ArchitectureDesign_2015-05

MAY 2015

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             Lesso                       

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ABOUT THE ISSUE

18   REFLECTIONS 20   UPDATES

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 ARCHITECTURE FOR DIVINITY 28

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Explorations in emotive, engaging and experiential space making... Yatin Pandya Incorporating Curvilinear Forms Botta Cripta, Bergamo, Italy

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Functionally, religious centres have expanded… Narendra Dengle  A Spiritual Setting Mhasoba Mandir, Kharawade, Pune Narendra Dengle and Associates, Pune  The White Church Parish Church of Solace, Cordoba, Spain Vicens + Ramos, Madrid, Spain  Sacred Space Universal Prayer Hall, Gurgaon, Haryana Sikka Associates Architects, New Delhi  A Community Church Community Church Knarvik, Hordaland, Norway Reiulf Ramstad Arkitekter, Oslo, Norway  The Meditation Hall Meditation Hall, Sri Aurobindo Ashram, New Delhi Design Consortium, New Delhi  Centre for Inner Growth Dhyanalinga Yogic Temple, Coimbatore Isha Yoga Centre, Coimbatore  The Role of the Hindu Temple for the North Indian Community in Surrey, Vancouver  Niranjan Garde 

EXPLORING DESIGN

Gianluca Gelmini, Bergamo, Italy  Minimalistic Design Shiv Temple, Pune, Maharashtra Sameep Padora & Associates, Mumbai  Breaking Rigid Boundaries Sancaklar Mosque, Buyukçekmece, Istanbul

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Emre Arolat Architects, Istanbul, Turkey 

116   PRODUCTS

Design in Ceramics 108   RESEARCH Reclamation of Kunds on Govardhan Hill, Braj Amita Sinha

about the issue

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Sancaklar Mosque, Buyukçekmece, Istanbul (Architects: Emre Arolat Architects, Istanbul, Turkey) All drawings and visuals for the projects and articles, unless mentioned otherwise, are courtesy the architects/authors.

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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. The Community Church in Norway designed by Ramstad Arkitekter stands apart 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 development. Inspired by the Buddhist architectural form, the Meditation Hall at  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. Artistic creativity 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 

ARCHITECTURE+ DESIGN  A

“Architecture is the will of an  epoch translated into space ”   – Mies van der Rohe 

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Editor-In-Chief SUNEET PAUL Architectural Assistant  ASHNA PURI Senior Sub Editor  POTSHANGBAM JULY Creative Director  BIPIN KUMAR Assistant Art Director  JOHN ROY MarketingDesigner  UPPALLI DAVID

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                         

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.

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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 · Inter national Projects · André Ng 10 Raeburn Park #02-08 · Singapore 088702 · Phone +65 6692 8029 Fax +65 6692 8001 · [email protected] · www.bega.com

Das gute Licht. For safer paths.

Updates Fast Track Architecture

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outh Florida-based architectural firm Nichols Brosch Wurst Wolfe & Associates (NBWW) announced that its latest project ‘The Hilton West Palm Beach’ has topped off. The  transformative new development, which is connected to the existing Palm Beach County Convention Center, will serve as a driving force for downtown’s burgeoning urban landscape. The structure, which boasts 400 spacious guest rooms and suites and over 24,000 sq ft of contemporary meeting space, was thoughtfully envisioned by N BWW. The firm sought to create more than just a n expansive resort, but an urbane, tightly knit neighborhood experience. Instead of  designing a front garden with a grand arrival sequence,  typical of other conven tion ho tels, t he firm pushed the building toward the sites edge to create an impactful street presence. This approach to the positioning of the p roperty enabled the firm to design added amenity-rich elements inclusive of a spacious recreation deck along the back of the building, adjacent to the ba llroom facilities. The 12-storey building features a three-storey accent overlooking Okeechobee Boulevard, which called for special detailing and materials, making this added layer a prevalent element of the hotel. The aesthetics of the building were inspired by the convention centre, a streamlined approach that allowed for efficient spaces and clear architectural expressions. The hotel’s massing is accentuated with deep cantilevering trellises on the buildings parapets. For more information, visit: www.nbww.com.

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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 reinforce the crystalline form while celebrating the  tower ’s verticality. Entirely encased in floor to ceiling high performance glass, the skin design features integrated ceramic shading elements that offer added solar control while maintaining ample natural light without obstructing views. Designed to LEED-NC Gold standards, façade is one of many features holistically integrated towards reducing the project’s environmental footprint while providing a world class level of comfort and quality. “The NRC Tower will not only be a symbol for Nanning’s fast growing economic prosperity but a bold symbol of its dedication to environmental responsibility upon its completion in 2019,” said Travis Soberg, AIA, principal at GP.

rtopex, one of Quebec’s leading manufact urers of office furniture, has commissioned a Canada-based architectural firm Lemay to design its new showroom in the heart of historic Old Montreal. The project is located in the prestigious former headquarters of the Royal Bank of Canada. The emblematic building has been completely revitalized and rethought in order  to give Artopex a space t hat reflects its image and values. Starting at the entrance, an uninterrupted ribbon of images of Quebec landscapes guides visitors through the diff erent zones of the showroom, spread accross two basement levels. Quebec’s urban, industrial and natural landscapes translate Artopex’s commitment towards the community and the environment,  two values at the core of the company’s culture. The pixelated  treatment of the background images creates a defocused effect that directs the eye toward  the product, making an original contribution to its display From the outset, the architects faced two major challenges: the front door is dwarfed by imposing neoclassical columns, and the showroom’s basement location suffers from a shortage of natural light. In response to the first, an enormous LED-animated marquee draws the gaze and energises the entrance with a variety of lighting effects. Addressing the second, a large opening in the floor leads to oversized wooden stairs serving as a meeting place as well as a display space, while flooding the lower levels with natural light. The arrangement of the different zones, linked by lighting effects, creates several contrasting ambiances that enhance the visitor experience. Photo credit: Claude-Simon Langlois 

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,  the project is sited along Minzu Avenue at the heart of the burgeoning Fengling District. The 255,000sq m tower is linked to public transportation through underground connections at the B1 level, and to adjacent buildings via indoor and outdoor pedestrian corridors at the ground and sixth floors respectively. The design of the tower is derived from its multiple uses which include 170,000sq m of class A office space, 5,000sq m of boutique retail, and a 45,000sq m luxury Shangri-La hotel. The massing of the building steps and tapers to accommodate the changing floor plates of the various program types, resulting in a form that is both efficient and identifiable. Paul De Santis, LEED AP, principal at GP, said, “The overall effect of the tower is of a crystalline form

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Updates Competitions

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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, one of India’s leading cultural institutions, is in the process of  creating a dynamic new identity for itself as a cultural hub in Mumbai  through a major expansion plan that includes a 130,000sq ft new building to be called the ‘Mumbai Modern Wing’. The new addition to the existing museum will comprise a new gallery space, an interpretation centre, a library, an archive, conservation facilities and a new museum shop and café. At the heart of the new wing will be a permanent

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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  temporary exhibition spaces of international. The competition was organised by Malcolm Reading Consultants on behalf of the Museum. 104 submissions were received from the world's most renowned architects from whom 8 were shortlisted. The Municipal Commissioner of Mumbai and Co-Chairman of the Museum Trust, Mr Sitaram Kunte, chaired the eminent eleven member jury, notable for its array of leading international figures from the museum world, academia and the business community.

he SBID International new categories– Office Design and Design Awards 2015 Healthcare Design which will be added has announced a call for  to th e existing popular categ ories entries. Architects, ranging from best Hotel Design, Retail interior designers and Design and Intelligent Design to best KBB manufacturers are invited to submit their Project, Public Space and Visualisation projects and products for the current (3D renderings) to make a total of edition. The deadline for submitting 14 categories. entries is July 30, 2015. The SBID International Design Awards This year’s edition will include two has come to be regarded as one of the

highest accolades in the interior design industry. Each category undergoes an exclusive two-tier judging process by panels of leading industry experts for both technical content and aesthetic creativity and evaluates elements, such as brief compliance, budget, health & safety, and fit-for-purpose design. To know more, visit: www.sbidawards.com

Exhibition

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enewable Energy Asia 2015, the 11th South East Asia's Renewable Energy Technology Exhibition and Conference, will be held at BITEC, Bangkok, from June 3-6, 2015. The event will feature the latest energy sources and systems along with cutting edge machinery, equipment and renewable energy technology. The latest wind & solar power projects are among the many systems that will be featured along with thermal, hydro-power, bio-mass and other

green technology. The event will also host the 11th International Renewable Energy Conference under the  theme "The Future of ASEAN Renewable Energy in the Light of Energy Price Volatility”. The conference will be attended by representatives from world leading companies, academics and researchers and share their views on the future of renewable energy in today's rapidly changing world. To know more, visit: www.renewableenergy-asia.com

Trade news

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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.

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ARCHITECTURE+DESIGN

Updates Trade news

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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

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arkthal designed by Netherlands-based architectural firm MVRDV has been selected for the MIPIM Award 2015 for Best Shopping Centre. MIPIM, the world’s largest real estate and property fair, is held in Cannes in March each year, attracting more than 25.000 people. The prestigious award is chosen based on an equal split between the votes of the jury and  the votes of the attendees of t he conference. This year’s jury included Kengo Kuma and Dominique Perrault, in addition to nine other industry leaders

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eiss Architecture & Urbanism Limited has been awarded an OAA Award in the Concept Category for  their whimsical, snow covered Warming Hut in Winnipeg, Manitoba. The design was inspired by the 1 955 Looney Tunes

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from the fields of property and real estat e. The Markthal beat out three other buildings, in Paris, Tianjin, and Tangerang in Indonesia , to win the award. On receiving the award, co-founding director of MVRDV Winy Maas, said, “The MIPIM award recognises innovation and daring in the building sector. The developer Provast dared to realise our vision for a new typology, and the building is now honoured on the global real estat e stage. That is a fantastic reward for a developer who dared to think outside the box in that way". To know more, visit: www.mvrdv.com

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 are bright orange, yellow, pink, blue, green, and purple. Fitted with a wooden bench, the large vaulted space of the hut functions as a refuge from the cold winds howling down the river. The colourful array o f holes on t he snow’s surface brighten up the cold and wintery landscape. To know more, visit: www.weissau.com

 Ar chitec ture for Divi nity

explorations in emotive, engaging and experiential space making– 

Shantivan Memorial – Delhi Architects: FOOTPRINTS E.A.R.T.H., Ahmedabad 

 Yatin Pandya

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rchitecture is a celebration of life. Manifestation of an idea, it encodes messages and emotes feelings. Architecture communicates through spatial tools, may they be  the space sequences and its organisation, elements

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dialogue between the user and the architectural product. The affectivity of the communication depends on the easy comprehension of the encoded messages and their appropriate compliances in built form. This communication takes place at three

of space making, their scale and form, or the symbolism of surface articulation. It is this aspect of  encoding and decoding that sets an instantaneous

levels– sensorial, experiential and associational. Sensorial perception refers primarily to physiological comforts arising out of physical

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 Dadamiyan Masjid, Ahmedabad Architects: Hiren Patel Architects, Ahmedabad 

Hindu is about introspection and therefore architectural space sequence response is a gradual 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

conditions essentially in response to environmental control. This bodily perception is humanly universal.

progressively changing from stories of mortal world to celestial. All these nuances of space making help the perceiver transit from the collective, busy, amorphous, distracting and bright space to quiet, dark, personal, intimate and cosy space to have personal dialogue and introspection.

Also universal is the experiential aspect; however it deals critically with the mind and cradles emotions. The process is spontaneous and reactionary to the nuances of space configuration and its dictates. While, the associational is the locale specific

For the temple, the gopuram– a tall entrance gateway provides the visual reference from far distances. It reminds one of having entered the religious realm. Guided by gopuram when one enters the gate, the subsequent layers of walls take

perception requiring pre-conditioning, familiarity or  the acquired information base. It creates spiritual bonds and succeeds through in-depth understanding of cultural connotations. The complete communication is through wholesome balance of all the three. With these, architectural

over. The direct path of movement is deflected by  the baffles in the form of wall planes and sculptural masses guiding one around the structures. Circumambulation is part of the ritual. Each turn orients one to the shrines of sub deities. Series of  such foci and sequence of colonnades slowly

spaces can potentially nourish emotionally and spiritually. Religious architecture best illustrates this phenomenon as these places are more about emotional engagement than functional performance. The concept/philosophy of worship

withdraws from corporal worlds to enter the spiritual one. Open colonnades gradually get further and further enclosed as the sense of enclosure increases through sabha (nritya) mandapa and goodha mandapa with increased presence of wall

 translating into expected performan ce resolves architecture accordingly. Sacred spaces exploited these phenomena to

planes. The intensity of light inversely decreases and gets nearly dark at the fully enclosed garbhagriha. The dark space renders the form of idol

Plan of Dadamiyan Masjid

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imperceptible and thereby inconsequential. Form of  an idol is what the mind’s eye conjures. The

 through the space. The simultaneous process of  concealment and revelation of information brings

personal intimate space allows for concentration of  mind and notions come through. Motifs and sculptures along the movement corridor condition the mind while they too transform with increasing penetration into the precinct through

about the element of mystery, inviting exploration. This sense of discovering space is orchestrated by the shift in visual and physical axis. Movement through  the space is most critical rather than the externalities of form or the shape of elements. What matters is the

depictions of royal stories to that of nymphs and apsaras  to gods and goddesses. Each baffle creates a pause to discover and reorient. Next set of clues get

composite resolution of the ensemble and its multifarious frames from a changing point of view– a  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

Iskcon Temple, New Delhi Architects: Achyut P Kanvinde, New Delhi 

as to become the distant visual feature. Open court– Riwak , remains flexible gathering space for collective prayers and Liwan – the cloistered colonnade, 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

unfolded at every subsequent pause creating sequential unfolding and sense of discovery. The

 to the God. Sermons and preaching are integral aspects of prayer to remind and explain God’s words– the Gospel ; and thereby collective praying remains the denominator. The majesty of scale, verticality of internal volume, formality of 

extended movement adds the element of time over space while helping conditioning of the mind. Thus makes the journey physically and mentally engaging and essentially experiential where predetermined vignettes are sequentially unfolded as one moves

organisation through symmetry and elongated aisles, top-lit naves, larger than life stain glass dioramas , pervading silence, all of these help enhance the glory of the God and humility of the mankind in comparison.

Plan of Iskcon Temple

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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 Lotus Temple, New Delhi

from traditional practices and have maintained the 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 observ er 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

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Vietnam War Memorial, Washington, D.C

 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

Plan of Matrimandir 

On the other hand, the contemporary shrines,

closer look. Further journey through twelve petals like structure, also associatively symbolic of Shri Aurobindo, gradually disengages one from the surrounding and sucks one to the inner volume. The inner sphere with self lit membrane panel provides for

created through professional interventions have resorted to degrees of abstractions. For example, architect Satish Grover created a modern Buddhist shrine using the assembly of elements of traditional Stupa architecture but building them in contemporary materials like steel and concrete with simplification of 

 the large and singular hollow for the journey within. The spiral ascent through ramp suspended within inner hollow gradually disorients from the conditioned, pre learnt associations and creates  transition for the intuitive journey. The ascent culminates into mysterious chamber where top lit

detailing as well as filigree, yet retaining simile of   their form and profile. Architect Achyut Kanvinde abstracted the shikhara form and chaitya windows in Iskcon temple of Delhi  to the degree of retaining their identity to traditional

crystal provides the central focus for meditation, while  the light radiated through internal reflection of the crystal pervades magically to offer enough darkness not to be distracted by anyone else’s presence within  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

Sri Sai Spiritual Temple, Bangalore Architects: Mindspace, Bangalore 

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circular geometry yet dynamics of lights and shadows providing accent to different directions over diurnal or annual sun cycles. Architect Hiren Patel has had his stint of  abstractions and geometrical references used to

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 v alue to make it wholesome architecture with humour, satire, agitation and consolation. Two wall planes put in Plan of Sri Sai Spiritual Temple

obtuse angle point ironically to Capitol and Lincoln 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

conjure domical Islamic structure at Ahmedabad, while building newer additions of sacred and cultural

perished. Names engraved over glossy stone create amusing graffiti and dynamic compositions with light and shadows. Gloss of stone reflecting onlooker’s face against the backdrop of soldiers’ name compels one  to question self and agitates to think futility of war.

places for Islamic faith in newer set of materials. The MIT chapel at Boston by Eerro Saarinen creates  the psychedelic experiences by the play of lights. Essentially organised as the cylinder within the cylinder, it has arched openings at the base of the drum. The outer cylinder is flanked by the water body.

Names inscribed in non alphabetical manner engage  the perceiver to discover the name one is looking for and thus involving him in the ritual. It also consoles  the visiting family to know that many soldiers in addition to their dear ones died for the national cause. The texture created by engraved names makes

As a result sunrays bounces off the water body and gets reflected on the circular wall inside. As the wind flows, the reflection dangles with the movement of  water. Circular wall of the inner drum further distorts  the shadow forms. Thus, along the route of movement

it intensely interactive allowing the relatives to touch, feel and caress the loved one. Not only that but putting the paper overlay and rubbing of crayon generates impression of name as souvenir to carry back. Cobbled stone strip of floor next to the wall

it creates the sense of turmoil through constantly and unpredictably moving reflections and ever changing shadow patterns. The inner space in contrast is serene and soothing with top lit drum and singular focus. Architect Tadao Ando achieves the meditative

allows the flower, wreath or personal notes to be placed in front of the names. The reductively tapering wall in the exit journey creates reverse transition to bring one back to present realities and ask one question what was war’s worth and what was I

mood in the nature blessed church site with minimal wall surfaces or built volumes. Chapel of water,  through movement path defined along water, scale modulation and view compositions through changing reflectivity in still water, and play of light through

doing? An amazingly interactive, evocative and emotionally engaging architecture with only two walls and a ground plane... Timeless architecture trades on dualities of time and space, of mind and matter, of the notions and

backdrop of altar wall with cut-out and penetrating sunlight forming the associable holy cross form and sense of infinity with unending view of landscape create serene space conjuring ethos of traditional churches and yet introducing absolutely contemporary idioms of modern architecture in

reality, of the microcosm and the cosmos, of the ‘conceptual’ and ‘perceptual’.

Section of Sri Sai Spiritual Temple

Yatin Pandya is the principal architect of FOOTPRINTS  E.A.R.T.H., Ahmedabad, and an ardent writer on various issues  in architecture.

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 Ar chitec tu re for Di vi ni ty

Incorporating Curvilinear Forms... Project: Botta Cripta, Bergamo, Italy  Architects: Gianluca Gelmini, Bergamo, Italy

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T

he project of the renovation of the crypt is part of a bigger project for the church of Sacro Cuore e S Egidio Abate in Sotto il Monte (Bergamo). The project included the renovation of the church's nave (floor and presbytery) and the external parts (walls, roof and the new belfry). This church was built in the 1930 but the original project was never completed. The original project included the construction of the church vestry in the west side of the altar. The project was never realised, but the need to connect the interior of the church

with the underground crypt led to the creation of a link that appeared inconsistent with the architecture system, with spatial and functional limitations . The project of the new link has been created with the dual purpose of restoring balance and continuity to the west elevation of the church and give the right importance to the stairs connecting the crypt and the nave, using natural light as the main element of the space. The use of curvilinear forms has allowed the architects to circumvent the restricted size, without the perception of the

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GROUND FLOOR PLAN

corners. The large window leads a lot of light in the space and, thanks to white walls, spreads widening perception until  the crypt level. The work in the crypt concerned in the first place the reorganisation of the perimeter walls from the damp. Also, in

 this space much attention has given to light, in particular the relationship between natural light and artificial light. Artificial light has been specially designed to create a light installation consisting of two rings of six meters in diameter. This installation understands and measures the curvilinear

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PLAN OF UNDERGROUND CRYPT

space of crypt. The direct and indirect light is dynamic, becoming a means of communication and expression through  the ability to introduce different lighting scenarios depend ing on the activities carried out in the space.

FactFile Client: Parish of Sacro Cuore E S Egidio Abate, Botta Di Sotto il Monte Giovanni XXIII, Italy Design Team: Andrea Mazzucotelli, Andrea Pressiani Built-up area: 120sq m

Photo credit: Gianluca Gelmini 

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 Year of Completion: 2012

Architecture for Divinity

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SITE PLAN

Minimalistic De sign Project: Shiv Tem ple, Pune, Mahara shtra Architects: Sam eep Pado ra & Associates, Mumb ai esigned in dialogue with the priest and the people from

D

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 te mple site. The stone’s patina seems to confer age, a s 1

if the temple h ad always existed before inhabitation.

4

In realising the temple design in close consultation with the temple priest and the villagers, the architects attempted to sieve out th orough d iscussion and sketched the d ecorative components from the symbolic. Adhering to the planning 2

logic of traditional temple architecture, the form of the

3

temple chosen evokes in mem ory, 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. The h eavy foliage of trees along the site ed ge de marcate an

2. INNER SANCTUM THRESHOLD 3. BASALT STON E WALLS

T E M P L E V IE W

4. APPROACH

outdoor room, which become the traditional ‘mandapa ’ (pillared hall), a room with trees as walls and sky the roof. The

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S E C T IO N S

1

2

1. INNER SANCTUM

(GARBHAGRIHA) 2. ASSEMBLY HALL

(MANDAPA)

G U I D E L IN E S - P L A N N I N G S T R U C T U R E

path to the temple winds in between white oak trees till two freestanding basalt stone walls emb edd ed in the landscape that create p ause as well as direct a p erson on to the east-west axis on which the garbagriha   /in n er sa n ctu m lie s. Entry to the sanctum is through a n exaggerated th reshold 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 on e used for festival and gatherings. Religious iconography in the form of statues of 

E N L A R G E D D E T A I L - S H IK H A R A

the holy cow, N a n d i   etc., become installations in the landscape , and h ence, find th eir positions in a natural setting of the metap horic sky-roofed m and apa . The a s h t a d h a a t u   (eight metal composite) temple kalash  (finial) is held in place by a frame which also anchors a skylight

to

allow

sanctum/ g arbagriha .

light

to

penetrate

the

inner

FactFile Design team: Sameep Padora, Minal Modak, Vinay Mathias Documentation: Viresh Mhatre, Anushka Contractor, Ma ansi Hathiwala, Prajish Vinaya k 

Photo credit: Edmund Sumner

Year of co mplet ion: 2 0 1 0

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Archite cture fo r Divinity

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Breaking Rigid Boundaries... Project: Sancaklar Mosque , Buyukçekmece, Istanb ul Architects: Emre Arolat Archite cts, Istanbu l, Turkey ancaklar Mosque located in Buyukçekmece, a suburban

S

by a busy highway. The high walls surrounding the park on

neighbourhood in the outskirts of Istanbul, aims to

the up per courtyard o f the mosque d epict a clear boundary

add ress the fundam ental issues of designing a mosque by

between the chaotic outer world an d th e serene atmosphere

distancing itself from the current architectural d iscussions ba sed

of the public park. The long canopy stretching out from the

on form and focusing solely on the essence of religious space.

park b ecomes 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 surround ing suburb an gated communities

accessed from a path from the upper courtyard through the

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N

S IT E P L A N

Photo credit: Thomas Mayer  48

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S E C T IO N S

FLOOR PLAN

Interior view of the mosque

Exterior view of the mosque

Photo credit: Cemal Emden 

Photo credit: Cemal Emden 

“ Since 1925 the global precast concr ete industry trust on know-how and  expertise  from Vollert. Simply the  best

technology for the production of plane  and  structural precast elements for residential housing and  industrial buildings.“ Debashish Roy Vollert India Pvt Ltd Phone +91 844 7731109 [email protected]

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Photo credit: Thomas Mayer 

park. The b uilding blend s in comp letely with the top ography 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 p rayer hall. The project constantly plays off of the tension between man-made and natural. The contrast between the natural stone stairs following the natura l slope o f the land scape and Photo credit: Cemal Emdern 

the thin reinforced concrete slab spanning over 6m to form 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 comple tion: 2012

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Architecture for Divinity

Luce Mem orial Chape l, Tungha i University, Taiwa n, b y I M Pei

Photo credit: Narendra Dengle 

functio nally, re ligious ce ntre s have expande d, base d o n the ir o w n visio ns of the utility o f  religion in day-to-day life...

By Narendra Dengle

R

eligious architecture would encom pass man y

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

a t t e m p t s t o d i sc u ss is su e s t h a t m a r k t h e c o u r se o f  

from birth to de ath, even com me rcial places that sell ma terial em ployed du ring rituals, places of 

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The fact that religious architecture has

pilgrimages, dharamshalas, ashrams , m o n a s te r ie s a n d

‘contemporised’ means that there have been

nun neries, places for med itation an d retreat, and

departures in: Concepts of religion and rituals; the

related residential buildings, treasuries, underground

spread o f the religion to distant places from that o f its

cellars, water bodies, strong geographical contexts

origin a nd to o ther social-environm ental contexts; and

such as h ills, rivers, the o ceans, forests et a l. The re are

the m ethod s of perceiving form an d constructing them

individual worshipping places, as well as, campuses

varying from tho se in the p ast.

that hold many other facilities like eateries, libraries,

54

contem po rary architecture related to religious places.

ARCHITECTURE+ DESIGN

Departure an d d eviation from o rthodoxy in religion

occur in th e concep ts of: deity, m ythology– thought,

Distortions an d comp romises in d octrines du e to

rituals and m ethod s of worship, life an d d eath, life

the aberrations, religions suffer from invasions,

after dea th, reincarnation, spirit, iconograph y

colonisation, conversions, migrations, diaspora,

associated with legends and gods, atm an , w h ich w e

econom ic globalisation and also through the

know ha ve spread ou t in several branches away from

intercourse with socio-political discourses of other

the a ncient religions. Often, these bran ches have bee n

cultures, alter the form and accent of space of religious

at loggerhead s, uncom prom isingly, among them selves,

places. This is clearly noticeab le in the religiou s places

giving rise to major conflicts and violence within a

conceived an d b uilt by m igrant p opu lations in cultures

religion. Architecture becomes a symbolic narrative of 

dominated by different faiths. A city like Cologne in

such d eviations because it m ust discover new ground

German y in the h eart of Europe with its own

for architectural edifice awa y from tradition without

distinguished history witnesses the construction of a

ne cessarily claim ing religiosity a ssociated with

very architectonic mosque a fter much deb ate,

organised religions.

undergoing scrutiny by other religious faiths, and

Incomp rehen sibility of ancient traditions and texts

intelligentsia an d finally seeing light o f the d ay,

too b ecom es a factor to reckon w ith. Either the

despite the different pe rceptions and d isagreem ent

people who can make sense of the ancient text rare to

am ong its citizens. On the other h and , if one looks at

find or where available they are steeped into

the p rocess of building a tem ple in an Indian village,

o r t h o d o x y in t h a t t h e y w o u l d s im p l y a d h e r e t o t h e

one n otices that the particular deity for who m th e

ancient methods of building the places of worship, as

t e m p l e w a s o r ig in a l ly d e s ig n e d h a s n o w b e e n

if the tim e ha s com e to a stand -still. The q uestion of 

c ra m m e d w i t h a n u m b e r o f o t h e r d e i t ie s t h a t co m e u p

lineage of the gurus  a n d t h e e n l i gh t e n e d a l so m a t t e r s

because a de votee ‘sees them in a dream telling them

a n d w i th a b r e a k i n t h e l in e a g e t h e p a t t e r n s o f t h e

to ma ke a place for worship for it’, as the legend s

path s followe d are d ifferent. The be liefs in ide ntifying

beh ind m any tem ples inform u s. The n ew construction

the Tulkus or the avata rs too have un dergon e

that m ust accoun t for the deity’s sanctity and

transformations along w ith the faith. The Dalai Lam a,

symbolism hence is faced with a difficult task of 

declaring that there wo uld b e no mo re Tulkus, has

wheth er and how to put all these different deities

c re a t e d a s to r m o f so r t e v e n a m o n g t h e c o m m u n i st

und er on e roof, or create a format for establishing all

China. Tools of interpretation and herm ene utics can

of them by evolving a n ew form . The lack of 

be a n interesting way to d iscover a new logical path

comp rehension add s to the imagery that the villagers

bu t this is not th e op tion available in m ost cases due

groom in their minds, either collectively or

to lack of intellectual resources or sustained effort.

individually, which be comes an adversary of any

Architects rarely follow an interdisciplinary approach

logical de sign synth esis. Ironically, the se ten de ncies are

in design that combines textual comprehension with

by no m eans entirely ‘contem porary’, culturally

their discipline an d are e ngaged in constructional

speaking. Such p roblems existed in the past as well

processes of the d ay-to-da y ma tters. Indu lging in

and solutions were cleverly d evised in form ats

form-space modulations with attention to functional

accepta ble to m ost diverse group s with a geom etry

issues, more rigorously than to uncover newer paths

that was aesthetically pleasing.

intellectually or historically along with som eon e w ho

Hegemony of the priesthood over the uninitiated

c o m p r e h e n d s t h e t e xt s h a s b e e n a h a n g o v e r f ro m t h e

a n d d o w n t r o d d e n , e x p lo i t e d a n d o p p r e s se d s o cie t y

modern m ovement.

resulting into conditioned blind beliefs, perpetu ating

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Cologne Central Mosque , Germany, 20 10 Norbulinga Monaste ry, Dharamshala

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notices certain carry forward of trad itional spa ces used for me ditation, lectures/deb ates and residen ce. The Norb ulingka Mon astery has had contributions from different architects in its architecture and landscape design. Rarely does on e find on e a rchitect working    e      l    g    n    e      D    a    r      d    n    e    r    a      N    :     t      i      d    e    r    c    o     t    o      h      P

Dolma Ling Institute and N unne ry, Sidhpur, Kangra District, Himachal Prade sh.

continuously on the various phases of development of  such cam puses. The devotees are mo st enthusiastic and make contributions varying from engineering knowledge, architecture and landscape as also going into techn ical m atters of illumination, a coustics and other areas. The nunnery, which has been under construction for some years, has ad dressed issues with regard to rituals and trad itions of the mo nastic community by using a system of courtyards effectively. Ashrams   and

retreats for meditation often become like

secure n iches for comm unities that offer libraries and different cuisines being served d uring me als. No mo re th e   a s h r a m s    are frugal and au stere in ou tlook as a rule. Histories associated with spiritual leaders have inspired meticulously planned museums that hold clothes, utilitarian o bjects used b y them , and of  East Londo n Mosque on Whitechape l Road, Londo n

Wate r Tem ple by Tadao Ando

course, the visual and textual information. The m ost me ticulously planne d collection is to b e found at M e h e r a b a d n e a r A h m e d n a g a r w h e r e t h e o b j e ct s u se d

psychological, physical insecurities leading to over

by Sri Mehe rbab a ha ve been collected from all over

dep end ence on religious ritualism, con tribute to

the world and preserved in a mortuary like

certain ceremon ial features of spatial hierarchy in

atmosphere where no natural light is allowed to enter,

places of worship. Politically ensuring that economic

and the tem peratu re within the b uilding is closely

disparity in society continues relentlessly has been an

monitored for the fear of deterioration of the objects.

ancient ploy of do mination a ssuring formal status quo

The objects would further be examined for

in the designs of places of worship. Self-promo ting

authe nticity before e ventually d isplaying in the

religious teachers, who have managed marketing their

proposed museum.

brand of religiosity successfully, exhibit a mockery of  architectural expression p romo ting far m ore fanta stic

mu lti deity m ulti-storeyed worshipping places

film-sets like palace-temp les, rarely ba sed o n any

although a traditional approach especially becomes

historical strata. Larger gath erings dem and larger

prominent in their endeavour to find urban inserts

assembly spaces and have become challenging

where land cost becomes a ma jor factor. Inter

architectural-structural issues.

comm unity tensions an d rivalries also becom e

One shou ld b e a ble to classify the various aspects

56

Ma y 2 0 1 5

The effect of the demands on space has led to

responsible for their growth or suppression in cities.

of religious architecture me ntioned in the b eginning of 

Newly bu ilt urb an inserts are to b e seen invariably in

this article so as to comp rehend an architect’s

comp arison with an cient and old existing religious

app roach to cam pus d esign for such p laces. Places

places that continue to be popular and witness an

which are no t ne cessarily places of worship b ut for

increased following. Comp arisons b etween the

training in me ditational 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-ne gotiable’ elemen ts of architecture ho w

with n oisy, b usy, ritualistic places o f wo rship. Both

t h e se e v o k e t h e p r o p e r a t m o s p h e r e a n d h o w t h e s e ,

encourage congregationa l 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 m ona steries and so

as if in an aud itorium even w earing shoes. This

f o rt h . N o r b u l in g k a M o n a s t e r y a n d t h e n u n n e r y a t

a d a p t a t i o n t o n e w d e m a n d f o r c o n ve n i e n ce h a s

Dharamshala are contemporary interventions where

naturally altered the form of traditional meditational

the critical approach of the architects involved is

space. Togeth er, the se various types wou ld constitute

encouraging and evident. In those campuses one

the ide a of conte mp orary religious architecture.

ARCHITECTURE+ DESIGN

Factors compelling the religious outlook and rituals often are critically edited to reduce the d u r a t i o n a n d f o r e a s y c o m p r e h e n s i o n b y la y p e r s o n s

scale an d features which req uire skilful ne gotiations b y t h e a rc h it e c t. Functionally, religious centres have expanded,

in cities, especially in a foreign cou ntry, or in a

based on their own visions of the utility of religion in

c o u n t r y , w h e r e a p a r t i c u la r r e l ig io n m a y n o t h a v e

day-to-da y life of the comm on citizen. The functions

the same following as in the country of its origin,

extend into n um ber o f fields such as education, social

w h i c h a ls o b e c o m e m a j o r co n t e m p o r a r y i ss u e s

work, service to the po or, developm ental work, hea lth

a s su m i n g p o l it i ca l i m p o r t a n c e .

and medical facilities and even participation in

Practical lim itations in construction systems a nd

political activity. Intervention in education,

methodologies are highlighted by non-availability of 

encompasses teaching philosophies, religious studies,

a p p r o p r ia t e l a n d , l o ca t i o n s a s p e r t h e t r a d i t io n a l

ancient languages and dialects, and the camp uses

rules and finan cial resources, provisions un de r the

provide for functions such as language laboratories

local law for raising resources legitimately from

and conservation, translation of scriptures,

private an d p ub lic fund s, political and social

docum enting varied da ta, archiving philosoph ical and

patronage and their resulting compromising effect on

spiritual studies and scriptures, m useology, large

architectural expression, unsteady and unaccounted

libra ries, research lab orato ries, etc, all of wh ich

c a sh a n d i t s f lo w c o m m e n s u r a t e w i t h t h e p a c e o f  

refram e th e b rief logically, scient ifically going be yond

c o n s tr u c ti o n t o g e t h e r d e c id e t h e c o u r s e o f  

the me re wo rshipp ing and religious rituals. In such

architecture, time it must take, and even departures it

cases, the cam puses becom e m ore like educational

must allow in the original plan.

institute s or even sma ll scale un iversities with

The q ualitative aspect takes a be ating when the

residential facility for scho lars. The imp act of such

p a t r o n , t h e a r c h it e c t a n d t h e b u i ld e r a g e n c y d o n o t

functional activities on the architecture of religious

work as a team . But wh en th ey 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

atm osphere tha t has spiritual aura abo ut it.

both conceptually and methodologically. Patron-

Th e d e p a r t u r e f r o m m e t h o d s o f co n s t r u ct i o n o f  

architect is an extremely delicate association, which

t h e p a s t is o w e d t o a l l t h e a b o v e m e n t i o n e d r e a s o n s

enh ances with their pa rtnership, sharing the vision,

a n d a l so t h e m a r ke t f o r ce s t h a t d u m p n e w e r

c o n ce p t a n d d e v o t io n , a n d c a n c o n t r ib u t e m o s t

m a t e r ia l s e n t i ci n g t h e u s e r t o e m p l o y t h e m i n

fruitfully to the execution of the project. While th e

construction. Non availability of certain key b uilding

devote es can con tribute financially, as we ll as

m a t e r ia l s a n d i n d u c t i o n o f n e w e r m a t e r i a ls le a d s t o

technologically, the ir over-enth usiasm can b e o f 

imp orting crafted p ieces, idols, foun tains, symb ols,

hindran ce if the de cision m aking process is ob scure.

m u r a l s, d r a p e r y , m e t a l a n d w o o d w o r k , co n s id e r e d

Higher security concerns resulting from the threat o f 

i n va l u a b l e a n d i n d i sp e n s a b l e t o t h e b a s ic t e n e t s o f  

terrorist activity, infighting w ithin tru sts, varied

religious p ractices. The p rocess often m anifests in

‘visions’ and the polem ic aspirations of devote es can

distortions in trad itiona l elemen ts in th eir scale,

tear the fabric of architectural language into shreds.

i m p o r t a n c e a n d c o n s t r u ct io n , a s t h e s a m e e l e m e n t s

Most religious places need ‘approvals’ from the local

have to be b uilt using local ma terials and labou r.

adm inistrative and police a utho rities to e nsure safety.

H e r e , o n e a l s o m a y n o t e t h a t a c o m p l e t e t h r u st

Barrier free strategies and provisions thereo f to e nab le

towa rds the so called au then tic look or style is often

all kinds of disable d evotees an d visitors to use th e

a t t e m p t e d d e s p i te t h e a d v e r s e s o ci a l o r c u l t u r a l e t h o s

campus also have brought in a different dimension of 

especially from the p erspective of the diaspora . So, o n e m a y h a v e t w o e x t r e m e c o n d i t io n s - o n e t h a t i s c o m i n g t o t e r m s w i t h t h e l o ca l sy n t a x a n d t h e o t h e r trying to go ba ck to its ‘original aestheticism’ and in t h e p r o c e s s m a y a p p e a r t o b e f u n d a m e n t a l ly a l ie n t o t h e c o n t e x t, c li m a t e a n d e n v i ro n m e n t a l c o n c e r n s. Architects have a tou gh time in en tering the territory of history an d take a call on w hat is mea nt b y visual c o n f o rm a t i o n w i t h t r a d i t io n a l e l e m e n t s a n d w h a t i s liberating from them. A lot of post-modern issues c o m e i n t o c o n s id e r a t i o n i n e x a m i n in g t h e c o n t e x ts f o r n e w e x p r e s si o n . Th e r e h a v e b e e n e x a m p l e s o f  

Hurva Synagogue Project, aft er Louis I Kahn, phase 1, 19 68

Christian church structures be ing ad op ted skilfully for

ARCHITECTURE+ DESIGN  M a y

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sanitation. To ad dress these, the state governm ents energise to form strategies. The cities inflate as it were like balloons and deflate after the

m e l a s  b u t

in the

me anw hile th ese cities suffer extraordinary stresses testing the elasticity of their infrastructure. On the o t h e r h a n d t h e r e h a v e b e e n s o m e m o s q u e s , w h i ch h a v e b e e n b u i lt i n h a r m o n y w i t h t h e t o w n s ca p e a n d the terrace housing that precede it and appear like part o f the precinct with m inor variations created by a Isma ili Ce ntre Toro nto by Charle s Correa

d o m e o r a m in a r e t. Exploring light, air, wa ter, texture and scale to

Islamic mo sque s, as seen in Turkey, and the sam e

t r a n s c e n d r ig i d t r a d i t i o n s o f s p a t i a l o r g a n is a t io n a n d

b e c o m i n g a cc e p t e d t r e n d s e t t e r s f o r fu r t h e r m o s q u e s

o n t o l o g ic a ll y lo o k i n g a t p u r e e l e m e n t s i s w h a t h a s

t o b e b u i l t.

b e e n a c h i e v e d w o n d e r f u l ly in h i s t e m p l e d e s i gn s b y

Trained a rchitects be ing discon ne cted from the

Ta d a o A n d o b e c a u s e t h e y a r e c a p a b l e o f b r i n g in g

traditional m ethod s of construction, as well as,

o n e t o o n e ’ s in n e r s e lf e x p e r i e n c in g m e d i t a t i ve

philosophies behind the m , see it as a form m aking

silen ce. The Wate r Tem ple is the residen ce of Ninn aji

exercise. The exp ression of architecture in such cases is

Shingon, th e old est sect of Tan tric Budd hism in

a n a t te m p t t o r e co n cile w i th m a n y o t h e r t yp e s o f  

Japan, founded in 815. The building, (90-91) at

buildings the architect ma y be e ngaged in designing

Awaji, Hy ōg o , J a p a n , o f fe r s a s e n s o r y e x p e r i e n c e o f  

and hen ce carrying ima gery unsuited in the syntax. An

l ig h t a n d s o u n d t h a t i s r a d i c a ll y d i ff e r e n t f ro m t h e

architect, who is not the so called ‘temple architect’,

t r a d i t io n o f b u i ld i n g t e m p l e s i n J a p a n . O n e i s a ls o

and yet is called up on to design it, has his/her ow n

reminded of the majestic synagogue designed by

w a y o f e n t e r in g t h e p r o ce s s.

Louis Kahn in Israel with th e stun ning sen se of light

Inevitable hyb ridisation o f ima gery hap pen s with

a n d s p a c e , w h i c h c o u l d n o t b e b u i lt i n h i s li fe t i m e .

architects wanting to b e inno vative through

The Ismaili Centre designed by Charles Correa in

collaborations with n ewer forms of religious

Toron to (20 14 ) brings light in two layers of  t r a n s lu c e n t r o o f i n g i n a d y n a m i c w a y d e v i a t i n g f ro m h o w i t w a s d o n e i n t h e p a s t a n d y e t b r i n g in g f o r t h the spiritual aspect of space most effectively. Religiou s places which can be called c o n t e m p o r a r y i n t h e i r f u n c t io n a l r e s o l ve s h o w sanitised needs, maintenance becoming an a g g r e s si ve l y u n c o m p r o m i si n g f e a t u r e , o f t e n u s in g i m p o r t e d m a t e r i a ls a s if t h e d e v o t e e s a r e p o s s e s se d b y t h e m e m o r i e s o f t h e p l a ce s o f t h e i r o r ig i n . Ar ch i t e c tu r e b e c o m e s a s ym b o l o f p o w e r a n d w e a l t h

Crystal Mosq ue , Kuala Teren gga nu, Malaysia

t h r o u g h t h e a w e t h a t i t cr e a t e s in i t s m o n u m e n t a l f o r m . T h e e f f e ct o f t h e s u b l im e b e i n g c o n s i d e r e d a s

tend encies and rethinking ph ilosoph ies together for

t h e o n l y m a j o r a e s t h e t ic ch a r g e c a n b o t h b e a n

the basis of space-form relationship, as well as, visual

effective tool or a disastrous one. This tendency can

influences through m edia. But time alone can tell

s w a y b e t w e e n d i s p l a y o f g ro s s w e a l t h a n d o p u l e n c e

wheth er this type o f space m aking can be of lasting

c r a m m i n g a l o t o f i rr e le v a n t c r a f t e d i co n o g r a p h y a n d

value. Religious places that becom e hi-tech have the

d e c o r a t io n s o n o n e h a n d , w h i le o n t h e o t h e r

aspirations to show o ff the so called latest techno logies

exploring the monumental sublime form minimally

for the awe inspiring effect in their public areas.

and sensitively. The former variety of examples is

Mosq ues in the M iddle East boa st of cap acities going beyon d ten s of lakhs of devotee s. In such cases

d e v e l o p i n g c o u n t r i e s w h e r e l a r ge p o p u l a t io n s s u f fe r

t e c h n o lo g y d o e s c o m e a s a b o o n t o e n s u r e s a f e t y,

f ro m m a l n u t r it i o n a n d h u n g e r l e a d i n g t o p r o t e s t s

econo my o f infrastructural work, energy conservation,

and social tensions. Examples such as the Crystal

easy entran ce-exit situation an d em ergencies.

Mosque in the Islamic Heritage Park in Malaysia

Religious places in India such as Allahabad, or Nasik 

w h e r e b a s i ca l ly t h e t r a d i t io n a l f o r m c o m p r i s in g o f  

during the

d o m e s a n d m i n a r e t s b u t e x e c u t e d i n g l a s s a l so

Mahakumbh

celebrations assume

u n m a n a g e a b l e s ca l e a n d b e c o m e h u g e p r o b le m s o f  

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t e r m e d a n t i s o ci a l a n d f i lt h i ly o p u l e n t i n s o m e

ARCHITECTURE+ DESIGN

i n d i ca t e s a c r a z e f o r n o v e l t y a n d p o w e r.

Co n t i n u a t i o n o f t r a d i t io n s i s v e r y m u c h a c o n t e m p o r a r y way o f building religiou s places. With th e h istorical context withering away this type of architecture becomes kitsch in that i t b e c o m e s o b s e ss e d w i t h t h e p a s t , b li n d t o t h e p r e s e n t . Al o n g with the above mentioned ‘departures’ from the tradition one has also to recognise those traditional aspects, which have f u n d a m e n t a l l y r e m a i n e d u n a l t e r e d . Fa i t h a n d d e v o t i o n i s a force, which cannot be logically analysed and will continue d e s p i t e t h e e n l ig h t e n m e n t a n d r a t i o n a l it y a s so c ia t e d w i t h m o d e r n i s m , s ci e n t if ic a n d t e c h n o l o g i ca l i n n o v a t i o n s , t h e o r i e s on origin of life and genetic engineering. This is also evident from a h ost of scientists, do ctors, po liticians, indu strialists, etc, w h o a p p e a r t o b e r a t io n a l a n d p r a g m a t ic b u t c o n t in u e t o b e devotional or ritualistic in their private lives to the extent of  being superstitious. The congregational issues have been e n t i r e ly b a s e d o n d e v o t i o n a n d f a it h . La r g e r n u m b e r o f   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 o f t h e o p e n s p a ce a n d c o ve r e d s p a c e t h a t a c co m m o d a t e h u g e p o p u l a t io n s n e e d s c l o se c o n s i d e r a t i o n i n t h e a e s t h e t i cs o f   c o n t e m p o r a r y r e l ig io u s p l a c e s. Sym bo lism a ssociated with p articular d eities, the ir vehicles a n d t h e i r w e a p o n r y a n d o t h e r v i su a l a t t r ib u t e s , i co n o g r a p h y, w i t h o u t w h i c h t h e d e i t y ca n n o t b e r e co g n i se d b e c o m e s a n aspect of design and craft traditions that continues in Hindu architecture. Sim ilarly the Budd hist, Confucian a nd Tao tem ples in China, Japan, where symbolism plays a major role in d e f i n in g e n t r a n c e s, s p a c e s , n u m e r o lo g y, w h e r e c o l u m n s a n d beams are not just columns, beams, roofing rafters, patterns in t h e  ja a lis , a l o n e , b u t h a v e d e e p e r sy m b o l ic p r e s e n c e in t h e local consciousness. Depiction of an imals, trees, flowers and mountains, waterfalls, fish, is suggestive of how many elements can make a particular architectural feature, all of which have r e m a i n e d u n c h a n g e d i n m o s t c a se s . H o w e v e r o n e f i n d s t h a t designers have taken liberty from adhering to the subtlety of  text that clarify and identify all the a ttributes of a d eity either o u t o f ig n o r a n c e , o r i n t e r p r e t a t i o n s, w h i c h a r e p a r t o f   contem po rary sensibility. The above categories may be useful to identify the types of  religious places in d ifferent coun tries and faiths. It wou ld be i m p o r t a n t t o n o t e t h a t i n t h e d e v e lo p i n g w o r l d , w h e r e t h e w o r d ‘ c o n t e m p o r a r y ’ w o u l d m e a n c o e x is t e n ce o f t h e t r ib a l , t h e r u r a l, t h e f o l k, t h e p o p u l a r, t h e u r b a n , a n d t h e o r t h o d o x , a n d whose respective worshipping tendencies vary considerably a n d e d i f ic e s f o r t h e m m a y h a v e t o b e e x a m i n e d o n considerably different footings; not applying the same criteria for any critical approa ch.

All photographs courtesy: Narendra Dengle

N a r e n d r a D e n g l e i s t h e p r i n c i p a l a r c h it e c t a t N a r e n d r a D e n g l e a n d   Associates, Pune. ( W it h r e s e a r c h a s s is t a n c e b y M i n a l S a g a r e )  

Architecture for Divinity

A Spiritual Se tting Project: Mhasob a M and ir, Kharawad e, Pune (under construction) Architects: Narendra Dengle and Associates, Pune hasoba is a p astoral deity worshippe d 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

despe rately looks for shad e. We tried to rea son saying that th e

guardian for the forests. Supp osedly wande ring through the

deity does not need a temple, but the villagers, wh o 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 e ntire cam pus well designed . We agreed. On every

thatched huts. The trustees of the devasthan approa ched us

Amavasya , besides the m ajor Hindu festivals, the de votees

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 bee n to tally stoppe d by the villagers,

Mhasoba Mandir, where the original temple existed i n the

who are concerned about the sanctity of the place.

M

village Kharawade, on the way to Lavasa. The region is

The existing cam pus, spread o ver abou t 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

S E C T IO N

besides the shrine– one that was called the Bhakta N iwas , th e other a  p ra sa d a la ya  - used for serving  p ra sa d , a n d t h e t h ir d , a S a m a d h i   for a s a d h u who lived there years ago. A double storeyed building that housed several shops selling  p o o ja  material, flowers and snacks also existed. The shrine itself was a structure in stone attached w ith a garbhagriha  in wood and ma sonry. This would all be d em olished keep ing the idol which was a natural eruption of rock around wh ich the geom etry of  the new campus would be planned. The shops would be de mo lished w hile all other structures would be retained.

ARCHITECTURE+ DESIGN   Ma y

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We conceptualised a campus with three large courtyards or angans , the entrance court would be the bazaar  court selling poo ja articles leading to another court- lagnamandapa  or the wedding court that would hold large-scale functions including the m ass wedd ing ceremon ies for over 1 00 couples simultan eously. This would further lead t o th e 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 camp us, 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 p lace associated with the d eity and the myth. Surround ing the garbhagriha are two more shrines of folk deities locally worshipped. The geometry of the courts and the proportion system o f various roofs has b een given careful consideration. The court surrounding the garbhagriha and sabhamandapa  has ample space for ritualistic processions of the  p ala khi  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 bee n p ut in p lace. 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 dem and ed atten tion because of the large number of devotees visiting the temple. They

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7

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S ITE P LAN

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1. GARBHA GRIH A

7. COU RTYARD 2 : L AGNAM ANDAPA

2. SABHAMANDAPA

8. COU RTYARD 1 : BAZAR COURT

3. NATYAMAND APA

9. O W R I

4. COURTYARD 3

10. EXISTING PRASAD ALAYA

5. KUND

11. EXISTING BHAKTA NIW AS

6. GATEWAY TO CO URT 3

12. EXISTING SAMADHI

would reach the garbhagriha  for the darshan, by walking

We p roposed to use the n atural and local materials– name ly

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 Mhasob a d id no t

queued up under shade in the summer months. The

have an y temp les and th is was going to b e th e 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

bee n o btained from Godh ra, Gujarat, since th e local brick is no

are no electric fans in th e darshabari whatsoever.

more of the desired quality.

ELEVATION

The construction of the shikhara  h a s b e e n d o n e i n

t h e d r a w in g s o v e r a n d a g a i n t o t h e m a n d s u p e r v is e t h e w o r k s

ferrocement precast ribs and cast in situ verticals. This needed

as closely as po ssible all of which de m and ed end less pa tience

precision in casting, as well as, placing in position. The

b o t h i n c o m m u n i c a t in g a n d c o r re c t in g / a m e n d i n g w o r k s a n d

 ga rb h a gr ih a  r o o f to o is d o n e in f e r ro c e m e n t d e s ig n e d t o b e

errors, and getting over negligence, but without crossing

80 m m thick sand wiching a layer of therm ocol in the two layers

these hurdles the work would never have seen the light of 

o f f e rr o ce m e n t . T h e c o u r t s w o u l d a l l b e p a v e d i n Vidhisha -

t h e d a y. At t h e m o m e n t e x c e p t fo r t h e b a a z a r -  e n t r a n c e c o u r t ,

stone obtained from Madhya Pradesh. The rainwater and

the construction has reached a reasonable level to be

surface w ater h arvesting is planned by creating trenches in th e

occupied and used. In another four months or so we expect

courts and leading to the kund  built on south-we st end of the

t h e w o r k in h a n d t o c o m p l e te .

property. Sub-soil filtering arrangement of water h as been plann ed by m ea ns of sand -gravel filters so that the kund  retains

Text by Nare nd ra Dengle 

clean water. Finding an agen cy that wo uld execute the work by read ing details comprehensively and plan out strategies for every stage for such w orks is a hu ge p roblem . Civil contra ctors are

Fact File

very happy these days pouring huge amounts of concrete

Client: Mha soba Devasthan Trust

a n d a r e c o n c e r n e d a b o u t t i m e in v o lv e m e n t . Re s o u r cin g f u n d s

Design team: Narend ra Dengle, Shekhar Garud, Minal Sagare, Yashashree

from devotees, the government and other private sources

Lam bay, Dhana shree Ghaisas, Radh ika Murthy, Ruchika Lodha

was done by the trustees very efficiently and resou rcefully,

Consulta nts: B V Bhedasgaokar Consulting Engineers, Pune (Structural),

however, the same takes a long time. No urban contractor,

MEP Systems Solutions, Pune (Services)

w h o h a s t h e r ig h t i n fr a s t ru c t u r e , c a n a f fo r d t o w a i t a n d m o v e

Contractors: Jaihind Saakar, Kalbh or, T S Pawa r, The Creation (Civil Work);

s lo w l y c o m m e n s u r a t e w i t h t h e u n c e r t a i n t y o f c a s h f lo w . T h is led to h iring local civil contra ctors, wh o a re no t hab itua ted to

Ferrocrete work - Ashok R Godbole ( Shikhara ) , Kuhera Construction (S a b h a m a n d a p a  roof); Yash Constru ction, Mr Krishna (Ston e wo rk); Mann u Sharma (Woodwork); Bhalachandra Kadu ( Kalasha )

reading drawings but are familiar with general and gross

Proposed Built-up area: 9 0 0 s q m

na ture of civil construction. We had the refore to de al with at

Cost of project: Rs 5.00 crore

least three d ifferent contractors, explain the schem e, read out

Year of co mple tion: Under Construction

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Architecture for Divinity

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The White Church

Project: Parish Church of Solace, Cordoba, Spain Architects: Vicens + Ram os, Madrid, Spain he parish centre is located on a corner plot in a

T

residential

area

between

Historiador

Dozy

and

Francisco Azorín streets. The exten de d side is situated

in front of a green zone and the lateral side faces residential bu ildings. The rest of the surrou nd ings are still und evelop ed . To the north and west of the plot th e structure is set b ack 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 baseme nt, to allow light an d ventilation and give a courtyard that can b e accessible b y the p ublic.

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FLOOR LEVEL -1

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FLOOR LEVEL 0

FLOOR LEVEL 1

S E C T IO N

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The comp lete parish is enclosed b y a single p rism 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

tem ple, the local parish b asem ent a nd the first floor d wellings.

historically separate– the bell-tower, singular facade and light

The e ntra nce of the ch urch ha s access to the sacristy, the cho rus,

entra nce o r skylight. The p rism is white p refabricated con crete

the m ain hall and the chap el of the Blessed .

with a fluted ba se able to introdu ce horizon tal light.

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The inte rior spa ce is unified by a cloud with a con vex plain

form locked in b y the structure. The cloud circulates arou nd the space u ntil it is lost in the he ights of the skylight. The light fades on the curved p lane while dripping the he ad wall of the presbyte ry. This diffused light illumina tes the en tire te m ple. In the chap el of the Blessed a sim ilar cloud forms the ceiling, like in the main hall, but instead it rises and ben ds down to accomm od ate th e altar. The u nity of the com po sition like the unit to which sacred architecture aspires allows the in t e g r a t io n o n t h e i d e a o f a t e m p le a s a cr e d a r t i n si d e . M a n y artists have ad ded their work to the final configuration o f the sacred space. Th e c o n t r i b u t i n g a r t i s ts a r e : F e r n a n d o P a g o la t h e a l t a r, 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 bo th the Christ in the n ave an d th e Christ in chapel of the Blessed and the roof paintings are by Pablo a n d Ja i m e R a m o s .

FactFile Contributors: Fernando Gil, Pablo Gutierrez, Joaq uin Esperon, Desirée González, Romina Barbieri, Raul Rodriguez, Tibor Ma rtin, Patricia Elena, Javier Marga rit.

Autho r: Ignacio Vicens and Hua lde, José Anto nio Ramo s Aben gózar 

Year of co mplet ion: 2 0 1 1

Archite cture fo r Divinity

Sacred Space Project:  Universal Prayer Hall, Gurgaon, Haryana Architects:  Sikka Associates Architects, New Delhi am aste   – a s p i r it u a l g e st u r e , n o t a m e r e w o r d , h a s

c o m b i n a t i o n o f s e r e n e w h i t e m a r b l e a n d Gl a ss R e in f o r c e d

a d e e p s p i ri t u a l s ig n i fi ca n c e . “ Th e d i v in e i n m e

Concrete (GRC)   jaali . T h e t w o w i n g s e n c a s e t h e g l a s s w i t h

honours the divine in you.” It recognises that the

a l u m in i u m f in s , r a d i a t in g l ig h t . A s o o t h in g s e n sa t io n is

Almighty resides in each one of us. This unifying e ssence or

p r o v id e d b y t h e w a t e r b o d y a r o u n d t h e b u i ld i n g . Th e h a l l i s

o n e n e s s is a c k n o w l e d g e d b y f o ld e d h a n d s . T h is f o r m s t h e

elevated 16ft above the ground.

N 

ba sis of th e Universal Prayer Ha ll. Th e p r a y e r h a l l is i n fu s e d w i t h a s u b t le c o lo u r p a l e t t e o f   w h it e a n d g re y. Th e fo ld e d

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h a n d s a r e b u ilt w it h a

Th e p r i st in e w h i t e i s c o m p l e m e n t e d b y t h e l u sh g r e e n s around providing a buffer from the heavy traffic. The hall provides a respite from the m ono tono us and bu sy lives of the

people. Placed at a central axis to the road, the building

floor offers a break from the outer world w ith senior citizen’s

makes itself worthy of the attention providing a ch ance to

lounge accompanied by a library, an office and a shop.

peep into our own self.

The wh ite reflects purity and com pletene ss and the ha nds

The entrance is through a flight of steps adding to the

suggest that there is no piece of creation built wi thout the

grandeur of the building, and is flanked by greener y. When

han ds of the creator—the Almighty. The wate r bo dy signifies

w e e n t e r t h e p r a y e r h a l l, w e e x p e r ie n c e o u r e s se n c e b e i n g

the act of purification when we link ourselves to the

flood ed with light.

Almighty. The elevated built form marks the aspect that we

1 3

1 2

4

2

3

4

5

1. ENTRY 2. EXIT 3. HALL 1 (PRAYER) 4. HALL 2 (YOGA) 5. AREA FO R SERVICES

FIRS T FLOOR P LAN (WITH PAR TITION C LOSE D)

FIRS T FLOOR PLAN (WITH PARTITION OP EN)

1. ENTRY 2. EXIT 3. HALL 4. AREA FOR SERVICES

m ust look “up” to the Almighty. It evokes a sense of respect and sacredn ess to the form . The light in the interior m akes us feel enlightened delving into our inner soul. Based on the concept “N a m a s t e ”  , the hall creates a tranquil environment that negates our egos and prejudices and alludes to 4

awa kening of the soul.

1 2

5

7

3

7

The two wings of the building are folded together l ike han ds greeting the city, symbo lising we lcom e a s seen in the cultural context of India. There is a diversity of religions in

6

Indian society giving rise to various religious buildings but this halll acts as a unifying entity bringing the c oncept of  “universal religion”. The hall exemplifies contemporary interpretation of spiritual a rchitecture. S E C O N D F LO O R P L AN

1. ENTRY 2. EXIT 3. HALL BELOW 4. OFFICE

5. SENIOR CITIZEN’S LOUNGE 6. SHOP 7. LIBRARY 8. AREA FO R SERVICES

Built on a site of 0.4 acres, the bu ilt form stand s 70ft high. The plan is circular with a radius of 44ft. The core consists of  two lifts and a staircase. The first floor is flexible enough to be

Text by Med ha Sobti 

FactFile Client: DLF Design team: Mr Raman Sikka, Mr Sarfaraz Patel, Ms Medha Sobti 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

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Architecture for Divinity

A Co mmun mm uniity Church Project: Comm unity Church Church Knarvik, Knarvik, Hordaland , No rway Architects: Reiulf Ramstad Arkitekter, rkitekter, Oslo, Oslo, Nor way he new Comm unity Church Church in Knarvik, Knarvik, located located on t he

T

scenic west-coast of Norway north of Bergen, is built

on a privileged privileged site overlooking the cultural landscape

and local town centre. The The b uilding uilding is carefull carefully y ada pted 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 abo ve from from the cultural cultural and adm inistrativ inistrative e functions below. An An

internal ‘church ‘church squa re’ conne conne cts the two levels with an atrium stair stair into into a continuous continuous space, and may b e joined or separated from the sanctuary with sliding glass walls to accommodate more than 500 pe ople.

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SITE PLAN

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UPPE R LEVEL PLAN

LOWER LEVEL PLAN

S E C T IO N

S E C T IO N

Wood is the key material of the project, expressed in the hom ogeneous 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-rem iniscent ta ll and narrow windo ws, 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 upb ringing for children and youth, to b ecom e a local venu e for gatherings and faith, and to facilitate art, music and cultural development. The Community Church Knarvik has an architectural expression, spatial solutions and ma teriality which unites religion, culture and the site-specific context i n to a w h o l e . Photo credits: Reiulf Ramstad Arkitekter/Hundven-Clements Photography 

Fact File Client: Lindås Church Council Design team: Reiulf Ramstad , Christian Skram Fuglset, Ande rs Tjønne land Consultants: No rconsu lt AS (Techn ical), Reinertse n AS (Acoustic) Contractors: 7Fjell Entrep renør As Built-up area: 2,250 sq m (building), 15,000 sq m (total planning area) Cost of project: 80 million NOK Year of co mplet ion: 2 0 1 4

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Archite cture fo r Divinity

The Me ditatio n Hall Project: Meditation Hall, Sri Aurobindo Ashram, New Delhi Architects: Design Consortium, New Delhi

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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 speaks to its gulfs.” Inspired by the Buddhist architectural form, the project is

Buddhist Chaitya hall. The design attempts a seamless integration of the play of  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

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iconography. The front elevation on the north, facing the Samadhi ,

silhouettes the hand s 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 to wards 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 silhou ettes of h and s rising in p rayer.

3

1

1

2

1 N

GROUND FLOOR PLAN

1. ENTRANCE 2. MEDITATION HALL 3. VIEW TOWARDS SAMADHI

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1

1

2

3

3

1

F IR S T F L O O R P L A N

1. BALCONY 2. MEDITATION HALL BELOW 3. SEATING

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1

2

1. MEDITATION HALL

S IT E P L A N

2. SAMADHI

N

S E C T IO N

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 harmo ny in de sign and at

slits in the ea stern and western facades. Open ings in the n orth

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 n orth an d

which in total enhances the spiritual experience of the

south oriented pitched roof is evocative of the building’s

interior space.

symbolic intentions.

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The project is a representation of the various symbolic

Are you interested       

?

O ppo r t u n i t i e s t o ava i l t e c h n i c a l s u ppo r t o f t o p s w i s s c o n s u l t a n t s f o r d esig n in g en er g y-ef f i c ien t c o mmer c ial & r esid en t ial bu il d in g s      1                                          

 The

The technical assistance to the selected projects will be provided free of cost and will be borne under the BEEP project.

           

 or

 

1



   

                 

              

MAXIMUM OPENINGS ON NORTH

TO RED U CE THE INCID EN T RADIATION ,

AND SOU TH DIRECTION TO

AN AMALGAM OF E-W O RIEN TED

ACH IEVE MAXIMU M LIGHTIN G

VAULTED ROO F AND N -S ORIENTED PITCHED RO O F ARE PREFERRED

U SING ACC BLOCKS INSTEAD O F BRICKS FO R GOO D INSU LATION

MO RE VEGETATION O N EAST AND WEST SIDE TO RED U CE 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 m etap hors and synthesis

greater ceiling height, illumination possibilities and structural

principles

architectural

stability. The light coloured roof reflects solar radiation and

manifestation. The achieved environment is thus ideal for

conduction p oten tial. East and west sides ha ve minimal glazing

meditative purposes and spiritual pursuits.

and double skin corner facilitates natural ventilation. Double

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energy

conservation

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with

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

through out th e interiors and exteriors. As low a s 20 0W 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 bran ches out in me ditation hall using d ucts). The system

70 00 sq ft space. Rainwater h arvesting has been incorporated

is well fun ction ing and com pletely efficient in ma intaining the

in the d esign of the structure. Water collected from the roo f is

optimu m tem perature in the bu ilding.

directed directly to three separate u nde rgroun d tanks placed strategically aroun d th e structure. The Earth Air Tun ne l (EAT) system h as be en installed in th e meditation hall with the concept that the year round temperature two meter below the surface remains almost constant (20 ° -24 ° C). That m akes it po tentially useful in providing buildings with am bient tem perature. Depen ding on

FactFile Client: Sri Aurobind o Society Design team: Nilanjan Bhowa l, Kaushik Kundu, Tanushree Dey Consultants: Ishaan Design (Structural) Contractors: WBG Con sulting Engine ers (Electrical); Sand eep Sethi (HVAC)

the am bient tem peratu re of the location, the EAT system can be

Built-up area: 7 5 0 s q m

used to provide both cooling during the summer and heating

Cost of project: Rs 2 cro re

during winter. The architects have provided three vaults of 

Year of co mplet ion: 2 0 0 9

88

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Architecture for Divinity

1 2

3

5

6

4

7

7

7

9 13

7

8

10

13

1. OFFICE

17

2. STORE 3. VIDEO PRESENTATION/GALLERY

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7

4. PORTICO 5. WAY TO ASHRAM

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6. SADHANA HALL

7

7. OPEN TO SKY 8. MANDAPAM 9. THIRUMURTHY PANEL 15 16

10. DHYANALINGA MEDITATION HALL 11. COV ERED MAN DAPAM 12. ENTRANCE CORRIDOO R 13. TOILET 12

14. AC ROO M/STORE

12

15. STALL 16. VERANDA H 17. CHAPPAL STAND

FLOOR PLAN

Centre for Inner Growth Project: Dhyana linga Yogic Tem ple Com plex at the Isha Yoga Cen tre, Coimb ato re Architects: Isha Yoga Cen tre, Velliangiri foot hills, Coimb ato re he project founded under the aegis of Isha Foundation,

T

is set a t th e foo thills of the Velliangiri Moun tains in southern India. Created as a powerful sthana  (a centre

for inner growth), this destination attracts peop le 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).

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The centre houses the architecturally distinctive S p a n d a  

converge at this meditation centre to seek out inner peace

Hall and garden, a 64,000sq ft meditation hall and

a n d w e l l b e i n g . S a d h g u r u J a g g i Va s u d e v, f ro m t h e I sh a

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,

d o m e t o s h e l t e r t h e 1 4 f t h ig h D h y a n a l in g a – a m e r cu r y b a s e d

with an expansive white marble floor and a free-standing

ling , a n d t h e d o m e w a s e s se n t ia l t o lo c k th e e n e r gy o f t h e

pitched roof, the dominating feature of this space is the

Dhyana linga. The Dhyana linga is a m ulti-religious m ed itation

e x q u i si te w a l l m u r a l , p a i n t e d u s in g o n l y n a t u r a l v e g e t a b l e

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

Mea suring 1 40 x12 ft, this ma sterpiece of art is the largest-of-

its stability, trained local an d unskilled lab our and super vised

its-kind in the world.

the works with its team. A tight schedule was set from the

The Yoga Centre conta ins the Dh yana linga, a u niqu e an d

be ginning by Sadh guru Jaggi Vasud ev. The refore, the u se of 

po werful energy-form sitting un der a pillarless 250 ,00 0-brick

CSEB had been eliminated from the beginning. Thus, the

dome

sa cre d

choice wen t for fired bricks, which w ere laid w ith a stab ilised

u n d e r g ro u n d w a t e r b o d y. Ev e r y w e e k , t h o u s a n d s o f p e o p l e

earth mortar. The foundations and walls were built in

structure

as

well

SECTION

ELEVATION

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Ma y 2 0 1 5

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as

T h e e r t h a k u n d  ,

a

r a n d o m r u b b le m a s o n r y w i t h g r a n i te s t o n e s i n lim e m o r t a r. Th e y o r g a n is e d t h e s it e i n s u c h a w a y s o t h a t t h i s d o m e o f   22.16m diameter and about 570 tonnes was built in nine w e e k s w it h o u t s u p p o r t a n d w i t h m o r e t h a n 2 0 0 w o r ke r s. Th e l a rg e a m o u n t o f f ir e d b r ic ks r e q u i re d c o u ld n o t b e s u p p l ie d by the same brick factory. Therefore, the fired bricks came from ab ou t 20 differen t kilns. As a result, they ha d d ifferent sizes and m ost of the time the y had od d shap es (belly, cracks and other irregularities). Therefore, nearly 200,000 bricks h a d t o b e c h e cke d o n e b y o n e . N o r e in f o rc e co n c re t e h a d been used in any part of the building: neither for the foundations, plinth nor tie for the dome. Sadhguru Jaggi w a n t e d t h e d o m e t o l a st 1 , 0 0 0 y e a r s a n d r e in f o r ce d c o n cr e t e h a s n o t y e t p r o v e d t o b e a b l e t o l a st s o lo n g .

The d om e features include– Section: segme ntal ellipse of  22.16m diameter and 7.90m rise; Thickness: 4 courses from the springer to the apex: 53cm, 4 2cm, 36 .5cm and 21cm at the t o p ; We ig h t : a r o u n d 5 7 0 t o n n e s ( b ric k d o m e = ± 4 2 0 t o n n e s + g ra n it e st o n e to lo a d t h e h a u n ch e s = ± 1 5 0 t o n n e s) . Single resonator absorbers (Helmholtz resonators) were installed in three layers, so as to absorb 12 frequencies b e t w e e n 1 2 0 H z a n d 1 . 5 0 k H z. Th e r e s u lt w a s a d o m e w i t h o u t 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

l in g a - a n e n e r g y s o u r ce c a p a b l e o f e n h a n c i n g o n e ' s s p ir it u a l receptivity as well as overall health and wellbeing. A dip in its wate rs serves as a prep arator y tool to receive the en ergies of the Dhyan alinga, be fore en tering the Yogic Tem ple. Built from gigantic granite blocks, this extraordinary structure

ARCHITECTURE+ DESIGN  M a y

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leads the visitor 30ft deep into the earth to a copper tank

different dimensions of Shiva –   H a r a  ,   Rudra  a n d Sadashiva ,

v a u l te d b y a n a r t is t ic m u r a l o f t h e M a h a Ku m b h M e l a .

the tripartite panel is an expression of the three chief  gu n a s 

Also located at the Yoga Cen ter are th e Isha Rejuven ation Center

and

Isha

Home

School.

The

Va n a p r a s t h a  

or qualities of every living being, in ancient vedic sciences referred to as tam as ,   rajas a n d sattva .

accommodation on the premises was designed3 to give people with families the opportunity to come and be involved with the centre. An architecturally ap pe aling reside ntial facility d esigned i n t h e s h a p e o f a t r i a n g l e , a  ya n tra  ( yo g ic  s y m b o l ) w h i c h represents ultim ate p erception, hou ses an active international c o m m u n i t y o f b r a h m a c h a r i e s ,  f u ll- t im e v o lu n t e e r s , g u e s t s and visitors, making it a vibrant hub of activity and an o p t im a l e n v ir o n m e n t t o p u r s u e o n e ’ s g ro w t h . Ca r v e d o u t o f t h r e e 5 0 t o n n e g r a n it e b l o c ks , th e Trim urthi 

FactFile Client: Self  Design team: Sadhguru along with Isha design team Consulta nts: Auroville Earth Institute (AVEI) (Structural (dome)), Isha design team Contractors: Self  Built-up area: 18 95 4.33 sq ft (Dhyana linga Tem ple)

p a n e l is a n i m p r e s si ve o u t c o m e o f t h e a r t o f s t o n e s c u lp t i n g

Cost of project: Rs 50 lakh approx

cultivated in India over millennia. Symbolising the three

Year of co mple tion: 1 9 9 9

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Architecture for Divinity

Ved ic Hindu Cultural Societ y (Lakshmi Narayan Tem ple ), City of Surrey

The Role of the Hindu Te mple fo r the No rth Indian Co mmunity in Surre y, A Case Study Vancouver

By Niranjan Garde

T

96

Ma y 2 0 1 5

his is a case study o f Laxm i Naraya n Tem ple

Background: The globa l diaspora of Hindus in the

situa ted in the City of Surrey, Vancou ver an d

1 9 t h a n d e a r ly 2 0 t h c e n t u rie s u n d e r t h e c o lo n i a l r u le

registered u nd er Ved ic Hind u Cultural Society.

has been mainly in the form of indentured labours

This research study is centred on und erstanding the

working on sugarcane p lantations, lum ber indu stry and

meaning of the Hindu temple for the north Indian

labour for infrastructural works (Jacobson K. A., 2004);

com m un ity in Surrey, Vanco uver. Broad ly spe aking,

(Rukman i, 200 1). Subsequ ent m igration cycles include

what is the im portan ce of this Hindu tem ple in a

Indians that w ere 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 o f Vanco uver. This is follow ed by b rief history of 

a diversity in religiou s practices, class, lingu istic and

t h is t e m p l e a n d s u b s e q u e n t ly t h e m a i n t h e m e s

cultural attitude s. Tem ples in new d iasporic settings

highlighted from this case study.

were a result of this interplay of inherent religious,

ARCHITECTURE+ DESIGN

social and cultural diversity of Indian ethnicity and

Slowly, with th e growth of the Punjabi Hindu

their respon se to each un ique situation p revalent in the

comm unity, specific deities of the Hindu pan theon

host societies. The migration of Hindus in this period

were include d in this premise. As the comm unity base

com prises South Africa, East Africa, M auritius,

grew, the m ost prom inent festivals of India such as

Ma laysia, Trinidad , Guyan a, p arts o f Australia, British

Diwali and Dussehra also be gan to b e celebrated he re

Columbia (Canada) and California (USA) in the time

and other cultural functions started to take place. A

p e r i o d o f 1 8 1 8 t o 1 9 4 7 . I n d ia n I n d e p e n d e n c e in

dem and for Hindi an d Sanskrit classes increased

19 47 , and chan ges in imm igration policies in the USA

leading to their inception. In 199 8 with the

a n d C a n a d a f ro m 1 9 6 5 t o 1 9 6 9 , r e s u lt e d i n t h e

procuremen t of a grant from the provincial governme nt

migration of h ighly ed ucated and skilled p rofessionals

and the capital generated by donation of funds, it was

coming from all parts of India. Imm igration of Indians

finally decided to p lan, design and construct a n ew

to Vancouver since the beginning has pred om inantly

tem ple on the p iece 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 comp osition of the Indo-

b u i lt a n d m a d e o p e r a t io n a l fr o m 2 0 0 2 a n d o t h e r

Canadian community today (Roberts, 2003). The

a d d i t io n s h a p p e n a s t h e n e e d s o f t h e c o m m u n i t y gr o w.

m a j o r it y o f p e o p l e w h o f o rm t h e c o m m u n i t y b a se o f  

At present, pop ular festivals can draw crowd s to a

this tem ple are Punjabi Hindus followed b y Punjabi

capacity of 10,00 0. The list of m em bers has grown, the

Sikhs. Thus, the majority of the activities that take place

community base is now predominantly comprised

in this tem ple respond to the con cerns of this group,

Punjabi Hindus and Sikhs, but o ne can see Indians

a l th o u g h o t h e r p a r a m e t e r s a p p e a r t o b e u n i ve r s a l

com ing from the sta tes of Gujarat, West Bengal, Tam il

across pa n-Indian p op ulation of Vanco uver.

Nadu, Uttar Pradesh, Madhya Pradesh, Rajasthan and

History o f the Tem ple: Th e f o u n d i n g m e m b e r s o f  

other diaspora locations such as Fiji, Mauritius,

the tem ple und er study were registered a s Vedic Hindu

E Africa, Sri Lanka and oth er Canad ian cities. This has

Society and were able to purchase an appropriate 10

turned into a b iggest Hindu tem ple in the state of 

acres for the construction of the temple. Initially, the

British Colum bia.

land w as farmland w ith an existing chicken coup, a

Themes: The question is what role this temple

small farm shed a nd a septic tank. The chicken coup

plays for Indians staying in Vancou ver? What kinds of 

w a s f u m i ga t e d a n d u s e d f o r t h e p u r p o s e o f r e li gi o u s

i ss u e s a r e a d d r e ss e d t h r o u g h t h e e s t a b l is h m e n t o f t h i s

activity, which consisted of rituals and recitation of 

t e m p l e ? I w i ll n o w s t a t e o n l y t h e m o s t p r o m i n e n t o f  

devotional songs every Sund ay for two hours. The

issues voiced through several inter views taken with

form at of religiou s pra ctice ado pte d wa s Ved ic.

t h e c o m m u n i t y p a r t i ci p a n t s :

Prayer Hall

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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 gradu al as may be eviden t in countless temples present on Indian landscape. Networking:  This tem ple is also a p lace o f social networking. Indian immigrants require help on all fronts in th e initial years of their settlemen t. D is b u r se m e n t o f i n f o rm a t i o n a b o u t h o u s in g , b y e - la w s , rents, study, job prospects happens naturally during all temple events which invite community participation. On all other days, interactions with fellow Indians are Typical cultural e ven t in Praye r Hall

f le e t i n g a n d r a r e a n d t h e r e fo r e w e e k ly t e m p l e e v e n t s in the form of gatherings,  p r a s a d  , prayers and faithful

Identity conflict: Things that used to be taken for

following of the Hindu calendar are felt as an

granted in India an d tha t m ay m ean religious, social

opportunity to bond with the Indian community and

and cultural attitudes can n o longer b e 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

me ans to follow religious practices, what it mean s to b e

issues of health and heightened sense of loneliness due

a Hindu , or to speak in one ’s mothe r tongue, listen to

to mobility restrictions, inability to communicate with

mu sic, or follow custom s, one faces the eventuality of 

their grandchildren on account of language b arriers and

comp letely getting transformed into new belief system s

huge generation gap experienced between them and

cherished b y the ne w context. At the he art of the m atter

their fam ily me m be rs. Tem ple is their place to feel at

is the selective rejection o f one ’s previous value system

hom e a nd vent their concerns. Ancillary spaces are

in terms of faith, comm unity, gend er relations an d

constructed w here the elders can do group exercises,

selectively accepting new value systems. The perceived

come for talks, see m ovies, celebrate birthdays and

‘loss’ of identity or reinterpretation o f 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

temp le. The architectural vocabulary of this temp le,

where academ ic cultural knowledge of India is shared

imagery of idols, the ritual format p racticed, the dress

with the younger generation.

code during times of religious e vents, the participation

Prasad:   The

Sund ay  Prasad   (or the dining space

in festivals and cultural events a ssist in this constant

catering to 500 people) also becomes a community

exercise of reinterpreting who w e are and how we

gathering place. Apart from the practical function to

und erstand o urselves and the larger context surrounding

support catering requirements for marriages, festivals

us. In this respect, the p rayer hall or   m a n d a p  , functions

and other cultural events taking p lace in the temp le, the

as a gathering place to perform religious functions,

dining space connects members of the community

celebrate festivals and organise cultural events such as

am ongst them selves.

dram as, music, da nce, discourses and so on. The external form o f the tem ple thus d eliberately is chosen to resemble a traditional temple – not so much for imitating but more for reminding who we are as a comm unity and w hat values this temp le represents. Defining one’s identity becomes a conscious process. The a rchitecture of the te mp le also n eeds to add ress the local bye-laws and building safety regulations in terms of fire (since panel construction incorporates wood based technology) and weather protection, since Vancou ver experiences cold an d we t climate for ne arly 7-8 mo nths of th e yea r. Also, privacy concerns of  neighbouring residen ces have to be taken into account and therefore noise generated during chanting,

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Food pendals installed at the time of Dassehra in the temple premises

Discussion: The tem ple be comes a place expressing the religious, social and cultural values o f this com m unity as they respo nd to th e context of Vancou ver. Provision of spaces need to respond to these param eters. It is not o nly for prayers that one comes to a t e m p l e s u ch a s t h i s, b u t s o m e t h in g m o r e t h a n t h a t . We need to understand firstly, the basic difference in the context o f Vancou ver (as felt as a ‘foreign’ land) versus any Indian city (as felt as ‘hom e’) and w hat it Indepe ndence 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 n ew Vancouver. Idea s abou t ma rriage,

of the context around us. By context I me an th e land,

da ting, mo ney sp end ing, lifestyle choices, faith

peo ple, religious, social, cultural values an d a ll things

system s are in conflict betwee n children a nd their

that becom e a p art of our psyche as we grow up in

pa rents. The difference in th ese 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,

ed ucation takes place in pu blic schoo ls in Van couver.

included– intense day-to-day social interactions an d

This mea ns the o nus of religious and cultural

cultural exposure to social customs which develop the

education of India falls on the parents and this temple,

sense of com mu nity and how o ne starts to acquire

whe re religious, social and cultural dimensions are

values and certain tho ught p atterns about life; the

expressed through th e events taking place in the

relative cohe siveness in the religiou s attitudes of p arents and children; the culture of joint family systems; meaning of religion as ingrained through religious customs, rituals and the interdepend ence of social network throughout different phases of life. Language, cloth es, food , m usic– virtually everything in India starts to influence our identity as Hindus or Indians. We carry this sense o f ‘India’ or ‘Hindu ’ wherever we go. Vancou ver represents a to tal change o f this conne ction with the surrounding context and the process of  adap tation of our value systems begins. And one o f the prominent places where such ad aptation o f values is practised is the Hindu tem ple. It becomes the ir place to redefine these values. Thus, every community derives its own m eaning from its Hindu Tem ple 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 

tem ple. Parents thu s consciously bring the ir children as

Niranjan Garde d id 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 pa rents believe to be

Va n c o u v e r a n d i s c u rr e n t l y a s s o c ia t e d w i t h M i t im i t r a C o n s u l t a n t s  

impo rtant for th eir children to follow. These value

Pvt Ltd, Pune.

s ys t e m s a r e h o p e d t o b e l e a r n t b y o b s e r vi n g , w a t ch i n g rituals, voluntee ring for tem ple’s events, participating

References: 

in religious dra ma s, reading boo ks kep t in temp le

Jacobson, K A (2004). South Asians in Diaspora: Histories and 

l ib r a r y a n d b y o t h e r s u c h m e a n s .

Religious Traditions. Brill.

Finally, lifecycle events such as celebration of a

Rukmani, T S (Ed.). (200 1). Hindu Diaspora. New Delhi: 

child’s birth, thread ceremony, marriage and rituals

Munshiram Man oharlal Publishers Pvt. Ltd.

following imp ortant p urchases also req uire sup port o f 

Roberts, M W (20 03 ). Transna tiona l Geograp hies: Ind ian 

temp le priests. All these hap pen in the tem ple prem ises.

Immigration to Canad a. The Canad ian Geographer, 47(3), 23 5-250 .

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Exploring Design

De sign in Ce ramics Delhi Blue Potter y Trust rece ntly presen ted the ‘Inte rna tion al Cera m ic Con clave’ com p rising th e artwo rks of several inte rnationa l ceram ists and the po tter com m un ity of Ind ia. The exhibition was he ld at the Ind ia H ab itat Centre, New Delhi.  Architecture+ Design  brings across a few creative works that were sho wcased in the conclave...

Designer: Late Sardar Gurcharan Singh, New Delhi

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

Designer: Melanie Ferguson,

US

Designer: Seu ngh o Yan g, Korea “The ceram ic pro cess is the re cycling  of the earth from its origin” 

Designer: Jan e Jerm yn, Ireland

ARCHITECTURE+ DESIGN  M a y

2 0 1 5 101

Designer: Harki Harkishan shan Pr Prajap ajapati, ati, New Del elhi hi

Designer: Olga Ravinskaya, Russia

A variety ariety of forms forms,, a  variety variety of colours… colours… The endless process of  trials trials and error… error… Developm evelopm ent and creation, creation, realisation realisation o f a d ream … This is ceramic for me.

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

Designer: Devi Prasad, Uttar Pradesh

ecom m b e, Designer: Ted Seco Australia

Designer: Shozo Michikawa, Japan

1 0 4 Ma y 2 0 1 5

ARCHITECTURE+ DESIGN

Fac ade s and Ro o fs in

Um icore India Pvt . Ltd.

Corporate Office, Bhopal

102, Naman Centre, C 31&32, Bandra-Kurla Complex, Bandra (East), Mumbai – 400 051, India. Te l . + 9 1 2 2 6 6 2 7 5 6 5 6 www.vmzinc.in Email at : [email protected]

Comm ercial Building, Surat

Corporate O ffice, N oida

Designer: An n Van Ho ey, Belgium

Designer: Steven Low Thia Kwang, Singapore

Designer: Svetlan a Pasechnaya,   Ukraine

Re s e a rc h

Reclamation of

Kunds  on

Govardhan Hill, Braj

By Amita Sinha ovard ha n H ill in Braj is highly

G

low ridge, rising no more than 100ft

b r o t h e r Ba l a r a m s p e n t m a n y h o u r s

r e v e r e d , a s i t is b e l ie v e d t o b e t h e

above the surrounding plain.

g r a z in g t h e i r c o w s o n t h e t e n d e r g r a s s o f  

embodiment of his divinity. Its visual

was likely a site of anim istic worship b y

p o n d s w e r e i d e a l p l a ce s f o r Ra d h a a n d

imagery alludes to many myths, of which

p r i m i ti ve t r ib e s w h o w o r s h ip p e d i t a s a

Krishna’s play and its hidden caves for

t h e m o s t p o p u l a r o n e i s Kr i sh n a h o l d i n g

 ya ksh a capable of assuming any form—

t h e i r i n t im a c y. H e r e n a t u r e ’ s b o u n t i e s

it up like an umbrella on his little finger

bull, pea cock or serpen t. This primitive

w e r e a b u n d a n t – p u r e w a t e r f ro m it s

to protect his community from the floods

a n i m i sm w a s c o - o p t e d i n t h e Puranic lore

w a t e r f a ll s, m a n y v a r ie t i e s o f h e r b s , f r u it s

m e t o n y m i c fo r m o f Kr is h n a a n d

Govardha n m ean ing ‘increaser o f cattle’

Govardhan Hill. Its shady groves and

Rudra Kund Apsara Kund

Manasi Ganga

Hariji Kund

Surabhi Kund

Brahma Kund Naval Kund Charnamrit Kund

Govind Kund

 Jugal Kund

Shankal Kund Narad Kund

Kunds of Gova rdhan Hill

sent by the wrathful god Indra. Other

of boy Krishna lifting the hill, a defining

a n d f lo w e r s , a n d m i n e r a ls a n d g e m s

representations include the mountain-

ep isode in establishing his prowess. Over

( Br a h m a c a r i 1 9 9 7 ) . T h e i d e a l i se d

river d y a d o f G o va r d h a n H i ll a n d Ya m u n a

t im e Go v a r d h a n , a l so k n o w n a s ‘ gir ira j ’ th e

d e p i ct i o n s o f Go v a r d h a n H i l l a r e t h a t o f a

River flowing a t its foo t, the Hill Annakut

king of h ills and Krishna be gan to be

lu s h la n d s c a p e w i t h a b u n d a n t w a t e r

a s a m o u n t a i n o f f o o d , Kr is h n a f il li n g t h e

perceived as one and the same illustrating

b o d i e s a n d d i ve r s e f lo r a a n d f a u n a .

h o l l o w o f a c a v e i n t h e h i ll , a n d t h e h i ll

the conceptualisation of natural archetypes

Individual sites on the hill were visualised

a s a p e a c o c k a n d a b u l l ( En t w i s t le 1 9 8 7 ,

a s m e t o n y m i c fo r m s w h e r e in t h e h i ll , r iv e r

w i t h i m a g e r y d r a w n f ro m Kr is h n a

To o m e y 1 9 9 4 , Va u d e v i ll e 1 9 8 0 ) .

or tree can e voke the e ntire na tural world

s p o r t i n g w i t h R a d h a a n d o t h e r  go p is  in

However, quite unlike its conical

a s a fo r m o f d i vin it y (Sinha  1 9 9 6 ) .

verdant, Eden-like setting of k u n j  ( b o w e r )

r e p r e s e n t a t i o n s , Go v a r d h a n H i ll is a l o n g ,

1 0 8 Ma y 2 0 1 5

ARCHITECTURE+ DESIGN

Ra

It is believed that Krishna and his

a n d nikunj ( a r b o r ) . M e d i e v a l p a i n t in g s

s h o w t h e m i n a g r e e n , r o l li n g la n d s c a p e w i t h t h e R i ve r Ya m u n a o r a p o n d i n t h e f o r e g ro u n d , o c c a s i o n a l ly a s e t t l e m e n t o n t h e h o r iz o n . Th e y s h o w a n i n t i m a t e s p a c e f ra m e d b y t re e s a n d c re e p e r s w h e r e R a d h a a n d K r is h n a a r e d a n c i n g o r lo c ke d in a n e m b r a c e , o ft e n su r ro u n d e d b y a circle of  go p is  (Isacco and Dallapiccola. 1 9 9 2 , R a n d h a w a 1 9 7 2 , O h r i a n d C r a ve n Jr 1 9 9 8 ) . Th e i m a g i n e d l a n d s ca p e i s b a s e d u p o n a c t u a l p la c e s a n d i n t u r n g u i d e s t h e i r m a k i n g r e v e a l in g t h e reciprocity between representation and p h y s i ca l r e a l i t y ( H a y s 2 0 0 7 ) . Kusum Sarova r

Place Archetype The picturesque water bodies situated

f e d b y n a t u r a l sp r i n gs , o t h e r s a r e r a in - fe d

practice of b a n y a t r a o r jo u r n e y in t o t h e

in t h e m i d st o f v a n s  (forests) were no t only

and replenished b y surface flow. Those a t

f o re s t (H a b e r m a n 1 9 9 4 ) . In t h e 8 4 k o s

settings of am orous play o f Krishna and

the foothill collect runoff from the hill

(168 m iles) pilgrimage of Braj,

 go p is  but also sites of his propitiation b y

through the gravity-fed wate r conveyance

circumambulation of Govardhan is

system . A few k u n d s  are b uilt in pa irs, with

r e co m m e n d e d o n t h e s e ve n t h d a y a n d

one catching the overflow o f the othe r.

pilgrim s are advised to spend the n ight

Se t t le m e n t s a r e c e n t r e d o n t h e k u n d s —  

Udhhav Kund Shiva Khari na Kund

Lalita Kund

Kusum Sarovar

Radha Kund Shyam Kund

t h e r e . As m a n y a s 2 3 k u n d s  in a n d a r o u n d

Govardha n is built around M ana si Ganga,

Govardhan Hill are visited by pilgrims in

Jatipura round Hariju Kund , Aniyor has

the course o f their p a rik ra m a . Kunds 

Govind Kund , and Apsara and N aval k u n d s  

situate d in vans are ideal locales for resting

are foci of Punchari village. Their street

b e c a u s e o f t h e i r s a cr e d a m b i e n c e ,

n e t w o r k i s o ri e n t e d a r o u n d t h e k u n d s ,  th e

proxim ity to the  p a rik ra m a  p a t h , o p e n

only pub lic open space within the

space in the vicinity for cam ping and r a a s  

settlements. Radha-Shyam k u n d s  a n d

lila  performances. The kund - va n - t e m p l e i s

Man asi Gangaa re social spaces used for

a n o d e in t he  p a rik ra m a  circuit w here the

kirtans, bha jans , festivals, rituals, ba thing

pilgrim can pe rform ab lutions, obta in

a n d p l a c e s t o m e e t o t h e r s . Sa c re d a n d

d a r s h a n  , listen to discourse, and reflect on

secular activities interweave creating a rich

the story just heard .

fabric of vibran t pu blic life. A few k u n d s  a t the b ase of the h ill – Ratna Kund , Surabhi Kund, Hariju Kund, Airavat Kund and Kunds Water Bodies Wells Tube We ll Canal

other gods. Although their actual number

Reclamation of

Kunds 

To d a y m a n y k u n d s  l a c k w a t e r o r t h e i r

Kusum Sarovar – a re located within groves.

w a t e r q u a l it y is d e g r a d e d b e c a u s e o f  

Those away from the hill—Vilachu, Gauri,

a l ga e a n d s e d im e n t a t io n . Fa r m s a n d

Kilol, Sakhi and Narad k u n d s,  o nce

h o u s e s h a v e r e p l a c e d t h e i r g r o ve s . Th e

s u rr o u n d e d b y g r o ve , a r e n o w a m id s t

t r a d i t io n a l sy s te m o f w a t e r h a r v e s t i n g ,

farm s. Yet oth ers – Juga l, Malyaha ri an d

conveyance and distribution appears to

Indra k u n d s  – h a v e f a rm s , h o u s in g a n d

have become dysfunctional and there is

remnant groves surrounding them.

l it t l e e v id e n c e o f c o m m u n i t y

A s h r in e o r a t e m p l e c lo s e t o t h e kund 

m a i n t e n a n c e . Kunds a m id s t d e n s e

on Govardha n H ill is far less than the

celebrates the event believed to have taken

s e t tle m e n t s h a v e p o o r w a t e r q u a l it y

imagined 108, it is large enough for them

place at tha t spot in mythic tim e. The

because of waste-water drainage from

t o b e a n im p o r t a n t p re s e n ce in t h e h illy

temple/shrine, kund  a n d va n  thus form the

s t re e t s a n d f r o m a d j o i n in g h o u s e s a s w e l l

landscape. They are a source of wate r to

p l a c e a r ch e t y p e , r e p e a t e d a s a m o d u l a r

as residen ts’ clean ing activities. With a

the cattle an d for irrigation of farms an d

unit in the cultural land scape of Braj (Shah

f e w e x c e p t i o n s , t h e y a r e n o t v i si b l e f ro m

orchards. Some are ponds with an irregular

2 0 0 7 ) . N a r a y a n Bh a t t , a u t h o r o f Vr a j

t h e r o a d a n d n e it h e r a r e o t h e r p l a c e

e d g e , o t h e r s a r e b u i lt u p a s s q u a r e a n d

Bhakti Vilasa is cred ited w ith the

m a r k e r s su c h a s r a a s - s t h a l  i s w h e r e s t o r ie s

rectangular k u n d s  (tanks) with  gh a ts  (steps)

rediscovery of sacred sites of Braj in the

c a n b e n a r r a t e d , s u n g a n d i n t e r p re t e d

and ornately carved p avilions. Som e are

sixteenth cen tury and establishing the

through dance. The opportunity to

ARCHITECTURE+ DESIGN  M a y

2015 109

Kunds   in groves are closest to the idealised representations and should be r e s t o re d a n d r e c la i m e d a s   p a d a v s t h a l s   ( r e st i n g p l a c e s) f o r t h e p i lg r im o n t h e b a n y a t r a . T h e o u t l y in g  k u n d s   s u rr o u n d e d b y f a r m s s h o u l d b e d e s ig n a t e d a s p r o t e c t e d s it e s w i t h a b u f fe r z o n e o f 2 0 0 m ( u s in g t h e An c ie n t Si t e s a n d M o n u m e n t s A ct o f   t h e Go v e r n m e n t o f I n d i a ) w h e r e g r o v e s c a n b e r e p l a n t e d .   Kunds   in proxim ity to t h e i n n e r  p arikram a   path – Kusum Sa r o v a r a n d U d d h a v Ku n d – i n t h e n o r t h e r n s e c ti o n , a n d H a r i ju , A i ra v a t , S u r a b h i , A p s a r a a n d N a v a l  k u n d s   i n t h e s o u t h e r n s e c t i o n o f t h e h i ll , a r e i n t h e m idst of rem na nt forests with clearings where the pilgrim s cam p overnight during

Proposed Padav Sthal at Kusum Sarovar

t h e i r jo u r n e y . Th e s e s h o u l d b e t h e experience a pond in the grove where

transport shortens the eight hour long

priority for re clam ation efforts, including

o n e c a n b a t h e , m e d i t a t e , a n d v is u a l is e

trip to 30 m inutes. Pilgrim s pressed for

planting of trees after which the grove

t h e p a s t o r a l s c e n e s o f K ri sh n a t e a s i n g t h e

t i m e o r u n w i l li n g / u n a b l e t o w a l k t h u s

w a s n a m e d ( a s h o k,   kad am b  a n d   d h a k )  ,

 go p is   a n d d a n c i n g w it h R a d h a i s

choose the easy way and insulate

r e m e d i a t i o n o f w a t e r q u a l it y a n d

increasingly difficult to obtain and

the m selves from directly experiencing th e

r e s t o r a t io n o f   g h a t s ,  a n d p r o v is io n o f  

g e n e r a l l y o n l y a v a il a b l e t o t h o s e w h o

landscape (Shinde 2010). They have

cam ping facilities in op en spaces.

c h o o se t o w a l k o n t h e in n e r p a t h a t t h e

f e w e r d i r e c t p h y s ic a l a n d s e n s u a l

Circum am bulating the hill would then be

f o o t h i ll . I n re c e n t y e a r s th e r o a d a r o u n d

encounters with the   k u n d s  a n d t h e

t r a v e r si n g t h r o u g h a s e r ie s o f g a r d e n -

Go v a r d h a n H i ll h a s p r o v i d e d a n

consequent disengagem ent lim its their

g r o ve s t h a t w i ll b e r e s t in g p l a ce s f o r t h e

alternative to walking since m echanised

a b i l it y t o e n v i si o n t h e d i v in e i n n a t u r e .

wea ry pilgrim .

Surabhi Kund

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

Padav Sthal in the Northern Northern Section o f 

and chanting. Kusum Kusum Sarovar i se d Sarovar  is p r o p o se

Sutala), temples (Narsimha, Apsara-Bihari,

the Hill Hill

a s a m a jo jo r  p a d a v st h a l i fo r e st st e d l  i n t h e r e fo

Punchari Ka Ka Lautha) an d M ani Kand Kand ali

Ashok and Pushpa Vans w Vans  w it it h a ca m p in in g

Cave. The sites are are situated situated in the m idst of 

of the Govardha Govardha n Hill derived its

site, site, wildlif wildlifee lookout pavilion pavilion and bird

partially partially denu ded Apsara and Sutala Vans 

impo rtance from from being situated situated in Pushpa Pushpa

feeding areas. The The d ense kikar kikar scrub scrub on the

with a large cleari clearing ng at the edge of water

Va n  (forest of flowers) where Krishna and

west should b e cleared for a camp ing site site

bodies. Apsara and Naval k u n d s  a  a re

Ra d h a q u a r r e llll e d a n d w e r e b r o u g h t

linked linked with trails to Udd hav Kund Kund and the

perceived perceived to be liquid forms of Radh Radh a and

together b y Radh Radh a’s sakhis (fri sakhis (friend end s). At At the

historic historic charbagh gard ens around the

Krishna, their waters symbolising the

n e a r b y  Ashok Van , Kr is is h n a b r a i d e d

pavilions restored as kunjs (or k u n d s)  w it it h

essence of their love. The clearing at their

Radha’s hair with flowers flowers and ad orned her

flowe flowe ring shrub s.

edge is the site of Radha and Krishna’s r a a s  

with jewellery. jewellery. An ad jacent jacent tem ple is

Padav Sthal  in

with the  go p is .  Punchari Ka  Punchari Ka L  Laut aut a  Tem ple is

ded icated icated to Ud dha v, Kris Krishna’s hna’s friend friend and

the Hill

Kusum Sarovar i Sarovar  i n t h e n o r t h e r n s e ct ct io io n

Proposed Padav Sthal at Surabhi Kund

cousin. Upon Krishna’s departure from

the Southern Section of 

A lo lo n g t h e i n n e r  p a ri kr a m a  p a t h ,

ded icated icated to a cowherd friend friend of Kri Krishna shna who waits for him to return from Mathura.

Br a j,j, t h e  go p is  were inconsolable and

b e t w e e n t h e v i ll ll a g e s o f Pu Pu n c h a r i a n d

The site site rede sign sign p roposal aims at

Uddhav, sent as Krishna’s messenger, was

J a t ip ip u r a , t h e Ka Ka d a m b f o r e s t o p e n s i n t o a

improving the water q uality uality of the twin

so enraptured by their devotion that he

clearing with three k u n d s —  

st o r in in g t h e ir ir  gh a ts  and creating creating k u n d s,  r e st

b e c a m e a c re re e p e r o n t h e b a n k s o f t h e

H a r i ju ju / Ru Ru d a n a , A ir ir a v a t a n d Su r a b h i .

spaces for kirtan a kirtan  a n d raas lila . Wa te te r

Sarovar , a w i t n e ss ss t o t h e e t e rn rn a l lili la la o f  

Ru d a n a K u n d o v e r lo lo o k i n g t h e l a r g e r

qua lity lity will will be rem ediated by planting

Krishna rishna a nd the  go p is . U d d a v Ku n d ,

Hariju Kund (named after Krishna’s

lotuses that d ecrease algae algae growth and can

located located on th e we stern side side of the h ill ill and

cowherd friend) was filled with Shiva’s

b e u s e d i n t e m p l e w o r s h ip ip . Lo Lo w s t e p s a r e

accessible only from the outer road, is a

t e a r s o f e c st st a s y w h e n h e w a s m e d i t a t in in g

propo sed at the e dge of the clearing, clearing,

smaller replica of Kusum Sarovar .

on Krishna and Radha. The clearing is

creating creating a p erformance spa ce for raas lila .

Kusum Sarovar and Sarovar and its pavilions, built in

i d e a l f o r c a m p i n g b u t i t n e e d s l i g h t in in g , Com munity

17 64 CE by Jawa Jawa har Singh, Singh, the ruler ruler of 

c o m p o s t in in g t o i l e t s , cl cl e a n d r i n ki ki n g w a t e r

Bharatp ur, ur, are protected b y the Uttar

and cooking facilities. The proposal for

Pradesh State Arc Archaeo haeo logy Depa Depa rtmen t.

 p a d a v st h a l  delineates trails leading to

face additional challenges in their

The p avilions avilions contain contain the samad hi

n i n e s i t e s, s, e a c h s u r r o u n d e d b y s ix ix c a m p s

restoration restoration a s clean clean wate r bod ies

(mem orial) orial) of Suraj Suraj Mal (and his two

t h u s a c co co m m o d a t i n g 2 5 0 - 3 0 0 p i lg lg r im im s .

appropriate for ritual practices as well as

que ens) father of Jawah Jawah ar Singh Singh an d

Th e c a m p s f a ce ce a c e n t r a l o p e n s p a c e w i t h

vibrant public spaces of their local

patron of Govardha Govardha n. The central pa vili vilion on

a m u l t if if u n c t io io n a l s p i ra ra l co co b b e n c h b u i l t

comm unities. unities. The twin Radh a-Shyam a-Shyam

has Kri Krishna’s shna’s footp footp rints rints in m arble on the

with locally available materials and

tuated in the m idst of Radh Radh a Kund Kund k u n d s  si  situated

floor floor a nd painted frescoes frescoes on the ceili ceiling ng

d e c o r a t e d w i t h l o ca ca l sa sa n j h i a r t . I t h a s a

vill village age at the n ow vanished vanished tip of 

showing episodes from the lives of Krishna

b u i l t -i -i n s to to v e t h a t c a n b e u s e d f o r m e a l

Govardhan Hill Hill are perceived perceived to the eyes of 

and Suraj Mal. The The o rnate  gh a ts  a n d

p r e p a r a t i o n s b y b a n y a t r is is . 

Govardhan Hill Hill pop ularly ularly imagined as a

platforms of Kusum Kusum Saravor draw ma ny

Punchari (l Punchari (literal iterally ly tail), tail), the southern tip tip

Kunds 

Kunds in Kunds  in the midst of dense settlements

pea cock (Brahm (Brahm acari 1999 ). They They are

visitors and are used by local residents for

of Govardhan Hill, has a cluster of sacred

believed believed to b e the co-m ingling ingling aquatic

their daily daily bathing and washing, praying

sites includ includ ing k u n d s  (Apsara,  (Apsara, Naval,

forms of Radh Radh a an d Kris Krishna. hna. M edieval

ARCHITECTURE+ DESIGN  M a y

2 0 1 5 111

Propo Propo sed reclamation of Govind Kund

texts describe describe the kunds as kunds  as being being surrounded by kunjs , with swings swings hanging from kadamb, mango and bakul trees. The kunds were kunds  were lost in time but were re-discov re-discovered ered by Chaityana Chaityana Mahaprab hu and rebuilt by his disciple Raghunath Das in mid-sixteenth mid-sixteenth century. There There are ma ny place-markers place-markers around th e kunds — jihva-  shila  (tongue of Giriraj/G Giriraj/Govardh ovardh an), five five trees symbolic of the five Pandavas of  Mahabha rata, Chaityana’s baithak (seat), baithak (seat), Raghun ath Das’s Das’s bhajan-kutir  and samadhi  and raas mandal at mandal  at the souther southern n edge of  Rad ha Kund . The kunds are kunds  are visited visited by a large large num ber of pilgrims for bathing and circumambulating, especially on Krishnashtam i (Krishna’s (Krishna’s birthd ay) wh en they app ly the mud of Radha Radha Kund o n their foreheads. The The wa ter q uality of the kunds is kunds  is poor b ecause of lack lack of sewage and drainage system system in the surrounding settlement, solid waste management Govind Kund

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

problem and sludge created by stagnant

water. Lalita Kund feeds the twin k u n d s   and in turn receives water from a cascading

perception of the landscape decreases. I t i s b e l ie v e d t h a t Br a j h a s b e e n

Trust for Art an d Cultural He ritage, for sha ring his research on Govardhan.

series of low lying natural water bo dies

r e c la i m e d r e p e a t e d l y s in c e a n t i q u i t y; t h e

surroun de d b y farm fields. Green te rraces

most recent appropriation occurring

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(Groningen: Egbert Forsten, 1987).

Kr is h n a ’ s b r o t h e r B a l r a m a n d N i p a Ku n d

circuit in the sixtee nth ce ntu ry. Tod ay the

H a b e r m a n , D a v i d . Jo u r n e y t h r o u g h t h e Tw e l v e  

in the kadamb grove where Krishna and

sacred sites of Govardhan Hill face the

Forests: An Encoun ter with Krishna (N ew York: 

his friends ate  g o p is ’ m i l k a n d b u t t e r in

c h a l le n g e o f p u b l i c n e g l e c t, l o s s o f r o y a l

O x f o r d U n i v e r s it y P r e s s , 1 9 9 4 ) .

cups made from tree leaves. The washing

patronage and deforestation. Restoration

H a y s , D a v i d , “ L a n d s c a p e s w i t h i n B u i ld i n g s , ”  

and cleaning activities of village residents

o f t h e a r c h e t y p a l la n d s c a p e o f p o n d -

Harvard Design Magazine 29 (Fall 2008/Winter 

h a v e c o n t a m i n a t e d t h e w a t e r q u a l it y o f  

g r o ve - s h r in e i s t h e r e f o r e i m p e r a t i v e f o r

2009): 110-117.

t h e k u n d   and it also lacks resting places

i m p r o v i n g t h e e c o l o g ic a l h e a l t h o f  

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).

p r o p o s e s s e l e c ti ve d e m o l it i o n o f d e r e l ic t

r i ch i n t a n g i b le h e r i t a g e . G o v a r d h a n

R a n d h a w a , M . S . Ka n g r a Va l l e y P a i n t in g ( N e w  

buildings around the kund to introduce

k u n d s,  l in e d b y t e m p l e s a n d s h r in e s , a r e

Delhi: Publications Division, Ministry of 

public spaces—entrance plazas, shaded

p u b l ic s p a c e s fo r t h e l o c a l c o m m u n i t i e s

Information and Broadcasting, Government of 

s q u a r e s , a n d w i d e n i n g o f  g h a t  t e r r a c e s f o r

and sites of ritual ablutions by pilgrims.

I n d ia , 1 9 7 2 ) .

w o r s h ip a n d c o n g re g a t io n a t t h e w a t e r ’ s

Their reclamation will be a catalyst for

S h a h , B e h u l a , “ B r a j : Th e C re a t i o n o f K r is h n a ’ s  

e d g e . A s e p a r a t e s m a l le r t a n k a b o v e t h e

c o n s e r v a t i o n o f t h e l a r ge r c u l t u r a l

La n d s c a p e o f P o w e r a n d P l e a su r e a n d I ts  

m a i n k u n d   f o r w a s h in g a n d b a t h i n g

l a n d s ca p e a n d i t s m a n a g e m e n t a s a

Sixteenth-Century Construction through the 

activities of the village rs is prop osed so

protected heritage zone. The regenerated

P i lg r i m a g e o f t h e G r o v e s ” in M i c h e l Co n a n ( e d )  

t h a t i t s g re y w a t e r c a n b e f i lt e r e d t h r o u g h

Go v a r d h a n H i ll ca n b e c o m e a n e x e m p l a r y

Sacred Gardens and Landscapes: Ritual and 

a g r a ve l a n d s a n d b e d a n d d is t rib u t e d t o

p r e c e d e n t f o r o t h e r h o l y si t e s in B r a j t h a t

Agency, 153-172 (Washington, DC: Dumbarton 

a d j a c e n t o r c h a r d s a n d f ie l d s .

a r e r a p i d l y l o si n g t h e i r w a t e r b o d i e s a n d

O a k s R e s e a r c h Li b r a r y a n d C o l l e c t io n a n d  

forest co ver.

S p a c e m a k e r P r e ss , 2 0 0 7 ) .

G o vi n d Ku n d a t t h e G o va r d h a n f o o t h i l l

Conclusion

S h i n d e , K ir a n , “ S a c re d P e r f o r m a n c e s , S a c r e d  

The powerful iconography of 

A m i t a S i n h a i s a p r o f e s s o r o f La n d s c a p e  

La n d s c a p e s : C o n n e c t i o n & C a c o p h o n y ” ,

Govardha n Hill in pop ular imagination

Architecture at the University of Illinois at

P. B . Si n g h ( e d ) H o l y P l a c e s a n d P i lg r i m a g e s :  

creates an expectation tha t its actual

Urbana Champaign.

E ss a y s o n I n d i a . P l a n e t E a r t h & C u l t u r a l  

landscapes conform in some degree to its

in Rana 

Understanding Series, Pub 8 (Cambridge Scholars 

representa tions. The loss of water bod ies in

Acknowledgements

P u b l i s h i n g , N e w c a s t l e u p o n Ty n e , U K 2 0 1 0 ) , p p  

groves leads to wea kening of place

This article draws upon proposals developed in a

211-230.

m em ories, in turn affecting on e’s capa city

l a n d s ca p e d e s i g n w o r k sh o p o n G o va r d h a n H i ll

S in h a , A m i t a . La n d s c a p e s i n I n d i a : F o r m s a n d  

t o e n v is io n . Th e d i ss o n a n c e b e t w e e n t h e

conducted at the site in collaboration with Braj

M e a n i n g s ( B o u l d e r, C o l o r a d o : U n i v e r s it y P r e s s o f  

current reality and the imagined landscape

Fo u n d a t i o n , Vr in d a v a n a n d s u b s e q u e n t l y a t t h e

Colorado, 2006; reprinted by Asia Educational 

is c a u si n g t h e d i sa p p e a r a n c e o f m a n y

University of Illinois at Urba na Champ aign in Spring

Services, 2011).

traditiona l ritual practices that p romo te an

2 0 1 0 . La n d s ca p e p l a n n i n g, d e s ig n a n d

To o m e y , Pa u l . F o o d f r o m t h e M o u t h o f Kr i sh n a :  

im m e r si ve s e n s u a l e n g a g e m e n t w i t h t h e

man agemen t proposals are detailed out in the

F e a s t a n d F e s t iv i t ie s i n a N o r t h I n d i a n P i l g r im a g e  

landscape with the p otential of visiona ry

project report Govardhan Hill in Braj, India:

C e n t r e ( D e l h i : H i n d u s t a n P u b l is h i n g Co r p o r a t i o n ,

experiences. The possibility of 

I m a g in e d , En a c t e d a n d Re c la i m e d , 2 0 1 0 . B r a j

1994).

t r a n sm u t a t io n s b e t w e e n v e g e t a l a n d

Foundation has so far restored Rudra Kund and

Va u d e v i ll e , C h a r l o t t e , “ T h e G o v a r d h a n M y t h i n  

a q u e o u s fo r m s a n d m y t h ic p e r s o n a s

Sankashana Kund. I am grateful to Divay Gupta,

N o r t h e r n I n d i a ” , I n d o - Ir a n i a n J o u r n a l, 2 2 ( 1 9 8 0 ) ,

occurring in the d evotee ’s heightened

director of Built heritage Division a t Indian N ational

 p p 1 -4 5 .

1 1 4 Ma y 2 0 1 5

ARCHITECTURE+ DESIGN

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