space in the vicinity for camping and raas
tna Kund
Lalita
settlements. Radha-Shyam kunds and lila performances. The kund-van-temple is
Kund
Kusum Sarovar
Radha Kund Manasi Gangaare social spaces used for a node in the parikrama circuit where the
Shyam Kund
kirtans, bhajans, festivals, rituals, bathing pilgrim can perform ablutions, obtain
and places to meet others. Sacred and darshan, listen to discourse, and reflect on
secular activities interweave creating a rich the story just heard.
fabric of vibrant public life. A few kunds at
the base of the hill – Ratna Kund, Surabhi Reclamation of Kunds
Kund, Hariju Kund, Airavat Kund and Today many kunds lack water or their
Kunds Kusum Sarovar – are located within groves. water quality is degraded because of
Water Bodies
Wells Those away from the hill—Vilachu, Gauri, algae and sedimentation. Farms and
Tube Well
Canal
Kilol, Sakhi and Narad kunds, once houses have replaced their groves. The
surrounded by grove, are now amidst traditional system of water harvesting,
farms. Yet others – Jugal, Malyahari and conveyance and distribution appears to
Indra kunds – have farms, housing and have become dysfunctional and there is
remnant groves surrounding them. little evidence of community
other gods. Although their actual number A shrine or a temple close to the kund maintenance. Kunds amidst dense
on Govardhan Hill is far less than the celebrates the event believed to have taken settlements have poor water quality
imagined 108, it is large enough for them place at that spot in mythic time. The because of waste-water drainage from
to be an important presence in the hilly temple/shrine, kund and van thus form the streets and from adjoining houses as well
landscape. They are a source of water to place archetype, repeated as a modular as residents’ cleaning activities. With a
the cattle and for irrigation of farms and unit in the cultural landscape of Braj (Shah few exceptions, they are not visible from
orchards. Some are ponds with an irregular 2007). Narayan Bhatt, author of Vraj the road and neither are other place
edge, others are built up as square and Bhakti Vilasa is credited with the markers such as raas-sthal is where stories
rectangular kunds (tanks) with ghats (steps) rediscovery of sacred sites of Braj in the can be narrated, sung and interpreted
and ornately carved pavilions. Some are sixteenth century and establishing the through dance. The opportunity to

ARCHITECTURE+DESIGN Ma y 2 0 1 5 109
 Kunds in groves are closest to the
idealised representations and should be
restored and reclaimed as padav sthals
(resting places) for the pilgrim on the ban
yatra. The outlying kunds surrounded by
farms should be designated as protected
sites with a buffer zone of 200m (using
the Ancient Sites and Monuments Act of
the Government of India) where groves
can be replanted. Kunds in proximity to
the inner parikrama path – Kusum
Sarovar and Uddhav Kund – in the
northern section, and Hariju, Airavat,
Surabhi, Apsara and Naval kunds in the
southern section of the hill, are in the
midst of remnant forests with clearings
where the pilgrims camp overnight during
Proposed Padav Sthal at Kusum Sarovar
their journey. These should be the
experience a pond in the grove where transport shortens the eight hour long priority for reclamation efforts, including
one can bathe, meditate, and visualise trip to 30 minutes. Pilgrims pressed for planting of trees after which the grove
the pastoral scenes of Krishna teasing the time or unwilling/unable to walk thus was named (ashok, kadamb and dhak),
gopis and dancing with Radha is choose the easy way and insulate remediation of water quality and
increasingly difficult to obtain and themselves from directly experiencing the restoration of ghats, and provision of
generally only available to those who landscape (Shinde 2010). They have camping facilities in open spaces.
choose to walk on the inner path at the fewer direct physical and sensual Circumambulating the hill would then be
foothill. In recent years the road around encounters with the kunds and the traversing through a series of garden-
Govardhan Hill has provided an consequent disengagement limits their groves that will be resting places for the
alternative to walking since mechanised ability to envision the divine in nature. weary pilgrim.

Surabhi Kund

110 M a y 2 0 1 5 ARCHITECTURE+DESIGN
Padav Sthal in the Northern Section of and chanting. Kusum Sarovar is proposed Sutala), temples (Narsimha, Apsara-Bihari,
the Hill as a major padav sthal in the reforested Punchari Ka Lautha) and Mani Kandali
Kusum Sarovar in the northern section Ashok and Pushpa Vans with a camping Cave. The sites are situated in the midst of
of the Govardhan Hill derived its site, wildlife lookout pavilion and bird partially denuded Apsara and Sutala Vans
importance from being situated in Pushpa feeding areas. The dense kikar scrub on the with a large clearing at the edge of water
Van (forest of flowers) where Krishna and west should be cleared for a camping site bodies. Apsara and Naval kunds are
Radha quarrelled and were brought linked with trails to Uddhav Kund and the perceived to be liquid forms of Radha and
together by Radha’s sakhis (friends). At the historic charbagh gardens around the Krishna, their waters symbolising the
nearby Ashok Van, Krishna braided pavilions restored as kunjs (or kunds) with essence of their love. The clearing at their
Radha’s hair with flowers and adorned her flowering shrubs. edge is the site of Radha and Krishna’s raas

Proposed Padav Sthal at Surabhi Kund

with jewellery. An adjacent temple is Padav Sthal in the Southern Section of with the gopis. Punchari Ka Lauta Temple is
dedicated to Uddhav, Krishna’s friend and the Hill dedicated to a cowherd friend of Krishna
cousin. Upon Krishna’s departure from Along the inner parikrama path, who waits for him to return from Mathura.
Braj, the gopis were inconsolable and between the villages of Punchari and The site redesign proposal aims at
Uddhav, sent as Krishna’s messenger, was Jatipura, the Kadamb forest opens into a improving the water quality of the twin
so enraptured by their devotion that he clearing with three kunds— kunds, restoring their ghats and creating
became a creeper on the banks of the Hariju/Rudana, Airavat and Surabhi. spaces for kirtan and raas lila. Water
Sarovar, a witness to the eternal lila of Rudana Kund overlooking the larger quality will be remediated by planting
Krishna and the gopis. Uddav Kund, Hariju Kund (named after Krishna’s lotuses that decrease algae growth and can
located on the western side of the hill and cowherd friend) was filled with Shiva’s be used in temple worship. Low steps are
accessible only from the outer road, is a tears of ecstasy when he was meditating proposed at the edge of the clearing,
smaller replica of Kusum Sarovar. on Krishna and Radha. The clearing is creating a performance space for raas lila.
Kusum Sarovar and its pavilions, built in ideal for camping but it needs lighting,
1764 CE by Jawahar Singh, the ruler of composting toilets, clean drinking water Community Kunds
Bharatpur, are protected by the Uttar and cooking facilities. The proposal for Kunds in the midst of dense settlements
Pradesh State Archaeology Department. padav sthal delineates trails leading to face additional challenges in their
The pavilions contain the samadhi nine sites, each surrounded by six camps restoration as clean water bodies
(memorial) of Suraj Mal (and his two thus accommodating 250-300 pilgrims. appropriate for ritual practices as well as
queens) father of Jawahar Singh and The camps face a central open space with vibrant public spaces of their local
patron of Govardhan. The central pavilion a multifunctional spiral cob bench built communities. The twin Radha-Shyam
has Krishna’s footprints in marble on the with locally available materials and kunds situated in the midst of Radha Kund
floor and painted frescoes on the ceiling decorated with local sanjhi art. It has a village at the now vanished tip of
showing episodes from the lives of Krishna built-in stove that can be used for meal Govardhan Hill are perceived to the eyes of
and Suraj Mal. The ornate ghats and preparations by ban yatris. Govardhan Hill popularly imagined as a
platforms of Kusum Saravor draw many Punchari (literally tail), the southern tip peacock (Brahmacari 1999). They are
visitors and are used by local residents for of Govardhan Hill, has a cluster of sacred believed to be the co-mingling aquatic
their daily bathing and washing, praying sites including kunds (Apsara, Naval, forms of Radha and Krishna. Medieval

ARCHITECTURE+DESIGN Ma y 2 0 1 5 111
Proposed reclamation of Govind Kund

texts describe the kunds as being

surrounded by kunjs, with swings hanging
from kadamb, mango and bakul trees. The
kunds were lost in time but were
re-discovered by Chaityana Mahaprabhu
and rebuilt by his disciple Raghunath Das
in mid-sixteenth century. There are many
place-markers around the kunds—jihva-
shila (tongue of Giriraj/Govardhan), five
trees symbolic of the five Pandavas of
Mahabharata, Chaityana’s baithak (seat),
Raghunath Das’s bhajan-kutir and samadhi
and raas mandal at the southern edge of
Radha Kund.
The kunds are visited by a large number
of pilgrims for bathing and
circumambulating, especially on
Krishnashtami (Krishna’s birthday) when
they apply the mud of Radha Kund on
their foreheads. The water quality of the
kunds is poor because of lack of sewage
and drainage system in the surrounding
settlement, solid waste management
Govind Kund problem and sludge created by stagnant

112 M a y 2 0 1 5 ARCHITECTURE+DESIGN
water. Lalita Kund feeds the twin kunds perception of the landscape decreases. Trust for Art and Cultural Heritage, for sharing his
and in turn receives water from a cascading It is believed that Braj has been research on Govardhan.
series of low lying natural water bodies reclaimed repeatedly since antiquity; the
surrounded by farm fields. Green terraces most recent appropriation occurring References
and floating islands of pollutant absorbing about five centuries ago after Islamic Brahmacari, Rajasekhara Dasa. The Color Guide
aquatic vegetation are proposed for iconoclasm destroyed the local temples, to Govardhana Hill: India’s Most Sacred
filtering water as it flows down to Radha- led by charismatic saints who galvanised Mountain (New Delhi: Vedanta Vision
Shyam kunds from the outlying ponds. In mass movements of piety and initiated Publications, 1997).
addition perimeter sand filtration beds pilgrimages to Braj. Much of what is seen Brahmacari, Rajasekhara Dasa. The Color Guide
around Lalita Kund are designed to catch of its landscape today stems from to Radha Kunda: The Holiest of all Holy Places
and filter water from the surrounding historical events and the activities of (New Delhi: Vedanta Vision Publications, 1999).
residential area. charismatic saints—Narayan Bhatt, Isacco, Enrico and Anna Dallapiccola (ed.) Krishna,
Govind Kund at the Govardhan foothill Chaitanya, Vallabha and Madhavendra The Divine Lover: Myth and Legend through Indian
is situated at the edge of Aniyor village Puri—who had visionary experiences of Art (Bombay: B I Publications, 1992);
and on the inner parikrama path. Close Radha and Krishna, rediscovered deities Entwistle, A W Braj: Centre of Krishna Pilgrimage
by are Sankarsana Kund named after in ponds, and established the pilgrimage (Groningen: Egbert Forsten, 1987).
Krishna’s brother Balram and Nipa Kund circuit in the sixteenth century. Today the Haberman, David. Journey through the Twelve
in the kadamb grove where Krishna and sacred sites of Govardhan Hill face the Forests: An Encounter with Krishna (New York:
his friends ate gopis’ milk and butter in challenge of public neglect, loss of royal Oxford University Press, 1994).
cups made from tree leaves. The washing patronage and deforestation. Restoration Hays, David, “Landscapes within Buildings,”
and cleaning activities of village residents of the archetypal landscape of pond- Harvard Design Magazine 29 (Fall 2008/Winter
have contaminated the water quality of grove-shrine is therefore imperative for 2009): 110-117.
the kund and it also lacks resting places improving the ecological health of Ohri, V S and Roy Craven Jr (eds) Painters of the
for the pilgrims. The site redesign Govardhan Hill as well as conserving its Pahari Schools (Mumbai, Marg Publications, 1998).
proposes selective demolition of derelict rich intangible heritage. Govardhan Randhawa, M.S. Kangra Valley Painting (New
buildings around the kund to introduce kunds, lined by temples and shrines, are Delhi: Publications Division, Ministry of
public spaces—entrance plazas, shaded public spaces for the local communities Information and Broadcasting, Government of
squares, and widening of ghat terraces for and sites of ritual ablutions by pilgrims. India, 1972).
worship and congregation at the water’s Their reclamation will be a catalyst for Shah, Behula, “Braj: The Creation of Krishna’s
edge. A separate smaller tank above the conservation of the larger cultural Landscape of Power and Pleasure and Its
main kund for washing and bathing landscape and its management as a Sixteenth-Century Construction through the
activities of the villagers is proposed so protected heritage zone. The regenerated Pilgrimage of the Groves” in Michel Conan (ed)
that its grey water can be filtered through Govardhan Hill can become an exemplary Sacred Gardens and Landscapes: Ritual and
a gravel and sand bed and distributed to precedent for other holy sites in Braj that Agency, 153-172 (Washington, DC: Dumbarton
adjacent orchards and fields. are rapidly losing their water bodies and Oaks Research Library and Collection and
forest cover. Spacemaker Press, 2007).
Conclusion Shinde, Kiran, “Sacred Performances, Sacred
The powerful iconography of Amita Sinha is a professor of Landscape Landscapes: Connection & Cacophony”, in Rana
Govardhan Hill in popular imagination Architecture at the University of Illinois at P.B. Singh (ed) Holy Places and Pilgrimages:
creates an expectation that its actual Urbana Champaign. Essays on India. Planet Earth & Cultural
landscapes conform in some degree to its Understanding Series, Pub 8 (Cambridge Scholars
representations. The loss of water bodies in Acknowledgements Publishing, Newcastle upon Tyne, UK 2010), pp
groves leads to weakening of place This article draws upon proposals developed in a 211-230.
memories, in turn affecting one’s capacity landscape design workshop on Govardhan Hill Sinha, Amita. Landscapes in India: Forms and
to envision. The dissonance between the conducted at the site in collaboration with Braj Meanings (Boulder, Colorado: University Press of
current reality and the imagined landscape Foundation, Vrindavan and subsequently at the Colorado, 2006; reprinted by Asia Educational
is causing the disappearance of many University of Illinois at Urbana Champaign in Spring Services, 2011).
traditional ritual practices that promote an 2010. Landscape planning, design and Toomey, Paul. Food from the Mouth of Krishna:
immersive sensual engagement with the management proposals are detailed out in the Feast and Festivities in a North Indian Pilgrimage
landscape with the potential of visionary project report Govardhan Hill in Braj, India: Centre (Delhi: Hindustan Publishing Corporation,
experiences. The possibility of Imagined, Enacted and Reclaimed, 2010. Braj 1994).
transmutations between vegetal and Foundation has so far restored Rudra Kund and Vaudeville, Charlotte, “The Govardhan Myth in
aqueous forms and mythic personas Sankashana Kund. I am grateful to Divay Gupta, Northern India”, Indo-Iranian Journal, 22 (1980),
occurring in the devotee’s heightened director of Built heritage Division at Indian National pp 1-45.

114 M a y 2 0 1 5 ARCHITECTURE+DESIGN
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